Rebel Music in the Triumphant Empire
At the dawn of the 1990s, as the United States celebrated its victory in the Cold War and sole superpower status by waging war on Iraq and proclaiming democratic capitalism as the best possible society, the 1990s underground punk renaissance transformed the punk scene into a site of radical opposition to American empire. Nazi skinheads were ejected from the punk scene; apathetic attitudes were challenged; women, Latino, and LGBTQ participants asserted their identities and perspectives within punk; the scene debated the virtues of maintaining DIY purity versus venturing into the musical mainstream; and punks participated in protest movements from animal rights to stopping the execution of Mumia Abu-Jamal to shutting down the 1999 WTO meeting. Punk lyrics offered strident critiques of American empire, from its exploitation of the Third World to its warped social relations. Numerous subgenres of punk proliferated to deliver this critique, such as the blazing hardcore punk of bands like Los Crudos, propagandistic crust-punk/dis-core, grindcore and power violence with tempos over 800 beats per minute, and So-Cal punk with its combination of melody and hardcore. Musical analysis of each of these styles and the expressive efficacy of numerous bands reveals that punk is not merely simplistic three-chord rock music, but a genre that is constantly revolutionizing itself in which nuances of guitar riffs, vocal timbres, drum beats, and song structures are deeply meaningful to its audience, as corroborated by the robust discourse in punk zines.
Contemporary Dimensions in Nigerian Music
From ancient to contemporary times, music in the area known as Nigeria has passed through different stages of transmutation. Primarily transmitted through oral means has in the last century received significant scholarly attention. Areas like folksong documentation, ethno-organological studies, popular music studies and art music have continued to feature in scholarly discourse. Societal dynamism allows room for scholarly reassessment and evaluation of aspects of Nigerian music; thus, reflecting change and continuity in the area. It is within this cusp that this book looks at contemporary trajectories in Nigerian music.Contributors are Charles Aluede, Albert Oikelome, Yemi Akperi, Oghenemudiakevwe Igbi, John Aideloje Abolagba, 'Femi Adedeji, Samuel Ayodele Adegboyega, Emurobome Idolor, Opeyemi Adeyinka Asaolu, David Bolaji, Margaret Efurhievwe, Bruno Ekewenu, Sunday Ofuani, Enoh Okafor, Philo Igue Okpeki, Rotimi Peters Ologundudu, Edward Oluwagbemiga Olusegun, Bode Omojola, Peace Onyenye, Precious Omuku, Udoka Ossaiga, Akin Joseph Osunniyi, Isaac Udoh
The Great Book of Country
Do you love country music?Are you a bit of a trivia lover?Then The Great Book of Country is for you!Whatever you're a fan of Johnny Cash, Dolly Parton, Willie Nelson or any of the other legendary artists within Country, this book is packed with interesting and true stories for everyone to enjoy.In The Great Book of Country, you'll learn the answers to the following questions: Where does country music come from originally?What was the main topic in early country music?The term "country" refers to what?The genre bluegrass is named after what?Who was the first woman in country to sell more than a million records?And so much more! The history of country music is not just about facts and dates. It's about understanding and connecting the dots between all those events and people who have shaped up and maintained the genre. The best way to reach this goal is, of course, to have fun along the way. And this is what we've tried to achieve in The Great Book of Country!One thing is guaranteed, though. Having read this book, you will never listen to country music the same way. Grab a copy now and be entertained!
Los Instrumentos en la M繳sica Tradicional Portuguesa
Los Instrumentos en la M繳sica Tradicional Portuguesa. Una gu穩a ilustrada para conocer la riqueza instrumental de Portugal continental y sus islas. Acomp獺簽ame en un recorrido por la historia, descripci籀n, usos, acordes, curiosidades, y mucho m獺s sobre los instrumentos que se emplean para la ejecuci籀n de la m繳sica portuguesa de ra穩z folkl籀rica y tradicional.
All We Are Saying
The last major interview with John Lennon and Yoko Ono, conducted by New York Times bestselling author David Sheff, featuring a new introduction that reflects on the fortieth anniversary of Lennon's deathOriginally published by Playboy Press in 1981 just after John Lennon's assassination, All We Are Saying is a rich and vivid interview with Lennon and Yoko Ono, wide-ranging in its coverage of art, creativity, the music business, their extraordinary childhoods, privacy, the true story of how the Beatles broke up, how Lennon and Paul McCartney collaborated on the greatest Beatles songs, parenthood, money, feminism, religion, and insecurity. Of course, at the heart of the conversation is the deep, rare romantic and spiritual bond between Lennon and Ono. Sympathetic and insightful questions from New York Times bestselling author David Sheff set the tone for Lennon's responses, and Sheff's presence sets the scene, as he walks through the kitchen door of the musicians' Dakota apartment and accompanies the famous couple to the studio, where they were recording what would turn out to be Lennon's final albums. Sheff's new introduction looks at his forty-year-old interview afresh, and examines how what he learned from Lennon has resonated with him as a man and a parent. This is a knockout interview and a crucial piece of Beatles history: playful, intense, and inspiring.
Soundworks
In Soundworks Anthony Reed argues that studying sound requires conceiving it as process and as work. Since the long Black Arts era (ca. 1958-1974), intellectuals, poets, and musicians have defined black sound as radical aesthetic practice. Through their recorded collaborations as well as the accompanying interviews, essays, liner notes, and other media, they continually reinvent black sound conceptually and materially. Soundwork is Reed's term for that material and conceptual labor of experimental sound practice framed by the institutions of the culture industry and shifting historical contexts. Through analyses of Langston Hughes's collaboration with Charles Mingus, Amiri Baraka's work with the New York Art Quartet, Jayne Cortez's albums with the Firespitters, and the multimedia projects of Archie Shepp, Matana Roberts, Cecil Taylor, and Jeanne Lee, Reed shows that to grasp black sound as a radical philosophical and aesthetic insurgence requires attending to it as the product of material, technical, sensual, and ideological processes.
A Sonata Theory Handbook
Sonata form is the most commonly encountered organizational plan in the works of the classical-music masters, from Haydn, Mozart, and Beethoven to Schubert, Brahms, and beyond. Sonata Theory, an analytic approach developed by James Hepokoski and Warren Darcy in their award-winning Elements of Sonata Theory (2006), has emerged as one of the most influential frameworks for understanding this musical structure. What can this method from "the new Formenlehre" teach us about how these composers put together their most iconic pieces and to what expressive ends? In this new Sonata Theory Handbook, Hepokoski introduces readers step-by-step to the main ideas of this approach. At the heart of the book are close readings of eight individual movements from Mozart's Piano Sonata in B-flat, K. 333, to such structurally complex pieces as Schubert's "Death and the Maiden" String Quartet and the finale of Brahms's Symphony No 1 that show this analytical method in action. These illustrative analyses are supplemented with four updated discussions of the foundational concepts behind the theory, including dialogic form, expositional action zones, trajectories toward generically normative cadences, rotation theory, and the five sonata types. With its detailed examples and deep engagements with recent developments in form theory, schema theory, and cognitive research, this handbook updates and advances Sonata Theory and confirms its status as a key lens for analyzing sonata form.
