Laurie Anderson's Big Science
Shimmering in maximal minimalism, joyful bleakness, and bodiless intimacy, Laurie Anderson's Big Science diagnosed crises of meaning, scale, and identity in 1982. Decades later, the strange questions it poses loom even larger: How do we remain human when our identities are digitally distributed? Does technology bring us closer together or further apart? Can we experience the stillness of "now" when time is always moving? How does our experience become memory? Laurie Anderson pioneered new techniques and aesthetics in performance art, becoming its first and most enduring superstar. In this book, author S. Alexander Reed dives into the wonderfully strange making and meanings of this singular album and of its creator's long artistic career. Packed with scrupulous new research, reception history, careful description, and dizzying creativity, this book is an interdisciplinary love letter to a record whose sounds, politics, and expressions of gendered identity grow more relevant each day.
Afro-Cuban Techniques for Drumset & Percussion - Vol. 2
In 2010, master drummer Fidel Morales published his Afro-Cuban Techniques for Drumset and Percussion, Volume 1, in which he illustrated the concept of Latin rudiments, mainly based on the accents used in Cuban music. Now, in his second book, Afro-Cuban Techniques for Drumset and Percussion: Volume 2, he included rudiments based on phrases -not only from Afro-Cuban genres-, but also from universal musical styles, which he combined with ostinatos that contain patterns directly linked to Afro-Cuban music, such as the clave or and other variations of the genre, polyrithms, coordination, and more. A book for the sophisticated drummer or percussionist who wants to acquire new skills and comprehension of the roots of Latin Music.
The Presbyterian Hymnal
This is an essential companion to The Presbyterian Hymnal and Hymns, Psalms, & Spiritual Songs. Church musicians and pastors will welcome the ease with which they can locate keywords, topics, and scriptural references.
Afro-Cuban Techniques for Drum Set & Percussion
Fundamentals such as clave, patterns, interdependence, "3 against 2", and ostinatos are only some of the tools that are taught in this book. These will allow Afro-Cuban drum set students, percussionists and all musicians who study this book to progressively internalize the concept of this music and incorporate it to their performances. Above all, they will be technically prepared to approach this style without limitations. -Fidel Morales, Master Drummer and Author
Il Baritono Verdiano
Questo studio musicologico nasce dall'esigenza di riunire interdisciplinariamente pi羅 punti d'osservazione della fenomenologia baritonale verdiana (storico-musicale, vocologico-foniatrica, interpretativo-psicologica, scenico-attoriale, e cos穫 via) al fine di addivenire ad una sola e semplice elegante formula, univoca ed inequivoca, che tutto spieghi, e che sia, nelle intenzioni di chi scrive, una definizione oggettiva e completa di 'baritono verdiano', ci簷 attraverso una attenta analisi scientifica di letteratura vocale, epistolari, partiture, disposizioni sceniche verdiane.
Le Chant Intime
In this translation of the groundbreaking Le Chant Intime, internationally renowned baritone Fran癟ois Le Roux, in conversation with journalist Romain Raynaldy, presents a master class on French art song, with a thorough analysis of 60 selected songs that deviate from the traditionally narrow repertoire of the m矇lodie genre. Taking an approach that goes far beyond the typical limiting conventions, Le Roux and Raynaldy adhere to composer Francis Poulenc's principle that a song should always be "a love affair, not an arranged marriage." Neither theoretical nor purely academic, this guide instills in its readers a deep appreciation for the historical and artistic context of each piece by enriching each analysis with the full text of the lyrical poem and several musical examples, as well as fascinating details of historic premieres, concert halls, singers and poets. Paired with intensive and practical notes related to the nuances of melody and vocal delivery, each analysis provides an essential reference for performers and listeners alike. The translation is due to the expertise of musicologist and pianist Sylvia Kahan, Professor of Music at the Graduate Center and College of Staten Island, CUNY.
American Popular Song
"Wonderful"--The New York Times. "Provocative, opinionated, and never dull"--Down Beat. "A singular book."--Studs Terkel. When it was first published, Alec Wilder's American Popular Song quickly became a classic and today it remains essential reading for countless musicians, lovers of American Song, and fans of Alec Wilder. Now, in a 50th anniversary edition, popular music scholar Robert Rawlins brings the book fully up-to-date for the 21st century. Whereas previous editions featured only piano scores, the format has been changed to lead sheet notation with lyrics, making it accessible to a wider readership. Rawlins has also added more than sixty music examples to help complete the chapter on Irving Berlin. One of the most fascinating features of the original edition was Wilder's inventive use of language, often revealing his strong and sometimes irreverent opinions. Wilder's prose remains relatively unaltered, but footnotes have been provided that clarify, elucidate, and even correct. Moreover, a new chapter has been added, discussing fifty-three songs by numerous composers that Wilder might have well included but was not able to. Songs by Ann Ronnell, Fats Waller, Jule Styne and many others are capped off with an examination of ten of Wilder's own songs.
Black Music Matters
Black Music Matters: Jazz and the Transformation of Music Studies is one of the first books to promote the reform of music studies with a centralized presence of jazz and black music to ground American musicians in a core facet of their true cultural heritage. Ed Sarath applies an emergent consciousness-based worldview called Integral Theory to music studies while drawing upon overarching conversations on diversity and race and a rich body of literature on the seminal place of black music in American culture. Combining a visionary perspective with an activist tone, Sarath installs jazz and black music in as a foundation for a new paradigm of twenty-first-century musical training that will yield an unprecedented skill set for transcultural navigation among musicians. Sarath analyzes prevalent patterns in music studies change discourse, including an in-depth critique of multiculturalism, and proposes new curricular and organizational systems along with a new model of music inquiry called Integral Musicology. This jazz/black music paradigm further develops into a revolutionary catalyst for development of creativity and consciousness in education and society at large. Sarath's work engages all those who share an interest in black-white race dynamics and its musical ramifications, spirituality and consciousness, and the promotion of creativity throughout all forms of intellectual and personal expression.
