Frank Zappa and the and
This collection of essays, documented by an international and interdisciplinary array of scholars, represents the first academically focused volume exploring the creative idiolect of Frank Zappa. The publication presents an understanding of the ontological depth of Zappa's legacy by relating the artist and his texts to a range of cultural, social, technological and musicological factors. Zappa's interface with religion, horror, death, movies, modernism, satire, freaks, technology, resistance, censorship and the avant-garde are brought together analytically for the first time.
Party Out of Bounds
Originally published in 1991, Rodger Lyle Brown's Party Out of Bounds is a cult classic that offers an insider's look at the underground rock music culture that sprang from a lazy Georgia college town. Brown uses half-remembered stories, local anecdotes, and legendary lore to chronicle the 1970s and 1980s and the spawning of Athens bands such as the B-52's, Pylon, and R.E.M. Their creative momentum helped to usher in a new wave of music on a national and international level, putting Athens, Georgia, on the map. Brown takes the reader on a heady, keg-beer-fueled romp from the South's dirty back roads and all-night porch parties to the precipice of rock superstardom. This twenty-fifth-anniversary edition includes new and rarely seen photographs by locals on the scene; a foreword by Charles Aaron, former longtime editor and writer at SPIN magazine; and an afterword by producer/engineer and musician David Barbe, drawn from an essay originally published in the Oxford American's 2015 music issue.
The Pitchfork Review
Pitchfork is happy to present the tenth issue of The Pitchfork Review, our quarterly music publication. This issue, we've devoted our pages to the ins and outs of music festivals, something we have a devoted interest in, given our own long-running Pitchfork Festival. The issue features expert tips on how to make festivals better for you and how to start your own. We also look at festivals as diverse as Lilith Fair, Ozzfest, Deathfest, and, of course, those run by Phish.
Please Kill Me
"Ranks up there with the great rock & roll books of all time."--Time Out New York "Lurid, insolent, disorderly, funny, sometimes gross, sometimes mean and occasionally touching . . . Resounds with authenticity."--The New York Times "No volume serves juicier dish on punk's New York birth . . . Tales of sex, drugs and music that will make you wish you'd been there."--Rolling Stone A contemporary classic, Please Kill Me is the definitive oral history of the most nihilistic of all pop movements. Iggy Pop, Richard Hell, the Ramones, and scores of other punk figures lend their voices to this decisive account of that explosive era. This 20th anniversary edition features new photos and an afterword by the authors. "Utterly and shamelessly sensational."--Newsday
The Language of the Blues
Find out what the words in your favorite blues songs really mean! In The Language of the Blues: From Alcorub to Zuzu (Foreword by Dr. John), rock musician Debra Devi defines 170 blues terms like mojo, hoodoo, buffet flat and killing floor with wild stories and fresh insights from her interviews with such blues stars as Hubert Sumlin, Robert Jr. Lockwood, Henry Gray, Little Milton Campbell, Bob Margolin, Jody Williams, Robben Ford, Jimmie Vaughan, and more. Devi combines her interviews with in-depth research into etymology, African language, voodoo and the origins of blues, rock and jazz. The result is a lively read Reuters calls "a witty, bawdy and fascinating dictionary." The Language of the Blues has received the ASCAP Deems Taylor Award for Outstanding Book on Music The Language of the Blues includes more than 30 photos (17 color) and a remarkable foreword by Dr. John, who helped Devi uncover the illegal gambling origins of terms like "gig" and "axe." The Language of the Blues has earned back-cover praise from Bonnie Raitt, Joe Bonamassa, former Muddy Waters guitarist Bob Margolin, producer Hal Willner, and even Ministry singer Al Jourgensen! "What a great resource, as fascinating as it is informative. Debra Devi's passion for the blues shines through," says Bonnie Raitt. Joe Bonamassa adds, "Devi's book will teach you what you really need to know about blues history and where the blues are coming from." Al Jourgensen notes: "Finally one can understand the mechanics behind the overwhelming viscera of the Blues. Debra Devi's work is a true guide book