The Pleasures of Death
The year 2019 marked the twenty-fifth anniversary of the death of Kurt Cobain, an artist whose music, words, and images continue to move millions of fans worldwide. As the first academic study that provides a literary analysis of Cobain's creative writings, Arthur Flannigan Saint-Aubin's The Pleasures of Death: Kurt Cobain's Masochistic and Melancholic Persona approaches the journals and songs crafted by Nirvana's iconic front man from the perspective of cultural theory and psychoanalytic aesthetics. Drawing on critiques and reformulations of psychoanalytic theory by feminist, queer, and antiracist scholars, Saint-Aubin considers the literary means by which Cobain creates the persona of a young, white, heterosexual man who expresses masochistic and melancholic behaviors. On the one hand, this individual welcomes pain and humiliation as atonement for unpardonable sins; on the other, he experiences a profound sense of loss and grief, seeking death as the ultimate act of pleasure. The first-person narrators and characters that populate Cobain's texts underscore the political and aesthetic repercussions of his art. Cobain's distinctive version of grunge, understood as a subculture, a literary genre, and a cultural practice, represents a specific performance of race and gender, one that facilitates an understanding of the self as part of a larger social order. Saint-Aubin approaches Cobain's writings independently of the artist's biography, positioning these texts within the tradition of postmodern representations of masculinity in twentieth-century American fiction, while also suggesting connections to European Romantic traditions from the nineteenth century that postulate a relation between melancholy (or depression) and creativity. In turn, through Saint-Aubin's elegant analysis, Cobain's creative writings illuminate contradictions and inconsistencies within psychoanalytic theory itself concerning the intersection of masculinity, masochism, melancholy, and the death drive. By foregrounding Cobain's ability to challenge coextensive links between gender, sexuality, and race, The Pleasures of Death reveals how the cultural politics and aesthetics of this tragic icon's works align with feminist strategies, invite queer readings, and perform antiracist critiques of American culture.
The Cambridge Companion to Seventeenth-Century OperaTheCambridge Companion to Seventeenth-Century Opera
The Cambridge Companion to Seventeenth-Century Opera is a much-needed introduction to one of the most defining areas of Western music history - the birth of opera and its developments during the first century of its existence. From opera's Italian foundations to its growth through Europe and the Americas, the volume charts the changing landscape - on stage and beyond - which shaped the way opera was produced and received. With a range from opera's sixteenth-century antecedents to the threshold of the eighteenth century, this path breaking book is broad enough to function as a comprehensive introduction, yet sufficiently detailed to offer valuable insights into most of early opera's many facets; it guides the reader towards authoritative written and musical sources appropriate for further study. It will be of interest to a wide audience, including undergraduate and graduate students in universities and equivalent institutions, and amateur and professional musicians.
The Songs of Fanny Hensel
Fanny Hensel created some of the most imaginative and original music of her era, making her arguably the most gifted female composer of the nineteenth century. While Hensel has finally stepped out of the shadow of her famous brother, Felix Mendelssohn, as scholars have begun to study her life and writings, her music has remained surprisingly underexamined. This collection places Hensel's music at the center, focusing on the genre that not only made up more than half of her creative output but also, as Hensel herself put it, "suits her best" song. In eleven new essays, leading scholars in the fields of music theory and musicology consider Hensel's songs from a wide range of angles, covering topics such as Hensel's fascination with particular poets and poetic themes; her innovative harmonic, melodic, rhythmic, and textual strategies; and her connection to larger literary and musical trends. The chapters also provide insight into Hensel's efforts to break free from the constraints placed on her as a woman and her place in the larger history of the nineteenth-century Lied. Drawing on diverse biographical, historical, cultural, and musical contexts for their detailed discussions of Hensel's songs, the authors underline Hensel's historical importance and deepen our understanding and appreciation of her compositions. This volume, in short, finally gives Fanny Hensel and her songs the stage that they deserve.
The Cambridge Companion to Seventeenth-Century OperaTheCambridge Companion to Seventeenth-Century Opera
The Cambridge Companion to Seventeenth-Century Opera is a much-needed introduction to one of the most defining areas of Western music history - the birth of opera and its developments during the first century of its existence. From opera's Italian foundations to its growth through Europe and the Americas, the volume charts the changing landscape - on stage and beyond - which shaped the way opera was produced and received. With a range from opera's sixteenth-century antecedents to the threshold of the eighteenth century, this path breaking book is broad enough to function as a comprehensive introduction, yet sufficiently detailed to offer valuable insights into most of early opera's many facets; it guides the reader towards authoritative written and musical sources appropriate for further study. It will be of interest to a wide audience, including undergraduate and graduate students in universities and equivalent institutions, and amateur and professional musicians.
Theological Stains
Theological Stains offers the first in-depth study of the development of art music in Israel from the mid-twentieth century to the turn of the twenty-first. In a bold and deeply researched account, author Assaf Shelleg explores the theological grammar of Zionism and its impact on the art music written by emigrant and native composers. He argues that Israeli art music, caught in the tension between a bibliocentric territorial nationalism on the one hand and the histories of deterritorialized Jewish diasporic cultures on the other, often features elements of both of these competing narratives. Even as composers critically engaged with the Zionist paradigm, they often reproduced its tropes and symbols, thereby creating aesthetic hybrids with 'theological stains.' Drawing on newly uncovered archives of composers' autobiographical writings and musical sketches, Shelleg closely examines the aesthetic strategies that different artists used to grapple with established nationalist representations. As he puts the history of Israeli art music in conversation with modern Hebrew literature, he weaves a rich tapestry of Israeli culture and the ways in which it engaged with key social and political developments throughout the second half of the twentieth century. In analyzing Israeli music and literature against the backdrop of conflicts over territory, nation, and ethnicity, Theological Stains provides a revelatory look at the complex relationship between art and politics in Israel.
Soundworks
In Soundworks Anthony Reed argues that studying sound requires conceiving it as process and as work. Since the long Black Arts era (ca. 1958-1974), intellectuals, poets, and musicians have defined black sound as radical aesthetic practice. Through their recorded collaborations as well as the accompanying interviews, essays, liner notes, and other media, they continually reinvent black sound conceptually and materially. Soundwork is Reed's term for that material and conceptual labor of experimental sound practice framed by the institutions of the culture industry and shifting historical contexts. Through analyses of Langston Hughes's collaboration with Charles Mingus, Amiri Baraka's work with the New York Art Quartet, Jayne Cortez's albums with the Firespitters, and the multimedia projects of Archie Shepp, Matana Roberts, Cecil Taylor, and Jeanne Lee, Reed shows that to grasp black sound as a radical philosophical and aesthetic insurgence requires attending to it as the product of material, technical, sensual, and ideological processes.