Rājapūjita Ramyam - Stuti Gītams
The book "Rājapūjita ramyam" - stuti gītams contains 101 sanskrit compositions (with notations) of Madhurai Sri.G.S.Mani. The organization of content in the book is as follows. Song lyrics is given first in Sanskrit with transliteration and meaning in English followed by notation for all 101compositions.Totally 82 popular and rare ragas have been used. The mudra used in the composition is 'Rājapūjita'. These compositions contain few rare ragas and very simple sanskrit names of the divine. Mainly, the thrust of these compositions convey elemental devotion to the divine. The book will interest readers for its novel approach in handling of ragas in compositions.
Echoes from the East
One of the most admired qualities of Claude Debussy's music has been its seemingly effortless evocation and assimilation of exotic musical strains. He was the first great European composer to discern the possibilities inherent in the gamelan, the ensemble consisting mainly of tuned percussion instruments that originated in Java. Echoes from the East: The Javanese Gamelan and its Influence on the Music of Claude Debussy argues Debussy's encounter with the gamelan in 1889 at the Paris Exposition Universelle had a far more profound effect on his work and style than can be grasped by simply looking for passages and pieces in his output that sound "Asian" or "like a gamelan." Kiyoshi Tamagawa recounts Debussy's individual experience with the music of Java and traces its echoes through his entire compositional career. Echoes from the East adds a commentary on the modern-day issue of cultural appropriation and a survey of Debussy's contemporaries and successors who have also attempted to merge the sounds of the gamelan with their own distinctive musical styles.
The Musical World of Marie-Antoinette
For decades, eighteenth-century Paris had been declining into a baroque backwater. Spectacles at the opera, once considered fit for a king, had become "hell for the ears," wrote playwright Carlos Goldoni. Then, in 1774, with the crowning of Louis XVI and Marie-Antoinette, Paris became one of the world's most vibrant musical centers. Austrian composer Christophe-Willibald Gluck, protege of the queen, introduced a new kind of tragic opera--dramatic, human and closer to nature. The expressive pantomime known as ballet d'action, forerunner of the modern ballet, replaced stately court dancing. Along the boulevards, people whistled lighter tunes from the Italian opera, where the queen's favorite composer, Andre Modeste Gretry, ruled supreme. This book recounts Gluck's remaking of the grand operatic tragedy--long symbolic of absolute monarchy--and the vehement quarrels between those who embraced reform and those who preferred familiar baroque tunes or the sweeter melodies of Italy. The turmoil was an important element in the ferment that led to the French Revolution and the beheading of the queen.
The Music of Frederick Delius
This book examines Delius's individual approaches to genre, form, harmony, orchestration and literary texts which gave the composer's musical style such a unique voice. Frederick Delius' (1862-1934) music has proved impervious to analytical definition. Delius's approaches to genre, form, harmony, orchestration and literary texts are all highly individual, not to say eccentric in their deliberate aim to avoid conformity. Rarely does Delius follow a conventional line, and though one can readily point to important influences, the larger Gestalt of each work has a syntax and coherence for which conventional analytical methods are mostly inadequate. Delius's musical style has also defied one of the most essential critical tools of his musical epoque - that of national identity. His style bears no relation either to the Victorian or Edwardian aesthetic of British music spearheaded by Parry, Stanford and Elgar before the First World War, nor to the more overtly nationalist, folk-song-orientated pastoralism of post-war Britain in such composers as Vaughan Williams and Holst. In contrast, Delius acknowledged himself a 'stateless' individual and considered that his music refused to belong to any national school or movement. To test these claims, the book explores a number of important factors. Delius's musical education at the Leipzig Conservatorium and the works he produced there. Delius's musical voice, notably his harmonic and melodic style and the close structural relationship between these two factors. The book also explores the question of Delius and 'genre' in which the investigation of form is central, especially in opera, the symphonic poem, the choral work (where words are seminal to the creation of structural design) and the sonata and concerto (to which Delius brought his own individual solution). Other significant factors are Delius's cosmopolitan use of texts, operatic plots and picturesque impressions, his relationship to Nietzsche's writings and the genre of dance, and the role of his 'earlier' works (1888-1896) in which it is possible to plot a course of stylistic change with reference to the influences of Grieg, Sinding, Florent Schmitt, Wagner, Strauss and Debussy.
Long Strange Trip
Autobiography by a Punk Rock star by Bobby Hollar Autobiography by a Punk Rock star by Bobby Hollar
Compositional Process in Elliott Carter's String Quartets
This is an interdisciplinary study examining the evolution and compositional process in Elliott Carter's five string quartets. The book's narrative reveals new aspects of understanding these works and draws novel conclusions on their collective meaning and Carter's place as the leading American modernist.
Jazz and Psychotherapy
Blending the insights of musicians and psychologists from D.W. Winnicott to Gregory Bateson to Ornette Coleman, Jazz and Psychotherapy is a groundbreaking exploration of improvisation that reveals its potential to transform our experience of ourselves and the challenges we face as a species.