to the soul." Blues Revue deems The Language of the Blues "an essential purchase for scholars and fans" and New York Times columnist Shelton Ivany says, "If you have any questions about blues songs, lyrics, musicians or events, chances are you will find your answers in this unparalleled publication." "Don't think that The Language of the Blues might read like a dictionary or reference book," explains former Muddy Waters guitarist Bob Margolin. "There's no plot, but you can open it at random and fall into the world of your favorite blues songs, finding out more about the lyrics than you would by guessing from context. I learned a lot more about the blues music I love." Devi is an American Blues Scene contributing editor and former Blues Revue associate editor. She is also an accomplished rock singer and guitarist. Visit her at www.debradevi.com Backcover Blurbs for The Language of the Blues: From Alcorub to Zuzu by Debra Devi "What a great resource, as fascinating as it is informative. Debra Devi's passion for the blues shines through." - Bonnie Raitt. "Devi's book will teach you what you really need to know about blues history and where the blues are coming from." - Joe Bonamassa "This book is fascinating! Take it to the bathroom and don't come out until you're done reading it." - Jimmy Vivino "This is a beautiful book. After hearing 'Hellhound on My Trail' in high school I bought every vintage blues record available at the time. Upon receiving The Language of the Blues I discovered my knowledge only scratched the surface. Debra Devi has written an invaluable reference book. And it's also great fun to read." - Hal Willner "Congratulations to Debra Devi for The Language of the Blues. Its candor and witty honesty bring us into the world she describes so well with beautiful strength. This is a book that lovers of music and just plain old lovers will love to have in their collections." - Ed Sanders
Newly Composed Folk Music of Yugoslavia
This book challenges the monolithic portrayals of folk music and social change under communism by making a case for "people's music" and shows how new folk music embodies an inherently pluralistic concept of Yugoslavia's culture.
Making Rumours
Inside the making of one of the biggest-selling albums of all time: Fleetwood Mac's Rumours Fleetwood Mac's classic 1977 Rumours album topped the Billboard 200 for thirty-one weeks and won the Grammy for Album of the Year. More recently, Rolling Stone named it the 25th greatest album of all time and the hit TV series Glee devoted an entire episode to songs from Rumours, introducing it to a new generation. Now, for the first time, Ken Caillat, the album's co-producer, tells the full story, from endless partying and relationship dramas to the creative struggles to write and record "You Make Loving Fun," "Don't Stop," "Go Your Own Way," "The Chain," and other timeless tracks.Tells the fascinating story of the making of Fleetwood Mac's Rumours, written by the producer who saw it all happen: Stevie Nicks and Lindsey Buckingham's screaming match while recording "You Make Loving Fun."The band's struggles with increasing success, How the album almost never happened when the master tape nearly disintegratedThe incredible attention paid to even the tiniest elements of songs, from Lindsey playing a chair to Mick breaking glass. Includes eighty black-and-white photographs.In 1977, Fleetwood Mac's members were guitarist/vocalist Lindsey Buckingham, vocalist Stevie Nicks, drummer Mick Fleetwood, vocalist Christine McVie, and bass guitarist John McVie. Making Rumours shows how Fleetwood Mac created one of the greatest albums of all time, amidst heartbreak, divorce, addiction, and betrayal.
Spiders of the Market
The Ghanaian trickster-spider, Ananse, is a deceptive figure full of comic delight who blurs the lines of class, politics, and morality. David Afriyie Donkor identifies social performance as a way to understand trickster behavior within the shifting process of political legitimization in Ghana, revealing stories that exploit the social ideologies of economic neoliberalism and political democratization. At the level of policy, neither ideology was completely successful, but Donkor shows how the Ghanaian government was crafty in selling the ideas to the people, adapting trickster-rooted performance techniques to reinterpret citizenship and the common good. Trickster performers rebelled against this takeover of their art and sought new ways to out trick the tricksters.