American Orchestras in the Nineteenth Century
Studies of concert life in nineteenth-century America have generally been limited to large orchestras and the programs we are familiar with today. But as this book reveals, audiences of that era enjoyed far more diverse musical experiences than this focus would suggest. To hear an orchestra, people were more likely to head to a beer garden, restaurant, or summer resort than to a concert hall. And what they heard weren't just symphonic works-programs also included opera excerpts and arrangements, instrumental showpieces, comic numbers, and medleys of patriotic tunes. This book brings together musicologists and historians to investigate the many orchestras and programs that developed in nineteenth-century America. In addition to reflecting on the music that orchestras played and the socioeconomic aspects of building and maintaining orchestras, the book considers a wide range of topics, including audiences, entrepreneurs, concert arrangements, tours, and musicians' unions. The authors also show that the period saw a massive influx of immigrant performers, the increasing ability of orchestras to travel across the nation, and the rising influence of women as listeners, patrons, and players. Painting a rich and detailed picture of nineteenth-century concert life, this collection will greatly broaden our understanding of America's musical history.
Twentieth- and Twenty-First-Century Song Cycles
Twentieth- and Twenty-First-Century Song Cycles: Analytical Pathways Toward Performance presents analyses of fourteen song cycles composed after the turn of the twentieth century, offering "ways into" the musical and poetic structure of each cycle to performers, scholars, and students alike.
Romanticism and Film
The relationship between Romanticism and film remains one of the most neglected topics in film theory and history, with analysis often focusing on the proto-cinematic significance of Richard Wagner's music-dramas. One new and interesting way of examining this relationship is by looking beyond Wagner, and developing a concept of audio-visual explanation rooted in Romantic philosophical aesthetics, and employing it in the analysis of film discourse and representation. Using this concept of audio-visual explanation, the cultural image of the Hungarian pianist and composer Franz Liszt, a contemporary of Wagner and another significant practitioner of Romantic audio-visual aesthetics, is examined in reference to specific case studies, including the rarely-explored films Song Without End (1960) and Lisztomania (1975). This multifaceted study of film discourse and representation employs Liszt as a guiding-thread, structuring a general exploration of the concept of Romanticism and its relationship with film more generally. This exploration is supported by new theories of representation based on schematic cognition, the philosophy of explanation, and the recently-developed film theory of Jacques Ranci癡re. Individual chapters address the historical background of audio-visual explanation in Romantic philosophical aesthetics, Liszt's role in the historical discourses of film and film music, and various filmic representations of Liszt and his compositions. Throughout these investigations, Will Kitchen explores the various ways that films explain, or 'make sense' of things, through a 'Romantic' aesthetic combination of sound and vision.
Stratusphunk
Stratusphunk - George Russell was a unique figure in jazz. He was a theoretician, a composer of note, a working musician, and an educator. He began his life's work developing the Lydian Chromatic Concept of Tonal Organization in the mid-forties. One of a rare breed of thinker-musicians, through his ideas and music, Russell had a remarkable influence on the development of jazz after 1950. From his early composition with Dizzy Gillespie of "Cubano-Be, Cubano-Bop," through the changes wrought by modal jazz as a consequence of his ideas, to his impact on the Scandinavian and European scenes, his achievements are among the most outstanding in the music.His life story weaves its way through contemporary jazz intersecting with the lives of many of its most colourful characters. Charlie "Bird" Parker, Dizzy Gillespie, Miles Davis, John Coltrane, Bill Evans, Gerry Mulligan, John Lewis, Gil Evans, Charlie Mingus, and Carla Bley were not just Russell's contemporaries. They were his peers, his colleagues and his friends. He touched their lives and music and, in turn, was encouraged by them.Originally published in 2010 under the title George Russell: The Story of an American Composer, Duncan Heining's biography of George Russell appears in a newly revised paperback edition for the first time.
Music & Mental Health
What is emo music? Why does it matter? This book tracks the development of an obscure musical subculture -- emo. We retrace the steps of its meteoric rise from the underground hardcore venues in America to the mainstream international popular culture and its after-effects in today's world. Specifically, we examine the understudied, underappreciated, and undervalued contributions that emo music made to normalizing mental health conversations, creating outlets and support systems for mental illness, and fighting mental health stigma. Tune in, get sad, and read along.
Litpop: Writing and Popular Music
Bringing together exciting new interdisciplinary work from emerging and established scholars in the UK and beyond, Litpop addresses the question: how has writing past and present been influenced by popular music, and vice versa? Contributions explore how various forms of writing have had a crucial role to play in making popular music what it is, an
Soundscapes of Liberation
In Soundscapes of Liberation, Celeste Day Moore traces the popularization of African American music in postwar France, where it signaled new forms of power and protest. Moore surveys a wide range of musical genres, soundscapes, and media: the US military's wartime records and radio programs; the French record industry's catalogs of blues, jazz, and R&B recordings; the translations of jazz memoirs; a provincial choir specializing in spirituals; and US State Department-produced radio programs that broadcast jazz and gospel across the French empire. In each of these contexts, individual intermediaries such as educators, producers, writers, and radio deejays imbued African American music with new meaning, value, and political power. Their work resonated among diverse Francophone audiences and transformed the lives and labor of many African American musicians, who found financial and personal success as well as discrimination in France. By showing how the popularity of African American music was intertwined with contemporary structures of racism and imperialism, Moore demonstrates this music's centrality to postwar France and the convergence of decolonization, the expanding globalized economy, the Cold War, and worldwide liberation movements.
Soundscapes of Liberation
In Soundscapes of Liberation, Celeste Day Moore traces the popularization of African American music in postwar France, where it signaled new forms of power and protest. Moore surveys a wide range of musical genres, soundscapes, and media: the US military's wartime records and radio programs; the French record industry's catalogs of blues, jazz, and R&B recordings; the translations of jazz memoirs; a provincial choir specializing in spirituals; and US State Department-produced radio programs that broadcast jazz and gospel across the French empire. In each of these contexts, individual intermediaries such as educators, producers, writers, and radio deejays imbued African American music with new meaning, value, and political power. Their work resonated among diverse Francophone audiences and transformed the lives and labor of many African American musicians, who found financial and personal success as well as discrimination in France. By showing how the popularity of African American music was intertwined with contemporary structures of racism and imperialism, Moore demonstrates this music's centrality to postwar France and the convergence of decolonization, the expanding globalized economy, the Cold War, and worldwide liberation movements.