Electroacoustic Music in East Asia
This book illuminates the development of electronic and computer music in East Asia, presented by authors from these countries and territories (China, Japan, Korea, and Taiwan). This book was originally published as a special issue of Contemporary Music Review.
Felice Giardini and Professional Music Culture in Mid-Eighteenth-Century London
Felice Giardini and Professional Music Culture in Mid-Eighteenth-Century London explores Giardini's influence on British musical life through his multifaceted career as performer, teacher, composer, concert promoter and opera impresario. The crux of the study is a detailed account of Giardini's partnership with the music seller/publisher John Cox during the 1750s, presented using new biographical information which contextualizes their business dealings and subsequent disaccord. The resulting litigation, the details of which have only recently come to light, is explored here via a complex set of archival materials. The findings offer new information about the economics of professional music culture at the time, including detailed figures for performers' fees, the printing and binding of music scores, the charges arising from the administration of concerts and operas, the sale, hire and repair of various instruments and the cost of what today we would call intellectual property rights. This is a fascinating study for musicologists and followers of Giardini, as well as for readers with an interest in classical music, social history and legal history.
ARABIC MUSIC AND THE OUD - Paperback
Many books have been written on the subject of Arabic music, most of them by Western authors who presented the subject from a Western perspective with no knowledge of Arabic music other than from theories reported by authors relying mainly on other Western and often inaccurate sources. Ahmed Mukhtar's book is most important because, precisely, it narrates his account of Arabic music, and especially oud music, from the perspective of an accomplished oudist and composer who has received his knowledge principally from oral transmission which sometimes conflicted with historiography. However, oral transmission is a fundamental epistemological tool of Arabic culture of which the West is suspicious. I have often heard stories about early Arabic music by musicians from Damascus, to Baghdad, to Fez which I often disdained as tales but then, decades later, I found out that they were supported by manuscripts. In a land which commits its Holy Book to the memory of the Hafiz, is it not reasonable to assume that the history of music, too would have been committed to orality? Western musicology should revise their views about the transmission of Arabic theory and rely on probability rather than on subjectivity. Was it not Farmer who said that the Arabs had a lute twice the size of the normal type? I never heard such a story from the mouths of any Arab musicians...
The Consolations of History: Themes of Progress and Potential in Richard Wagner's Gotterdammerung
Alexander H. Shapiro provides a fresh look at the influences on Wagner's G繹tterd瓣mmerung, and critically re-evaluates the composer's intellectual worldview as revealed in his own prose works, letters and diary entries. The book challenges conventional views that continue to impede a clear understanding of this work's meaning.
Charlie & His Banjo
Charlie & His Banjo: The Story of Charlie Poole is a children's book about musical legend Charlie Poole and his band, the North Carolina Ramblers. Written by Louise Wright Price. Illustrated by Benjamin Reid Phillips. Cover and book design by Sharon Tongbua.
Orbit
The sequel to the sold-out FAME comic book biography on Bon Jovi. "Orbit: Bon Jovi" goes back to the beginning of Bon Jovi shot to rock stardom in the eighties while going strong till today as well as the bands induction to Rock N Roll Hall Of Fame. The series has been featured in Rolling Stone, People and Time magazines.
The Kumulipo
The Kumulipo (1897) is a traditional chant translated by Lili'uokalani. Published in 1897, the translation was written in the aftermath of Lili'uokalani's attempt to appeal on behalf of her people to President Grover Cleveland, a personal friend. Although she inspired Cleveland to demand her reinstatement, the United States Congress published the Morgan Report in 1894, which denied U.S. involvement in the overthrow of the Kingdom of Hawaii. The Kumulipo, written during the Queen's imprisonment in Iolani Palace, is a genealogical and historical epic that describes the creation of the cosmos and the emergence of humans, plants, and animals from "the slime which established the earth." "At the time that turned the heat of the earth, / At the time when the heavens turned and changed, / At the time when the light of the sun was subdued / To cause light to break forth, / At the time of the night of Makalii (winter) / Then began the slime which established the earth, / The source of deepest darkness." Traditionally recited during the makahiki season to celebrate the god Lono, the chant was passed down through Hawaiian oral tradition and contains the history of their people and the emergence of life from chaos. A testament to Lili'uokalani's intellect and skill as a poet and songwriter, her translation of The Kumulipo is also an artifact of colonization, produced while the Queen was living in captivity in her own palace. Although her attempt to advocate for Hawaiian sovereignty and the restoration of the monarchy was unsuccessful, Lili'uokalani, Hawaii's first and only queen, has been recognized as a beloved monarch who never stopped fighting for the rights of her people.Since our inception in 2020, Mint Editions has kept sustainability and innovation at the forefront of our mission. Each and every Mint Edition title gets a fresh, professionally typeset manuscript and a dazzling new cover, all while maintaining the integrity of the original book. With thousands of titles in our collection, we aim to spotlight diverse public domain works to help them find modern audiences. Mint Editions celebrates a breadth of literary works, curated from both canonical and overlooked classics from writers around the globe.