The Cambridge Companion to Percussion
Percussion music is both the oldest and most recent of musical genres and exists in diverse forms throughout the world. This Companion explores percussion and rhythm from the perspectives of performers, composers, conductors, instrument builders, scholars, and cognitive scientists. Topics covered include percussion in symphony orchestras from the nineteenth century to today and the development of percussion instruments in chapters on the marimba revolution, the percussion industry, drum machines, and the effect of acoustics. Chapters also investigate drum set playing and the influences of world music on Western percussion, and outline the roles of percussionists as composers, conductors, soloists, chamber musicians, and theatrical performers. Developments in scientific research are explored in chapters on the perception of sound and the evolution of musical rhythm. This book will be a valuable resource for students, percussionists, and all those who want a deeper understanding of percussion music and rhythm.
The Spitboy Rule
Michelle Cruz Gonzales played drums and wrote lyrics in the influential 1990s female hardcore band Spitboy, and now she's written a book--a punk rock herstory. Though not a riot grrl band, Spitboy blazed trails for women musicians in the San Francisco Bay Area and beyond, but it wasn't easy. Misogyny, sexism, abusive fans, class and color blindness, and all-out racism were foes, especially for Gonzales, a Xicana and the only person of color in the band. Unlike touring rock bands before them, the unapologetically feminist Spitboy preferred Scrabble games between shows rather than sex and drugs, and they were not the angry manhaters that many expected them to be. Serious about women's issues and being the band that they themselves wanted to hear, a band that rocked as hard as men but sounded like women, Spitboy released several records and toured internationally. The memoir details these travels while chronicling Spitboy's successes and failures, and for Gonzales, discovering her own identity along the way. Fully illustrated with rare photos and flyers from the punk rock underground, this fast-paced, first-person recollection is populated by scenesters and musical allies from the time including Econochrist, Paxston Quiggly, Neurosis, Los Crudos, Aaron Cometbus, Pete the Roadie, Green Day, Fugazi, and Kamala and the Karnivores.
The Essence of Opera
The process of operatic creation revealed in original writings by librettists and composers from 1600 to the present.
12 Piazzolla Tangos for Easy Piano
(BH Piano). Arrangements at the lower intermediate level of the greatest composer of the modern tango. Contents: Ausencias * Chanson de la Naissance * El Viaje * Libertango * Los Suenos * Milonga for Three * Oblivion * Sensuel * Sentimental * Sin Rumbo * Street Tango * Vuelvo Al Sur
Give My Poor Heart Ease
Throughout the 1960s and 1970s, folklorist William Ferris toured his home state of Mississippi, documenting the voices of African Americans as they spoke about and performed the diverse musical traditions that form the authentic roots of the blues. Now, Give My Poor Heart Ease puts front and center a searing selection of the artistically and emotionally rich voices from this invaluable documentary record. Illustrated with Ferris's photographs of the musicians and their communities and including a CD of original music, the book features more than twenty interviews relating frank, dramatic, and engaging narratives about black life and blues music in the heart of the American South.Here are the stories of artists who have long memories and speak eloquently about their lives, blues musicians who represent a wide range of musical traditions -- from one-strand instruments, bottle-blowing, and banjo to spirituals, hymns, and prison work chants. Celebrities such as B. B. King and Willie Dixon, along with performers known best in their neighborhoods, express the full range of human and artistic experience -- joyful and gritty, raw and painful.In an autobiographical introduction, Ferris reflects on how he fell in love with the vibrant musical culture that was all around him but was considered off limits to a white Mississippian during a troubled era. This magnificent volume illuminates blues music, the broader African American experience, and indeed the history and culture of America itself.
Why the Grateful Dead Matter
In Why the Grateful Dead Matter, veteran writer and lifelong Deadhead Michael Benson argues that the Grateful Dead are not simply a successful rock-and-roll band but a phenomenon central to American culture. He defends the proposition that the Grateful Dead are, in fact, a musical movement as transformative as any -ism in the artistic history of this century and the last. And a lot more fun than most. From the street festivals of Haight-Ashbury to the cross-country acid tests with the Merry Pranksters, and from the sound-and-light show at the Great Pyramid at Giza to the ecstatic outpouring of joy at Soldier Field in the summer of '15, the Grateful Dead have been at the center of American life, music, and karmic flow for fifty years. In Why the Grateful Dead Matter, Michael Benson brings it all back to life and makes a compelling case for the band's lasting cultural importance.