Craw 1993-1997
Anyone interested in dark, heavy, complex rock/metal-everything from Tool, Meshuggah and King Crimson to Neurosis, Kayo Dot, Don Caballero, Today Is the Day, Isis, Dazzling Killmen and Gorguts-needs to know this music. Each of Craw's first three full-lengths is an endlessly involving labyrinth in which elegiac beauty presses up against nightmarish ugliness. These albums feature air-tight, ingeniously off-kilter riffs; intoxicating guitar textures; vocals that range from a faint whine to a horrifying shriek; an immense dynamic range; epic, multichapter song structures; and esoteric lyrical themes. The songs don't follow conventional patterns, but their internal logic is uncannily sound; they're scientific in their microdetail, yet at the same time, bracingly emotional. I've been listening to these records for two decades, and their urgency and mad brilliance haven't diminished in the slightest."Craw's music is explosive, eerie and downright riveting, combining the visceral rush of metallic post-hardcore, the compositional majesty of progressive rock and the purposeful abstraction of experimental improv, while at the same time achieving a rare, insular coherence all its own." - Hank Shteamer, writer, musician"Craw was one of those things where the first time I saw it, it just completely blew me away. I'd never heard anything quite like Craw up to that point. They were this strange mixture of noise-rock and metal with this very eccentric preacher-type character doing these weird pseudo sermons over the top of the music. It was just a very potent concoction of elements. Having a seen a band like that expanded the horizons of what was possible, so in that way, Craw definitely rubbed off on Isis." - Aaron Turner, Isis and Hydra Head Records"What Craw will use as a moment in one song, another band might use as a theme for a whole album. Craw's sound is spread out across a universe of disparate musical genres. They never imitate. Other bands imitate them." - Steve Albini
The Unconscious Community
In her first book, Patrice shares her story about being a fourteen-year-old girl who endures the horrors of child sexual abuse. On a path filled with every horror imaginable, there were still angels along the way. She is able to triumph and then dedicates her life to see that the hidden world of pedophiles is no longer safe. Patrice has worked to change laws and these horrendous offenders will no longer be permitted to camouflage themselves inside the world of music. She also started her nonprofit, Patrice's Kids, to educate adults on the prevention of child sexual abuse. All proceeds from the sale of The Unconscious Community will go to Patrice's Kids, Inc., a 501(c)3.The time has come to end child sexual abuse and Patrice's story is a must-read for all survivors, parents, child advocates, music professionals, and mandatory reporters.
Jazz Dialogues
Backstage, on the bus, or in the studio, saxophonist Jon Gordon, winner of the prestigious Thelonious Monk International Jazz Saxophone competition, chats with several generations of great musicians. From Jay McShann to Renee Rosnes, Jazz Dialogues lets the reader hang out with dozens of jazz artists to learn about their careers, influences, and the dues they've paid. These candid, poignant, and often hilarious conversations paint a first-person portrait of jazz history.Artists include: Jay McShann, Eddie Locke, Cab Calloway, Maria Schneider, Jan Garbarek, Ken Peplowski, Tim Hagans, Mark Turner, Hank Mobley, Bill Easley, Doc Cheatham, Scott Robinson, Eddie Bert, Phil Woods, Danny Bank, Billy Drummond, Ben Monder, Charles McPherson, Milt Hinton, Ben Riley, Bill Stewart, Art Blakey, Jon-Erik Kellso, Eddie Chamblee, Jimmy Lewis, Chuck Redd, Bill Charlap, McCoy Tyner, Melissa Aldana, Ronnie Mathews, Kevin Hays, Jim McNeely, Steve Wilson, Red Holloway, Barney Kessel, Joe Williams, Quincy Davis, Bob Mintzer, Dick Hyman, Lee Konitz, Leroy Jones, Renee Rosnes, David Sanborn, Gil Evans, Don Sickler, Sean Smith, Sarah Vaughn, Derrick Gardner, Sylvia Cuenca, Harold Mabern, Gene Bertoncini, Mike LeDonne, Essiet Okon Essiet, Bill Mays, and Joe Magnarelli.
J. S. Bach at His Royal Instrument
In this wide-ranging set of original essays, musicologist and organist Russell Stinson investigates Johann Sebastian Bach's compositions for the organ, opening up a wealth of perspectives on the stylistic orientation and historical context of these timeless masterpieces. With a sweeping hand, Stinson sheds light on the entire corpus of Bach's organ chorales, and considers the reception of particular pieces not only by various luminaries in the classical music world, but also those within such disparate contexts as film, literature, politics, and rock music. Stinson's investigations include a revealing focus on a previously unpublished fugue by Bach pupil J. G. Sch羹bler, unexplored techniques found in over twenty of Bach's chorale preludes, and the diverse ways in which Bach's organ works have been received from the composer's own lifetime to the present day. Individual essays are also devoted to Felix Mendelssohn as a performer; to Robert Schumann as an editor and critic; to C矇sar Franck as a performer, pedagogue, and composer; and to Edward Elgar as a performer, critic, and transcriber. Rich in archival data and filled with fascinating anecdotes, J. S. Bach at His Royal Instrument is entirely up-to-date, meticulously annotated and indexed, and eminently readable. This book is essential reading for anyone at all interested in Bach and "the king of instruments."
She Bop
Since She Bop was first published in 1995, digital downloading has transformed the music landscape. But has issue of gender inequality changed too? For She Bop, Lucy O'Brien conducted over 250 interviews with female artists and women working behind the scenes in A&R, marketing, music publishing, and production to write a groundbreaking exploration of sexism in the music industry. Fusing many untold stories, O'Brien presents a feminist history of women in popular music, from 1920s blues to the present day. Talking to iconic artists from Eartha Kitt and Nina Simone to Debbie Harry, Poly Styrene, and Beyonc矇, she charts how women have negotiated "old boy" power networks to be seen and to get their music heard. This revised edition updates that story through many fresh interviews and new perspectives. In a new introduction and additional closing chapter, O'Brien asks why, in 2020, women own just 13 percent of music publishing and are still a minority among festival headliners. She celebrates the rise of unique women such as Lizzo and Billie Eilish who are bursting through and creating new possibilities for female artists, while also looking at the struggles of artists like Kesha and Aaliyah, and wondering whether the pop industry has had its #MeToo moment. When she first wrote She Bop, O'Brien questioned the way the music press lumped female artists together under the term "Women in Rock," saying that the ultimate goal was to make that phrase redundant. Now, despite the gender inequalities that still exist, greater awareness means few magazine editors would dare to feature women in such a derogatory way. Published to celebrate the original book's 25th anniversary--and in the year that also marks the 50th anniversary of Women's Liberation--this new She Bop will appeal to a huge cross-section of readers, from music fans to the LGBT audience and women of all generations.