Rhythm and Blues Goes Calypso
Starting in 1945 and continuing for the next twenty years, dozens of African American rhythm and blues artists made records that incorporated West Indian calypso. Some of these recordings were remakes or adaptations of existing calypsos, but many were original compositions. Several, such as "Stone Cold Dead in de Market" by Ella Fitzgerald and Louis Jordan or "If You Wanna Be Happy" by Jimmy Soul, became major hits in both the rhythm and blues and pop music charts. While most remained obscurities, the fact that over 170 such recordings were made during this time period suggests that there was sustained interest in calypso among rhythm and blues artists and record companies during this era. Rhythm and Blues Goes Calypso explores this phenomenon starting with a brief history of calypso music as it developed in its land of origin, Trinidad and Tobago, the music's arrival in the United States, a brief history of the development of rhythm and blues, and a detailed description and analysis of the adaptation of calypso by African American R&B artists between 1945 and 1965. This book also makes musical and cultural connections between the West Indian immigrant community and the broader African American community that produced this musical hybrid. While the number of such recordings was small compared to the total number of rhythm and blues recordings, calypso was a persistent and sometimes major component of early rhythm and blues for at least two decades and deserves recognition as part of the history of African American popular music.
Czech Songs in Texas, 7
On any weekend in Texas, Czech polka music enlivens dance halls and drinking establishments as well as outdoor church picnics and festivals. The songs heard at these venues are the living music of an ethnic community created by immigrants who started arriving in Central Texas in the mid-nineteenth century from what is now the Czech Republic. Today, the members of this community speak English but their songs are still sung in Czech. Czech Songs in Texas includes sixty-one songs, mostly polkas and waltzes. The songs themselves are beloved heirlooms ranging from ceremonial music with origins in Moravian wedding traditions to exuberant polkas celebrating the pleasures of life. For each song, the book provides music notation and Czech lyrics with English translation. An essay explores the song's European roots, its American evolution, and the meaning of its lyrics and lists notable performances and recordings. In addition to the songs and essays, Frances Barton provides a chapter on the role of music in the Texas Czech ethnic community, and John K. Novak surveys Czech folk and popular music in its European home. The book both documents a specific musical inheritance and serves as a handbook for learning about a culture through its songs. As folklorist and polka historian James P. Leary writes in his foreword, "Barton and Novak take us on a poetic, historical, and ethnographic excursion deep into a community's expressive heartland. Their Czech Songs in Texas just might be the finest extant annotated anthology of any American immigrant/ethnic group's regional song tradition."
Directions to the outskirts of town
In 1994 punk rock fanzine writer Welly Artcore jumped in the van with legendary British punk band CHAOS U.K. for a two month tour around the U.S. Four years later he did it all again with his own band, FOUR LETTER WORD, this time also travelling across Canada. From the impossible drives, to scrapes with the authorities and the bands they shared stages and floors with along the way, with often nothing more than the name of a club on a piece of paper that turned out to be a disused unit in an industrial estate, they somehow made most of the gigs. All the while, he did something so many others don't, he wrote it all down.
Vocal Virtuosity
Nothing strikes the ear quite like a soprano singing in the sonic stratosphere. Whether thrilling, chilling, or repellent to the listener, the reaction to cascades of coloratura with climaxing high notes is strong. Coloratura-agile, rapid-fire singing-was originally essential for all singers, but its function changed greatly when it became the specialty of particular sopranos over the course of the nineteenth century. The central argument of Vocal Virtuosity challenges the historical commonplace that coloratura became an anachronism in nineteenth-century opera. Instead, the book demonstrates that melismas at mid-century were made modern. Coloratura became an increasingly marked musical gesture during the century with a correspondingly more specific dramaturgical function. In exploring this transformation, the book reveals the instigators of this change in vocal practice and examines the historical traces of Parisian singers who were the period's greatest exponents of vertiginous vocality as archetypes of the modern coloratura soprano. The book constructs the historical trajectory of coloratura as it became gendered the provenance of the female singer, while also considering what melismas can signify in operatic performance. As a whole, it argues that vocal virtuosity was a source of power for women, generating space for female authorship and creativity. In so doing, the book reclaims a place in history for the coloratura soprano.
Surinamese Music in the Netherlands and Suriname
Contributions by Herman Dijo, J. Ketwaru, Guilly Koster, Lou Lichtveld, Pondo O'Bryan, and Marcel Weltak When Marcel Weltak's Surinamese Music in the Netherlands and Suriname was published in Dutch in 1990, it was the first book to provide an overview of the music styles originating from the land that had recently gained its independence from the Netherlands. Up until the 1990s, little had been published that observed the music of the country. Weltak's book was the first to examine both the instruments and the way in which they are played as well as the melodic and rhythmic components of music produced by the country's ethnically diverse populations, including people of Amerindian, African, Indian, Indonesian/Javanese, and Chinese descent. Since the book's first appearance, a new generation of musicians of Surinamese descent has carried on making music, and some of their elders referred to in the original edition have passed away. The catalog of recordings that have become available has also expanded, particularly in the areas of hip-hop, rap, jazz, R&B, and new fusions such as kaskawi. This edition, in English for the first time, includes a new opening chapter by Marcel Weltak giving a historical sketch of Suriname's relationship to the Netherlands. It includes updates on the popular music of second- and third-generation musicians of Surinamese descent in the Netherlands, and Weltak's own subsequent and vital research into the Amerindian and maroon music of the interior. The new introduction is followed by the integral text of the original edition. New appendices have been added to this edition that include a bibliography and updated discography; a listing of films, videos, and DVDs on or about Surinamese music or musicians; and concise, alphabetically arranged notes on musical instruments and styles as well as brief biographies of those authors who contributed texts.