Opera A to Z, A Beginner’s Guide to Opera
"Opera A to Z: A Beginner's Guide to Opera" is an overview of the most famous operas and opera characters of all time, one for each letter of the alphabet. The titles are in the original language from Aida to Zauberfl⍥te. Operas by the composers Mozart, Verdi, Wagner and Puccini are among the twenty-six operas including. The depicted operas include the Baroque Era, Grand Opera and twentieth century opera. This Opera A-Z alphabet book is a visual way to introduce school age children and adults alike to the magic of opera.
Listen to This
THE FIRST CLOSE CRITICAL TREATMENT OF THE ALBUM THAT SHOOK JAZZ WITH ITS ELECTRIC SOUND AND ROCK-INFLUENCED STYLE Listen to This stands out as the first book exclusively dedicated to Davis's watershed 1969 album, Bitches Brew. Victor Svorinich traces its incarnations and inspirations for ten-plus years before its release. The album arrived as the jazz scene waned beneath the rise of rock and roll and as Davis (1926- 1991) faced large changes in social conditions affecting the African American consciousness. This new climate served as a catalyst for an experiment that many considered a major departure. Davis's new music projected rock and roll sensibilities, the experimental essence of 1960s' counterculture, yet also harsh dissonances of African American reality. Many listeners embraced it, while others misunderstood and rejected the concoction. Listen to This is not just the story of Bitches Brew. It reveals much of the legend of Miles Davis--his attitude and will, his grace under pressure, his bands, his relationship to the masses, his business and personal etiquette, and his response to extraordinary social conditions seemingly aligned to bring him down. Svorinich revisits the mystery and skepticism surrounding the album and places it into both a historical and musical context using new interviews, original analysis, recently found recordings, unearthed session data sheets, memoranda, letters, musical transcriptions, scores, and a wealth of other material. Additionally, Listen to This encompasses a thorough examination of producer Teo Macero's archives and Bitches Brew's original session reels in order to provide the only complete day-to-day account of the sessions. Victor Svorinich, Whippany, New Jersey, is a music faculty member at Kean University in Union, New Jersey, and owner of the Guitar Academy. His published work includes Electric Miles: A Look at the "In a Silent Way" and "On the Corner" Sessions.
American Popular Music in Britain's Raj
The first systematic study to address the character and scope of American popular music in India during British rule. American Popular Music in Britain's Raj is the first systematic study of the character and scope of American popular music in India during British rule. Drawing on ethnographic and archival research, it examines blackface minstrel shows, ragtime, jazz, and representations of Hollywood film music in Bombay cabarets and Hindi film songs, identifying key musical moments in the development of these styles between the mid-nineteenth and mid-twentieth centuries. The book describes the entertainment idioms and frameworks that supported the growth of these imported styles; further, it surveys a variety of historical contexts under colonialism that influenced their meaning and commercial value. Focusing on Calcutta (modern Kolkata), Lucknow, and Bombay (modern Mumbai), Bradley Shope traces the movement of this music between the United States, England, and India, and addresses a variety of groups and communities, including the US military in Calcutta during World War II, Anglo-Indians in Lucknow in the 1930s and 1940s, and British residents across North India in the nineteenth and twentieth centuries. Bradley G. Shope is assistant professor of music at Texas A&M University-Corpus Christi.