The Twelve Carols of Christmas
A Christmas carol music book with full piano arrangements plus the words sheet to print out for group sing-alongs.The most popular Christmas carols - for group singing - number about twelve. That's all you need for a great Christmas singalong. And here they are, along with Jingle Bells and We wish you a Merry Christmas, all arranged in easy classical piano, plus guitar chords. For a truly blessed Christmas, copy the words sheet in the centre, gather your friends, add piano or guitar, and worship the baby born to be King of the world.- Twelve most popular carols- Plus Jingle Bells and We wish you a Merry Christmas- Simple classical piano- Guitar chords- Words sheet to copy for sing alongCONTENTS1. Hark the Herald Angels Sing2. Silent Night3. O Come all Ye Faithful4. Joy to the World5. Away in a Manger (Two versions)6. The First Nowell7. We Three Kings8. O Holy Night9. What Child is this?10. While Shepherds Watched (Two versions)11. Angels We Have Heard on High12. O Little Town of BethlehemNolene Prince is the composer of Holy is the Lord of Hosts as well as the co-author of Nine Days in Heaven. She earned a bachelor's degree in music, specialising in singing, and after teaching school music also attended Bible College. She lives in Melbourne, Australia with her husband, Dennis Price. Together they have three married children and twelve grandchildren.
Wacken for Beginners
After her first experiences as an author in the 1990s with the "Kauderwelsch Band Costa Rica", which she wrote after a year's stay in Central America, and "How about a sheep - Surprising impulses for climate changes in the office" in 2018"WACKEN for Beginners 2019" (that she didn't just write for WACKEN-GREENHORNS)is her third book of hearts.The idea of writing this special homage to WACKEN came to her mind at her first Wacken in 2018. This Festival visit was only possible because she surprisingly got a ticket two days before the festival started.Within a very short time she had to decide wether to go to WACKEN or not.Although it quickly became clear, that she had to drive alone, she decided to do so.At over 30簞C she made her way by train to WACKEN with only a small pink backpack and her sleeping bag as companions.-A thousand stories about WACKEN haunted her head, but absolutely ZERO real experience.Fortunately she met many experienced Wacken visitors on the way, who were always there to help and advice her. In the end it were these encounters that made her days in Wacken an unforgettable experience.She has written this book to be able to gratefully pass on her insights and experiences to others who may be in a similar situation or who simply want to get a little more involved with what actually makes this incredibly delightful WACKEN feeling.Would you like to know more about the soul of WACKEN and the people who created this festival and make it possible every year?Great, then THIS book is exactly the right thing for YOU.With the symbol of the cow skull, the founders of the W: O: A - FESTIVAL Thomas Jensen and Uwe H羹bner made themselves known as "boys from the village". For Regine Rauin, the ram's head symbolises not only her own zodiac sign but also her origin as a country girl. To be more precise, a village that at that time consisted of only 200 inhabitants - and about 20 cow meadows.With the ram in her zodiac sign, she knows all about having horns. So who could be better suited than her to accompany YOU on your first WACKEN?Since Aries are not only faithful and assertive, but also quick and wildly determined, this book (and the similarly named German version) was started 33 days before the beginning of W: O: A 2019 and is therefore highly topical!Are you in? Then let's go to the HOLY GROUNDWACKEN-OPEN-AIR 2019 - the 30th WACKEN since its inception.Translated with www.DeepL.com/Translator
The Latin Hymn-Writers And Their Hymns
Hidden voices of Latin devotion speak across centuries. A vital resource for many. Samuel Willoughby Duffield's The Latin Hymn-Writers And Their Hymns is at once a Latin hymn anthology and a scholarly survey of the individuals whose words shaped Latin liturgical texts and early church hymns. Written with clarity and reverence, it charts the trajectory of Christian hymn history from late antiquity hymns through the flowering of medieval religious poetry in medieval European Christianity, offering context on language, theology and liturgical use. Part critical study, part readable companion, it maps the craft and conviction behind each hymn, explaining how motives of doctrine, prayer and poetic form produced enduring devotional song. Accessible enough for the curious worshipper, it also serves as a hymnology reference guide and a sacred songwriters study for students and specialists alike. Republished by Alpha Editions in a careful modern edition, this volume preserves the spirit of the original while making it effortless to enjoy today - a heritage title prepared for readers and collectors alike. Beyond simple biography, Duffield's attention to early Christian writers and the social and theological milieu gives the work a genuine place in any patristic literature collection: useful as a resource for theology students, as a hymnology reference for church musicians, and as a bridge to the devotional language of medieval European Christianity. Packed with concise historical notes and assessments of poetic form, Duffield guides readers through the ways hymn-writers negotiated doctrine, worship and poetic craft. It is a practical compass for clergy, choir directors and students - offering context rather than exhaustive technical apparatus - and a valuable complement to any library devoted to the study of late antiquity hymns and medieval religious poetry. Casual readers will find immediate, human interest in the lives and songs of these writers; classic-literature collectors and hymnologists will value the book as a considered companion to a library of sacred texts. Clear, authoritative and quietly passionate, it restores a corner of Christian hymn history to plain view.
Hymns Of The Kingdom
A lucid, singable treasury of English hymnody for students and choirs. Sing with heart and purpose. Compiled by Sir Walford Davies as the English section of a student's hymnal, this English hymnal collection is a compact christian hymn anthology of traditional church hymns and student worship songs chosen for clarity, devotion and practical use. The arrangements favour strong congregational lines and modest choral forces, making the collection both a practical choir resource book and a congregational singing guide. Rich in sacred choral music and classic hymn lyrics, it supports religious music education while preserving the devotional tone of British worship; ministers, teachers and choirmasters will recognise the careful balance of pedagogy and praise. Accessible language and measured melodic writing mean pieces work well for weekday chapel, school worship and parish services, and the collection supplies a ready repertoire for directors who need dependable, teachable material without ornate accompaniment. Republished by Alpha Editions in a careful modern edition, this volume preserves the spirit of the original while making it effortless to enjoy today - a heritage title prepared for readers and collectors alike. As an evocative record of early 20th century hymns and british church music, it sheds light on the teaching practices and liturgical tastes that shaped walford davies hymns and parish repertoire. Walford Davies' standing as a composer and educator gives the anthology particular historical interest: it presents both the devotional content and the practical thinking behind congregational singing in its era. Casual readers seeking devotional music and classic-literature collectors assembling period hymnody will both find the book rewarding: part working anthology, part cultural treasure; a clear link between religious music education and everyday worship. It belongs in the library of anyone interested in the development of congregational song and British sacred choral music. Ideal for choirmasters, organists, music historians and students, it bridges practical worship use and scholarly interest without pretence.