New York City Blues
A first-ever book on the subject, New York City Blues: Postwar Portraits from Harlem to the Village and Beyond offers a deep dive into the blues venues and performers in the city from the 1940s through the 1990s. Interviews in this volume bring the reader behind the scenes of the daily and performing lives of working musicians, songwriters, and producers. The interviewers capture their voices -- many sadly deceased -- and reveal the changes in styles, the connections between performers, and the evolution of New York blues. New York City Blues is an oral history conveyed through the words of the performers themselves and through the photographs of Robert Schaffer, supplemented by the input of Val Wilmer, Paul Harris, and Richard Tapp. The book also features the work of award-winning author and blues scholar John Broven. Along with writing a history of New York blues for the introduction, Broven contributes interviews with Rose Marie McCoy, "Doc" Pomus, Billy Butler, and Billy Bland. Some of the artists interviewed by Larry Simon include Paul Oscher, John Hammond Jr., Rosco Gordon, Larry Dale, Bob Gaddy, "Wild" Jimmy Spruill, and Bobby Robinson. Also featured are over 160 photographs, including those by respected photographers Anton Mikofsky, Wilmer, and Harris, that provide a vivid visual history of the music and the times from Harlem to Greenwich Village and neighboring areas. New York City Blues delivers a strong sense of the major personalities and places such as Harlem's Apollo Theatre, the history, and an in-depth introduction to the rich variety, sounds, and styles that made up the often-overlooked New York City blues scene.
New York City Blues
A first-ever book on the subject, New York City Blues: Postwar Portraits from Harlem to the Village and Beyond offers a deep dive into the blues venues and performers in the city from the 1940s through the 1990s. Interviews in this volume bring the reader behind the scenes of the daily and performing lives of working musicians, songwriters, and producers. The interviewers capture their voices -- many sadly deceased -- and reveal the changes in styles, the connections between performers, and the evolution of New York blues. New York City Blues is an oral history conveyed through the words of the performers themselves and through the photographs of Robert Schaffer, supplemented by the input of Val Wilmer, Paul Harris, and Richard Tapp. The book also features the work of award-winning author and blues scholar John Broven. Along with writing a history of New York blues for the introduction, Broven contributes interviews with Rose Marie McCoy, "Doc" Pomus, Billy Butler, and Billy Bland. Some of the artists interviewed by Larry Simon include Paul Oscher, John Hammond Jr., Rosco Gordon, Larry Dale, Bob Gaddy, "Wild" Jimmy Spruill, and Bobby Robinson. Also featured are over 160 photographs, including those by respected photographers Anton Mikofsky, Wilmer, and Harris, that provide a vivid visual history of the music and the times from Harlem to Greenwich Village and neighboring areas. New York City Blues delivers a strong sense of the major personalities and places such as Harlem's Apollo Theatre, the history, and an in-depth introduction to the rich variety, sounds, and styles that made up the often-overlooked New York City blues scene.
Surinamese Music in the Netherlands and Suriname
Contributions by Herman Dijo, J. Ketwaru, Guilly Koster, Lou Lichtveld, Pondo O'Bryan, and Marcel Weltak When Marcel Weltak's Surinamese Music in the Netherlands and Suriname was published in Dutch in 1990, it was the first book to provide an overview of the music styles originating from the land that had recently gained its independence from the Netherlands. Up until the 1990s, little had been published that observed the music of the country. Weltak's book was the first to examine both the instruments and the way in which they are played as well as the melodic and rhythmic components of music produced by the country's ethnically diverse populations, including people of Amerindian, African, Indian, Indonesian/Javanese, and Chinese descent. Since the book's first appearance, a new generation of musicians of Surinamese descent has carried on making music, and some of their elders referred to in the original edition have passed away. The catalog of recordings that have become available has also expanded, particularly in the areas of hip-hop, rap, jazz, R&B, and new fusions such as kaskawi. This edition, in English for the first time, includes a new opening chapter by Marcel Weltak giving a historical sketch of Suriname's relationship to the Netherlands. It includes updates on the popular music of second- and third-generation musicians of Surinamese descent in the Netherlands, and Weltak's own subsequent and vital research into the Amerindian and maroon music of the interior. The new introduction is followed by the integral text of the original edition. New appendices have been added to this edition that include a bibliography and updated discography; a listing of films, videos, and DVDs on or about Surinamese music or musicians; and concise, alphabetically arranged notes on musical instruments and styles as well as brief biographies of those authors who contributed texts.
Musics of the World
Musics of the World offers a rich and inviting introduction to music from around the globe, exploring a diverse array of traditions and genres in depth while helping students develop skills for approaching new music in their lives. Clear, accessible introductory chapters give students a solid overview of ethnomusicology, setting the stage for eighteen geographically focused chapters that ground students in a region's cultural context before exploring what makes each place musically unique. Throughout, videos, timed musical tracks, definitions, color photographs, recipes, and discussion questions provide a variety of avenues through which to engage with the music and cultures at hand.
Ranking the '80s
From "Upside Down" to "Straight Up"; "Off The Wall" to "Hangin' Tough" and everything in between. Ranking the '80s is the Who's Who and the What's What of pop music in the video decade.It's the complete reference. All the singles and all the albums, as well as all the acts that recorded them, ranked and indexed. Chart statistics are included for each record-Entry, Peak, Weeks at Peak, Total Weeks--and more. Every single's entry includes writers, producers and the album from which the single came. The top writers and producers are ranked and listed along with the acts and singles for whom they wrote and produced.Acts and records-both singles and albums-are united in tables with the acts in alphabetical order, records sorted by chart strength with vital statistics for both. Singles acts and Album acts are indexed together making relative comparisons easy.Ranking the '80s is full of new analytics. Albums are scored two ways: on the album's chart strength and according to the chart strength of the singles they produced. The difference can be telling: which albums are collections of hits and which albums are works greater than the sum of their parts? Acts are analyzed as well: Which acts are singles acts, which are album acts and which do both equally well?There is a unique Chronology section-a two-page graph and text snapshot of the decade for the top 20 singles acts and top 20 album acts. Each vignette traces singles history, album history week-to-week, important interactions between singles and albums, and a narrative summary of the act's decadal chart achievements.Then there are the fun lists: Highest scoring singles and albums never to make the weekly top 5Lowest scoring number 1sWeakest follow-up releases to number 1 hitsActs with consecutive number 1sActs with the most records and the most weeks in the Top 10, Top 40 and on the chartsMost records on the charts simultaneously...and many, many moreFinally, there is a trivia quiz that will challenge any expert.Open Ranking the '80s to any page and find a memory, an insight or a surprise.