Cathy Berberian: Pioneer of Contemporary Vocality
Cathy Berberian (1925-1983) was a vocal performance artist, singer and composer who pioneered a way of composing with (and listening to) the voice in the musical worlds of Europe, North America and beyond. As a modernist muse for many avant-garde composers, she went on to embody the principles of postmodern thinking in her work. This volume celebra
Pi疆 Cantiones
This is a reprint of a classical work which, originally published in 1910, has passed into the public domain. The original description follows: A collection of Ancient & School Song, chiefly Ancient Swedish, originally published in A.D. 1582 by Theodoric Petri of Nyland. Revised and re-edited, with Preface and Explanatory Notes, by the Rev. G. R. Woodward, M.A. and printed at the Chiswick Press for the Plainsong & Medieval Music Society. London: 44 Russel Square, W. C. M. CM. X.
The Latin Hymn-Writers And Their Hymns
Voices that once filled basilicas and cloisters. Hymns that shaped western worship. Willoughby Samuel Duffield's The Latin Hymn-Writers And Their Hymns is a lucid, richly informed Latin hymn anthology that surveys the lives and labours of patristic hymn writers and the medieval Latin hymns they inspired. Part historical study and part religious poetry anthology, Duffield combines readable biography with clear analysis of metre, theology and liturgical use. The book traces early church hymns to their role in communal devotion and maps the lines that lead toward Gregorian chant origins, making it as useful to students as to readers drawn to classical Christian literature. Whether approached as a compact hymnal study guide, a liturgical music reference for choir and parish, or a Christian hymnology collection for the curious, its pages reward both casual curiosity and sustained study. Republished by Alpha Editions in a careful modern edition, this volume preserves the spirit of the original while making it effortless to enjoy today - a heritage title prepared for readers and collectors alike. Its literary and historical significance is plain: Duffield's work remains a doorway into the development of Western hymnody, an accessible bridge from patristic hymn writers and sacred Latin verse to the medieval Latin hymns that informed later worship. Collectors of 19th-century religious texts and curators of classical Christian literature will appreciate its pedigree; casual readers, church musicians and scholars seeking a compact liturgical music reference or a starting point for studies of Gregorian chant origins and Christian hymnology will find it rewarding. More than a reference, this edition invites readers to hear the cadences and textures of worship across centuries - the theological concerns set to metre and the craftsmanlike shaping of sacred Latin verse. Ideal for those assembling a Christian hymnology collection, for students of patristic hymn writers, and for anyone fascinated by the roots of chant and communal prayer, it is both a scholarly companion and a beautiful piece of cultural history.
Hymns Of The Kingdom
A treasury of hymns for congregations and students. Sing these familiar tunes again. Hymns Of The Kingdom collects a lucid English hymn anthology and sacred choral collection assembled by Walford Davies as the English section of a student hymnal. Built around traditional Christian hymns and plain, robust choral settings, it serves equally well as a student hymnal songs resource, a practical choir practice book and a concise companion for church worship music. The arrangements favour singability: clear melodies, steady harmonies and modest accompaniments that support congregational voice and small choral forces. You will find metred hymns, seasonal pieces and short anthems shaped for both classroom instruction and Sunday services, making the volume an effective religious education resource as much as a working repertory for Anglican worship songs and parish choirs. Set amid early 20th century hymns, the collection is a valuable record of British sacred music and of the pedagogical priorities that informed hymn selection for schools and churches. Republished by Alpha Editions in a careful modern edition, this volume preserves the spirit of the original while making it effortless to enjoy today - a heritage title prepared for readers and collectors alike. For casual worshippers and choir directors it is immediately useful at the lectern or rehearsal; for collectors of classic hymnbook collections and admirers of the Walford Davies hymnal it is an authentic, quiet treasure that illuminates hymnody's living tradition. Musicians and students of hymnology will appreciate the editorial restraint and the archive-like clarity of form: short, serviceable settings that teach, support and uplift. Beyond practical use, the hymnal rewards quiet study: phrase shapes, harmonic turns and congregational-friendly keys reveal how composers and editors balanced musical dignity with accessibility. Choirs can mine it for anthems and service pieces; teachers can adapt examples to work on diction and breath. As both a functional church resource and a collector's item, it bridges daily worship and liturgical history.
Banned - Drabbles
A drabble introduction to a terrifying collection of 22 rock band themed horror stories from worldwide authors.Perfect for the Halloween season, but best read with the lights on!Are you brave enough?Fractured Fairytale by Alanna Robertson-WebbTransmission by Antonia Rachel WardPowerslave by Beth W. PattersonPiece of my Heart by Chris BannorFrom Her to Eternity by David GreenJust a Singer in a Rock n Roll Band by Gregg CunninghamWhile My Guitar Gently Weeps by Holley CornettoSay You Love Me or Say Goodnight by J.W. GarrettAngie Baby by Kimberly ReiWho Wants to Live Forever by Maxine ChurchmanThe Last Drink by Melinda PounceyCross Road Blues by Raven Corinn CarlukThe Night Creeper by Robin BraidWaiting for the Beginning by Steven StreeterSex Type Thing by S.O. GreenNightmares Made Flesh by Sam M. PhillipsTorn by Stacey Jaine McIntoshThe Man who Sold the World by Stephanie ScissomTeenagers by Stephen HerczegBody Electric by Tim MendeesHere Comes My Girl by Trisha McKeeWhore by Zoey Xolton
Country-Gitarre f羹r Anf瓣nger
Meistere traditionelle und moderne Country-Gitarre Country-Gitarre f羹r Anf瓣nger lehrt dich die Grundlagen einer der beliebtesten Musikrichtungen von heute. Du wirst alle wesentlichen Techniken auf musikalische Weise lernen, zusammen mit vielen Akkordfolgen, Country-Gitarren-Licks und Soli. M繹chtest du die wesentlichen Techniken des Country-Gitarrenspiels beherrschen? Hast du versucht, Country-Gitarre zu spielen, aber nicht das Gef羹hl, mehr als nur ein paar Akkorde und klischeehafte Licks gelernt zu haben?Tr瓣umst du davon, Soli zu spielen wie die legend瓣ren Gitarristen Roy Nichols, James Burton, Luther Perkins und Eldon Shamblin? Country-Gitarre f羹r Anf瓣nger wurde entwickelt, um Anf瓣ngern beizubringen, die grundlegenden Techniken zum Erlernen der Country-Gitarre zu beherrschen. Du beginnst mit den wesentlichen Country-Gitarren-Akkorden, Sequenzen und Rhythmus-Patterns und gehst dann zu fortgeschritteneren Techniken wie Flatpicking, Chicken Picking, Country-Gitarren-Soli, Bending und Intervallspiel 羹ber. Lerne die Grundlagen der Country-Gitarre Entdecke die folgenden Techniken der Country-Gitarre: Lerne die Bausteine von Country-Gitarrenakkorden, Rhythmen und Sequenzen. Meister die Fingerpicking-Technik der Country-Gitarre und das Hybridpicking, um ein vielseitiger Spieler zu werden, der auf alles vorbereitet ist.Entdecke die besten Country-Gitarren-Tonleitern, die du in deinen Soli verwenden kannst, um den Country-Sound zu verst瓣rken. Lerne Hunderte von Country-Gitarren-Licks, die du sofort in deinem Spiel verwenden kannst.Wende fortgeschrittene Country-Gitarrenkonzepte an, wie Arpeggien, Intervallspiel und Leersaiten-Tricks. Bonus: 羹ber 170 Audiotracks zum kostenlosen Download Das bekommst du: Ein kompletter Leitfaden zur Country-Gitarrenmusik f羹r Anf瓣nger, der dir Akkorde, Rhythmus und Gitarrensoli beibringt. ?ber 100 Seiten mit Akkorden, musikalischen ?bungen, Tricks und Country-Gitarren-Solo-IdeenEin Leitfaden f羹r Fingerpicking und Flatpicking, mit dem du alles spielen kannst, was die Band von dir verlangt.Eine ?bersicht 羹ber die besten Tonleitern, Arpeggien und Akkorde, die man verwenden kann ... und wann man sie benutzen sollte. Hunderte von Country-Gitarren-Licks, Tipps und Tricks in einer Schritt-f羹r-Schritt Methode. Das komplette Handbuch zur Country-Gitarre f羹r Anf瓣nger Country-Gitarre f羹r Anf瓣nger ist in zwei Abschnitte unterteilt. Teil Eins: Akkorde und Rhythmusgitarre er繹rtert die wesentlichen Akkord-Voicings, die in allem zu finden sind, von Cowboyballaden bis hin zu Western Swing. Es gibt auch einige Geheimnisse der Country-Gitarre ... Sobald du diese Voicings aufgefrischt hast, wirst du entdecken, wie sie in der echten Country-Rhythmusgitarre verwendet werden. Teil Zwei: Tonleitern, Arpeggien und Lead-Gitarre entwickelt die gesamte Bandbreite an Tonleitern, Arpeggien und Solo-Ans瓣tzen, die beim Spielen von Country-Gitarre verwendet werden. Die Beherrschung der Fertigkeiten in diesem Abschnitt bereitet deine Finger auf die technisch anspruchsvolleren Aspekte des Erlernens der Country-Gitarre wie Banjo Rolls und Leersaiten-Ideen vor. Hol dir jetzt Country-Gitarre f羹r Anf瓣nger und mache deinen ersten Schritt auf dem Weg zum Country-Gitarren-Helden.
Puccini's La Boh癡me
Giacomo Puccini's La Boh�me is one of the most frequently performed operas in the world. But how did it come to be so adored? In this book, author Alexandra Wilson traces La Boh�me's rise to fame and demonstrates that its success grew steadily through stage performances, recordings, filmed versions and the endorsements of star singers. More recently, popular songs, film soundtracks and musicals that draw on the opera's music and themes added further to its immense cultural impact. This cultural history offers a fresh reading of a familiar work. Wilson argues that La Boh�me's approach to realism and its flouting of conventions of the Italian operatic tradition made it strikingly modern for the 1890s. She explores how Puccini and his librettists engaged with gender, urban poverty and nostalgia--themes that grew out of the work's own time and continue to resonate with audiences more than 120 years later. Her analysis of the opera's depiction of Paris reveals that La Boh�me was not only influenced by the romantic mythologies surrounding the city to this day but also helped shape them. Wilson's consideration of how directors have reinvented this opera for a new age completes this fascinating history of La Boh�me, making it essential reading for anyone interested in this opera and the works it inspired.
Jazz in EuropeNetworking and Negotiating Identities
Should we talk of European jazz or jazz in Europe? What kinds of networks link those who make it happen 'on the ground'? What challenges do they have to face? Jazz is a part of the cultural fabric of many of the European countries. Jazz in Europe: Networking and Negotiating Identities presents jazz in Europe as a complex arena, where the very notions of cultural identity, jazz practices and Europe are continually being negotiated against an ever changing social, cultural, political and economic environment. The book gives voice to musicians, promoters, festival directors, educators and researchers regarding the challenges they are faced with in their everyday practices. Jazz identities in Europe result from the negotiation between discourse and practice and in the interstices between the formal and informal networks that support them, as if 'Jazz' and 'Europe' were blank canvases where diversified notions of what jazz and Europe should or could be are projected.
Bluegrass Ambassadors
Bluegrass Ambassadors is the first book-length study of the McLain Family Band, which has spread the gospel of bluegrass for more than fifty years. Interpreting the band's diverse repertoire as both a source of its popularity and a reason for its exclusion from the bluegrass pantheon, Paul Jenkins advances subtle arguments about genre, criticism, and audience.
Made in Finland
Made in Finland: Studies in Popular Music serves as a comprehensive and thorough introduction to the history, culture, and musicology of twentieth and twenty-first century popular music in Finland. The volume consists of essays by leading scholars in the field, and covers the major figures, styles, and social contexts of popular music in Finland. Each essay provides adequate context so readers understand why the figure or genre under discussion is of lasting significance. The book is organized into five thematic sections: Emerging Foundations of Popular Music in Finland; Environments, Borderlines, Minorities; Transnationalisms; Sounds from the Underground; and Redefining Finnishness.
Representing Russia's Orient
What is the place of ethnic minorities in the identity and culture of the majority? What happens when the colonizer appropriates the culture of the colonized? Throughout Russia's nineteenth-century expansion into the Caucasus and Central Asia, Russian intellectuals struggled with these questions that cut to the core of imperial identity. Representing Russia's Orient draws on political, cultural, and social history to tell the story of how Russia's imperial advancements and encounters with its southern and eastern neighbors influenced the development of Russian musical identity. While Russia's ethnic minorities, or inorodtsy, were located at the geographical and cultural periphery, they loomed large in composers' musical imagination and became central to the definition of Russianness itself. Drawing from previously untapped archival and published materials, including music scores, visual art, and ethnographies, author Adalyat Issiyeva offers an in-depth study of Russian musical engagement with oriental subjects. Within a complex matrix of politics, competing ideological currents, and social and cultural transformations, some Russian composers and writers developed multidimensional representations of oriental "others" and sometimes even embraced elements of Asian musical identity. Mapping the vast repertoire of bylinas, military and children songs, music ethnographies, rare collections of Asian folk songs, art songs inspired by Decembrist literature, and the art music of famous composers from the Mighty Five and their followers all set against the development of oriental studies in Russia the book sheds new light on how and why Russians sometimes rejected, sometimes absorbed and transformed elements of Asian history and culture in forging their own national identity.