London, Reign Over Me
It all started in London. More than fifty years ago, a generation of teens created something that would change the face of music forever. London, Reign Over Me immerses us in the backroom clubs, basement record shops, and late-night faint radio signals of 1960s Britain, where young hopefuls like Peter Frampton, Dave Davies, and Mick Jagger built off American blues and jazz to form a whole new sound. Author Stephen Tow weaves together original interviews with over ninety musicians and movers-and-shakers of the time to uncover the uniquely British story of classic rock's birth. Capturing the stark contrast of bursting artistic energy with the blitzkrieg landscape leftover from World War II, London, Reign Over Me reveals why classic rock 'n' roll could only have been born in London. A new sound from a new generation, this music helped spark the most important cultural transformation of the twentieth century. Key interviews include: -Jon Anderson (Yes)-Ian Anderson (Jethro Tull)-Rod Argent (The Zombies)-Chris Barber (Chris Barber Jazz Band)-Joe Boyd (Producer/manager)-Arthur Brown (Crazy World of Arthur Brown)-David Cousins (The Strawbs)-Dave Davies (The Kinks)-Spencer Davis (Spencer Davis Group)-Judy Dyble (Fairport Convention)-Ramblin' Jack Elliott (Solo folk/blues artist)-Peter Frampton (Humble Pie, solo artist)-Roger Glover (Deep Purple)-Steve Howe (Yes)-Neil Innes (Bonzo Dog Band; Monty Python)-Kenney Jones (The Small Faces; The Who)-Greg Lake (King Crimson; Emerson, Lake & Palmer)-Manfred Mann (Manfred Mann)-Terry Marshall (Marshall Amplification)-Dave Mason (Traffic)-Phil May (The Pretty Things)-John Mayall (The Bluesbreakers)-Jim McCarty (The Yardbirds)-Ian McLagan (The Small Faces)-Jacqui McShee (The Pentangle)-Peter Noone (Herman's Hermits)-Carl Palmer (Atomic Rooster; Emerson, Lake & Palmer)-Jan Roberts (Eel Pie Island Documentary Project)-Paul Rodgers (Free)-Peggy Seeger (Solo folk artist)-Hylda Sims (Club owner)-Keith Skues (DJ: Radio Caroline, Radio London, Radio One)-Jeremy Spencer (Fleetwood Mac)-John Steel (The Animals)-Al Stewart (Solo folk artist)-Dick Taylor (The Pretty Things)-Ray Thomas (The Moody Blues)-Richard Thompson (Fairport Convention)-Rick Wakeman (The Strawbs, Yes)-Barrie Wentzell (Photographer: Melody Maker)
Colm ? Caodh獺in
One of the most sought after aspects of Irish vernacular culture is traditional song. Access to earlier recordings is a way to ensure the best understanding and appreciation of earlier singers, styles and repertoires. Within Ireland this is often primarily associated with the Irish Folklore Commission and Radio ?ireann. Such material was not only sought by these bodies but international recognition came about through bodies such as the BBC and individual collectors such as Alan Lomax. Such material was sought by these organisations and international recognition also came about through bodies such as the BBC. For the first time ever, a dedicated presentation of the renowned Conamara singer Colm ? Caodh獺in is on offer encapsulating that apex of ethnographic fieldwork in Ireland. The book includes 33 audio tracks. It places Colm in the context of life in Conamara during his lifetime as a farmer and a fisherman for whom song, lore and music were the fabric of his everyday life. Colm's autobiography as collected through S矇amus Ennis is available here in the original Irish with an accompanying translation. The importance of making archival material accessible is one of the primary concerns of the author as former Director of the National Folklore Collection and this publication contributes greatly to the pursuit of these aims.
Songs for Cabo Verde
Chronicles the work of Norberto Tavares, a Cabo Verdean musician and humanitarian who served as the conscience of his island nation during the transition from Portuguese colony to democratic republic. Based on twenty years of collaborative fieldwork, Songs for Cabo Verde: Norberto Tavares's Musical Visions for a New Republic focuses on the musician Norberto Tavares but also tells a larger story about postcolonial nation building, musical activism, and diaspora life within the Lusophone sphere. It follows the parallel trajectories of Cabo Verdean independence and Tavares's musical career over four decades (1975-2010). Tavares lived and worked in Cabo Verde, Portugal, and the United States, where he died in New Bedford, Massachusetts at age fifty-four. Tavares's music serves as a lens through which we can view Cabo Verde's transition from a Portuguese colony to an independent, democratic nation, one that was shaped in part through the musician's persistent humanitarian messages.
Tupac, Biggie and Dinosaur Killing Asteroids
In his book, "Tupac, Biggie and Dinosaur Killing Asteroids," Gary C. Booker, a science teacher and hip-hop fan, draws a parallel between the history of hip-hop music and culture and the natural history of life on Earth. The book consists of four essays that explore this comparison. The central idea is that the evolution of hip-hop, with its distinct eras and the rise and fall of influential artists, mirrors the mass extinctions and subsequent evolutionary changes seen in the fossil record. Booker's essays highlight "game-changing" moments in hip-hop and liken them to pivotal events in Earth's history that shaped the course of life. The title itself suggests a comparison between the impact of artists like Tupac and Biggie on the hip-hop landscape and the cataclysmic event of an asteroid causing a mass extinction that ended the age of dinosaurs.
Heavy Metal at the Movies
The chapters collected in this volume shed light on the areas of interaction between film studies and heavy metal research, exploring how the audio-visual medium of film relates to, builds on, and shapes metal culture. At one end of the spectrum, metal music serves as a form of ambient background in horror films that create an intense and somewh
Tallinn ’67 Jazz Festival
Tallinn '67 Jazz Festival: Myths and Memories explores the legendary 1967 jazz gathering that centered Tallinn, Estonia as the jazz capital of the USSR and marked both the pinnacle of a Soviet jazz awakening as well as the end of a long series of evolutionary jazz festivals in Estonia. This study offers new insights into what was the largest Soviet jazz festival of its time through an abundance of collected materials - including thousands of pages of archival documents, more than a hundred hours of interviews and countless media reviews and photographs - while grappling with the constellation of myths integral to jazz discourse in an attempt to illuminate 'how it really was'. Accounts from musicians, jazz fans, organisers and listeners bring renewed life to this transcultural event from more than half a century ago, framed by scholarly discussions contextualizing the festival within the closed conditions of the Cold War. Tallinn '67 Jazz Festival details the lasting international importance of this confluence of Estonian, Soviet and American jazz and the ripple effects it spread throughout the world.
Freedom Girls
Freedom Girls: Voicing Femininity in 1960s British Pop shows how the vocal performances of girl singers in 1960s Britain defined-and sometimes defied-ideas about what it meant to be a young woman in the 1960s British pop music scene. The singing and expressive voices of Sandie Shaw, Cilla Black, Millie Small, Dusty Springfield, Lulu, Marianne Faithfull, and P.P. Arnold, reveal how vocal sound shapes access to social mobility, and consequently, access to power and musical authority. The book examines how Sandie Shaw and Cilla Black's ordinary girl personas were tied to whiteness and, in Black's case, her Liverpool origins. It shows how Dusty Springfield and Jamaican singer Millie Small engaged with the transatlantic sounds of soul and and ska, respectively, transforming ideas about musical genre, race, and gender. It reveals how attitudes about sexuality and youth in rock culture shaped the vocal performances of Lulu and Marianne Faithfull, and how P.P. Arnold has re-narrated rock history to center Black women's vocality. Freedom Girls draws on a broad array of archival sources, including music magazines, fashion and entertainment magazines produced for young women, biographies and interviews, audience research reports, and others to inform analysis of musical recordings (including such songs as "As Tears Go By," "Son of a Preacher Man," and others) and performances on television programs such as Ready Steady Go!, Shindig, and other 1960s music shows. These performances reveal the historical and contemporary connections between voice, social mobility, and musical authority, and demonstrate how singers used voice to navigate the boundaries of race, class, and gender.
Old Salem in Ballad and Song
Old Salem in Ballad and Song is a collection of ballads and songs that have roots in Salem Massachusetts' history through the oral and the written tradition. The songs, ballads and broadsides describe events and give a hint of Salem's past and its influence in helping to shape America, both politically and socially. The book traces the history of Salem not only through ballads and songs but vintage photographs, postcards and newspaper clippings. The book can be a learning tool to teach Salem's history through singing. The rich material unearthed laid the foundation for Old Salem in Ballad and Song. In the introduction, the author examines the role ballads and songs played in chronicling current events and saving them for posterity. The pages that follow are crammed with lyrics, verses, musical scores, illustrations and historical tidbits relating to works with Salem connections. Some names will be familiar to many readers. Famed 19th century bandleader Patrick Sarsfield Gilmore, who wrote the best-known version of When Johnny Comes Marching Home, led the Salem Brass Band from 1855 until 1858. The equally famous Hutchinson Family Singers performed at a New England Anti-Slavery Society convention held in Salem in 1844, and the group's temperance song King Alcohol, says the author, was inspired by the town's controversial Deacon Giles Distillery. And while Manuel Fenollosa is hardly a household name, the Salem composer's Emancipation Hymn (1863) was one of the most popular tunes of the Civil War era.
Aerosmith to ZZ Top
Terry and Moira Armstrong consider themselves among the luckiest of all fans of Rock and Roll. They share their journey spanning 27,000 miles, 200+ performers, and 58 unique venues. It is not just concerts but the Rock and Roll Hall of fame, Graceland, encounters with their musical idols and meeting so many great people along the way. At the heart of their story is an exploration of the deeper power and meaning of the Rock genre and its ability to transform memory, as well as the kindness of many of its performers. Their experience may just inspire you to seek out new musical memories of your own. Northeast Ohio serves as the home base of this Rock and Roll journey!
Storytelling in Jazz and Musicality in Theatre
This book focuses on two examples of conceptual mirror reflexivity: narrativity in jazz music and musicality in spoken theatre. It will atract scholars of music and theatre, intermedial studies, cognitive linguistics, arts theory, communication theory, and cultural studies.