Chilean New Song and the Question of Culture in the Allende Government
Focusing on the cultural debate within the left during the Popular Unity government in Chile (1970-73), Chilean New Song and the Question of Culture in the Allende Government situates the discourses and artistic production linked to the Chilean New Song movement, in order to demonstrate that the musicians were part of the committed intelligentsia. Thus, they actively participated in the discussion and proposal of ways to integrate culture in the revolutionary process, playing an important political and cultural role. The analysis is mainly based on the government-friendly press and on records released between 1970 and 1973, verifying how the main trends observed in the cultural debate were expressed in the movement; the extent to which the positions defended by the musicians have been in tune with governmental purposes; and if they have in fact influenced the cultural policies debated and pursued by Popular Unity.
Sonic Ethnography
Sonic ethnography makes a compelling argument for taking sound seriously as a crucial component of social life and as an ethnographic form of representation. This volume explores the role of sound-making and listening practices in the formation of local identities in the southern Italian region of Basilicata. With an approach that cuts across sensory anthropology, sound studies and ethnomusicology, Sonic ethnography demonstrates how acoustic tradition is made and disrupted and acoustic communities are brought together in shared temporality and space. Based extensive research, this volume provides an innovative take on soundful cultural performances such as tree rituals, carnivals, pilgrimages and more informal musical performances, with particular attention to the interactions between classic ethnographic scholarship from the past century and the local politics of heritage. Featuring stunning colour photographs and more than an hour of sound recordings, Sonic ethnography uses a unique combination of media to investigate distinctive ways of knowing, beyond more traditional ethnographic forms of representation. Two methodological chapters, respectively on music-making as creative research practice and on photo-ethnography, make the book an essential contribution for those interested in the production of sounds and still images as relational and interactive approaches to fieldwork. The pioneering anthropologist of sound, Steven Feld, collaborated to some of the research and contributed to the book an afterword and a soundscape composition. An electronic edition of this book is freely available under a Creative Commons (CC BY-NC-ND) licence.
Fandom and the Beatles
More than 50 years after their breakup, the Beatles are still attracting fans from various generations, all while retaining their original fan base from the 1960s. Why have those first-generation fans continued following the Beatles and are now introducing their grandchildren to the group? Why are current teens affected by the band's music? And perhaps most importantly, how and why do the Beatles continue to resonate with successive generations? Unlike other bands of their era, the Beatles seem permanently frozen in time, having never descended into "nostalgia act" territory. Instead, even after the announcement of the band's breakup in 1970, the group has maintained its cultural and musical relevance. Their timeless quality appeals to younger generations while maintaining the loyalty of older fans. While the Beatles indeed represent a specific time period, their music and words address issues as meaningful today as they were during the Summer of Love: politics, war, sex, drugs, art, and creative liberation. As the first anthology to assess the nature of fan response and the band's enduring appeal, Fandom and the Beatles: The Act You've Known for All These Years defines and explores these unique qualities and the key ways in which this particular pop fusion has inspired such loyalty and multigenerational popularity.
Black Diamond Queens
African American women have played a pivotal part in rock and roll-from laying its foundations and singing chart-topping hits to influencing some of the genre's most iconic acts. Despite this, black women's importance to the music's history has been diminished by narratives of rock as a mostly white male enterprise. In Black Diamond Queens, Maureen Mahon draws on recordings, press coverage, archival materials, and interviews to document the history of African American women in rock and roll between the 1950s and the 1980s. Mahon details the musical contributions and cultural impact of Big Mama Thornton, LaVern Baker, Betty Davis, Tina Turner, Merry Clayton, Labelle, the Shirelles, and others, demonstrating how dominant views of gender, race, sexuality, and genre affected their careers. By uncovering this hidden history of black women in rock and roll, Mahon reveals a powerful sonic legacy that continues to reverberate into the twenty-first century.
Silk & Steel
The first 25 years of metal were glorious and well documented. The last 25 years of metal were triumphant and victorious - only no one knew it.This book will serve as a guide to righting that injustice and will help music collectors in rediscovering old bands while discovering new music to add to the soundtrack of their lives.
Joan Baez
A celebration of a timeless figure whose music and influence will endure long after her voice is silenced.Since she stepped onstage unannounced at the 1959 Newport Folk Festival, Joan Baez has occupied a singular place in popular music.Within three years, she had recorded three best-selling albums and had embarked on a tour of southern US campuses, playing to integrated audiences in an era of segregation. When Time magazine chronicled the folk revival in November 1962, her portrait was on the cover. Her voice was "as lustrous and rich as old gold." She has mentored generations of singer-songwriters, most famously Bob Dylan.But Joan Baez has always been much more than simply a singer. Even before she stood on the podium beside Dr Martin Luther King at the March on Washington, her voice was raised in sorrow and anger as well as in song. The causes for which she has campaigned are legion and it's no surprise that she was chosen to open Live Aid in Philadelphia in 1985. In 1993, amid the siege of Bosnia, she donned a flak jacket to sing for the citizens of Sarajevo offering, as so many times before and since, "an act of love, sharing, witness and music".Now approaching 80, Baez has stepped down from the stage following a worldwide farewell tour and a final Grammy-nominated album. The Last Leaf is a celebration of a timeless figure whose music and influence will endure long after her voice is silenced. The Discography is by Grammy-nominated music historian Arthur Levy.Joan Baez is the recipient of the 2020 Woody Guthrie Prize.
Learn To Play Electric Guitar
Learn To Play Electric Guitar is a comprehensive course for beginners to get started enjoying the fun of playing the electric guitar. It will lead you on a path to electric guitar mastery. It will show you a very simple method of how to get started playing the electric guitar. Learn parts of the guitar, how to hold it properly, what chords need to be learned first, and how to play those guitar chords to create music. Learn electric guitar techniques such as strumming, arpeggiating, timing, and practicing habits. Learn common scales for playing guitar solos and training exercises. In a simple step-by-step method that will produce quick results. Yep, it's all here in this book Learn To Play Electric Guitar. If you've always wanted to learn to play the electric guitar, then this book is for you. Even if you play guitar already, you can still learn some new music concepts from this book. Packed with information that most guitar players don't know. This book is designed to take you from an absolute newbie (who knows nothing about the guitar) to a well-proficient player of music knowledge and understanding. Improve your rhythm guitar playing, Lead guitar playing, music theory, and techniques associated with playing electric guitar in this comprehensive course.