The Evolution of Electronic Dance Music
The Evolution of Electronic Dance Music establishes EDM's place on the map of popular music. The book accounts for various ambiguities, variations, transformations, and manifestations of EDM, pertaining to its generic fragmentation, large geographical spread, modes of consumption and, changes in technology. It focuses especially on its current state, its future, and its borders - between EDM and other forms of electronic music, as well as other forms of popular music. It accounts for the rise of EDM in places that are overlooked by the existing literature, such as Russia and Eastern Europe, and examines the multi-media and visual aspects such as the way EDM events music are staged and the specificity of EDM music videos. Divided into four parts - concepts, technology, celebrity, and consumption - this book takes a holistic look at the many sides of EDM culture.
SOME OTHER GUYS 2021 REVISED EDITION - AN ANTHOLOGY OF ’SOME OTHER GROUPS’ THAT HELPED CREATE THE 1960’s ’MERSEY SOUND’
440 pages, with more than 900 black & white illustrations, 7.4 x 9.7 inches 18.8 x 24.6 cm. an anthology of some of the 'other' groups that were part of the 1960's 'Merseybeat' era. However, it is not possible to consider this book without reference to Manfred's previous publication, 'Beat Waves 'Cross the Mersey' (ISBN 9781588502018). This 2021 revised edition of the previous 2013 publication chronicles the stories of an additional 110 Merseyside groups, plus 133 line-ups that were not included in 'Beat Waves 'Cross the Mersey'. The combination of both books accounts for more than 825 'Merseybeat' groups that Manfred has researched and documented. As such, this publication should be considered to be a companion volume to 'Beat Waves 'Cross the Mersey'. While most people are familiar with the 'Beatles', there is a universal misconception that they invented the 'Mersey Sound' that later became known as 'Merseybeat'. However, nothing could be further from the truth as 'Merseybeat' was 'under construction' long before the 'Beatles' exploded onto the scene. While not in any way attempting to detract from their ability, it is important that anyone interested in that era gives consideration to the other groups that were the backbone of this phenomenon. 'Merseybeat' was a product created by the many hundreds of Liverpool groups and those from the surrounding areas that played there. So, here are the complete stories of another 110 'Merseybeat' groups, the names of some of them may be unfamiliar to those that were not part of the era. Regardless, it is a fascinating insight into one of the greatest musical revolutions of the 20th century.
Beethoven’s String Quartet in C-Sharp Minor, Op. 131
Beethoven's String Quartet in C-sharp minor Op. 131 (1826) is not only firmly a part of the scholarly canon, the performing canon, and the pedagogical canon, but also makes its presence felt in popular culture. Yet in recent times, the terms in which the C-sharp minor quartet is discussed and presented tend to undermine the multivalent nature of the work. Although it is held up as a masterpiece, Op. 131 has often been understood in monochrome terms as a work portraying tragedy, struggle, and loss. In Beethoven's String Quartet in C-sharp Minor, Op. 13, author Nancy November takes the modern-day listener well beyond these categories of adversity or deficit. The book goes back to early reception documents, including Beethoven's own writings about the work, to help the listener reinterpret and re-hear it. This book reveals the diverse musical ideas present in Op. 131 and places the work in the context of an emerging ideology of silent or 'serious' listening in Beethoven's Europe. It considers how this particular 'late' quartet could speak with special eloquence to a highly select but passionately enthusiastic audience and examines how and why the reception of Op. 131 has changed so profoundly from Beethoven's time to our own.
Three-Finger-Chord Ukulele Old Timey Songs
During the pandemic of 2020-2021 an initial list of 20 old timey songs I wanted to sing grew to these 132 traditional and folk songs, spirituals, shanties, gospel, country, bluegrass and work songs from the American, English, Irish, Scottish, Hawaiian and other traditions, all from 1926 and earlier, compiled by a fellow beginner. Yes. I have much to learn. And ain't that great. The first songs I learned on the ukulele were the ones I use in daily prayer, found now in Three-Finger Chord Ukulele Hymns (ISBN 978-1-937081-65-2, IDJC Press, 2018, 2019). I call them Three-Finger Chords because they are formed using only the index, middle, and ring fingers of the left hand (or the right hand for left-handed ukers). I have not given up on the more difficult chords, but this lets me play these songs in the meantime. If you are a total beginner, see the back cover for eight suggested steps, one at a time. The best advice I was given from the beginning was play every day for at least fifteen minutes. The Trappist monk Thomas Merton contended that we can concentrate on anything difficult for a quarter hour. When learning a new chord and find yourself pushed to your limit, stop; and come back to it the next day. All of these songs are believed to be in the public domain. Lyrics to many of the songs have been altered. Most of the songs include a link to a video, most from YouTube, to play with and learn the tune, some suggesting the use of a Capo.
At the Top of the Stairs
The story of a subterranean club situated in the backstreets of Leeds, that changed the lives of all who went there. Top of The Stairs tracks the origin of the Central Dance Club and its transition, from the early mods, through the Northern Soul era to Jazz Funk, and ultimately back again. It captures the unique and personal stories of the DJs and the dancers alike, along with some of the incidents and events that have persisted in Soul folklore for decades, including stories from Tony Banks, Twink, Ian Dewhirst, Richard Searling, Paul Rowan, Pat Brady, Paul Schofield and many more.
Women in Jazz
Women in Jazz: Musicality, Femininity, Marginalization examines the invisible discrimination against female musicians in the French jazz world and the ways women thrive as professionals despite such conditions.