San Francisco and the Long 60s
San Francisco and the Long 60s tells the fascinating story of the legacy of popular music in San Francisco between the years 1965-69. It is also a chronicle of the impact this brief cultural flowering has continued to have in the city - and more widely in American culture - right up to the present day. The aim of San Francisco and the Long 60s is to question the standard historical narrative of the time, situating the local popular music of the 1960s in the city's contemporary artistic and literary cultures: at once visionary and hallucinatory, experimental and traditional, singular and universal. These qualities defined the aesthetic experience of the local culture in the 1960s, and continue to inform the cultural and social life of the Bay Area even fifty years later. The brief period 1965-69 marks the emergence of the psychedelic counterculture in the Haight-Ashbury neighbourhood, the development of a local musical 'sound' into a mainstream international 'style', the mythologizing of the Haight-Ashbury as the destination for 'seekers' in the Summer of Love, and the ultimate dispersal of the original hippie community to outlying counties in the greater Bay Area and beyond. San Francisco and the Long 60s charts this period with the references to received historical accounts of the time, the musical, visual and literary communications from the counterculture, and retrospective glances from members of the 1960s Haight community via extensive first-hand interviews. For more information, read Sarah Hill's blog posts here: http: //blogs.cardiff.ac.uk/musicresearch/2014/05/15/san-francisco-and-the-long-60shttp: //blogs.cardiff.ac.uk/musicresearch/2014/08/22/city-scale/http: //blogs.cardiff.ac.uk/musicresearch/2015/07/21/fare-thee-well/
African Music, Power, and Being in Colonial Zimbabwe
In this new history of music in Zimbabwe, Mhoze Chikowero deftly uses African sources to interrogate the copious colonial archive, reading it as a confessional voice along and against the grain to write a complex history of music, colonialism, and African self-liberation. Chikowero's book begins in the 1890s with missionary crusades against African performative cultures and African students being inducted into mission bands, which contextualize the music of segregated urban and mining company dance halls in the 1930s, and he builds genealogies of the Chimurenga music later popularized by guerrilla artists like Dorothy Masuku, Zexie Manatsa, Thomas Mapfumo, and others in the 1970s. Chikowero shows how Africans deployed their music and indigenous knowledge systems to fight for their freedom from British colonial domination and to assert their cultural sovereignty.
Hear My Sad Story
Read an excerpt and listen to the songs featured in the book at http: //folksonghistory.com/In 2015, Bob Dylan said, "I learned lyrics and how to write them from listening to folk songs. And I played them, and I met other people that played them, back when nobody was doing it. Sang nothing but these folk songs, and they gave me the code for everything that's fair game, that everything belongs to everyone." In Hear My Sad Story, Richard Polenberg describes the historical events that led to the writing of many famous American folk songs that served as touchstones for generations of American musicians, lyricists, and folklorists.Those events, which took place from the early nineteenth to the mid-twentieth centuries, often involved tragic occurrences: murders, sometimes resulting from love affairs gone wrong; desperate acts borne out of poverty and unbearable working conditions; and calamities such as railroad crashes, shipwrecks, and natural disasters. All of Polenberg's accounts of the songs in the book are grounded in historical fact and illuminate the social history of the times. Reading these tales of sorrow, misfortune, and regret puts us in touch with the dark but terribly familiar side of American history.On Christmas 1895 in St. Louis, an African American man named Lee Shelton, whose nickname was "Stack Lee," shot and killed William Lyons in a dispute over seventy-five cents and a hat. Shelton was sent to prison until 1911, committed another murder upon his release, and died in a prison hospital in 1912. Even during his lifetime, songs were being written about Shelton, and eventually 450 versions of his story would be recorded. As the song--you may know Shelton as Stagolee or Stagger Lee--was shared and adapted, the emotions of the time were preserved, but the fact that the songs described real people, real lives, often fell by the wayside. Polenberg returns us to the men and women who, in song, became legends. The lyrics serve as valuable historical sources, providing important information about what had happened, why, and what it all meant. More important, they reflect the character of American life and the pathos elicited by the musical memory of these common and troubled lives.
Live at the Fillmore East and West
Now in Paperback! From the Allman Brothers Band to Frank Zappa, and through the interweaving lives of Bill Graham, Janis Joplin, Grace Slick, and Carlos Santana, author John Glatt chronicles the story of the 1960s' rock music Colossus that stood astride the East and West Coasts-Graham's twin temples of rock, the Fillmore East and Fillmore West.
The Christopher Norton Eastern Preludes Collection
(BH Piano). Explore the rich musical landscape of Asia with 14 preludes based on native themes from China, India, Japan, Korea, Mongolia, Thailand and more. Ideal for intermediate to advanced-level keyboard players, with historical information and maps for each piece. Includes CD of full performances. Contents: Arirang (Korea) * Bahay Kubo (Philippines) * Bang Chhun-hong (Taiwan) * Chan Mali Chan (Singapore) * Dan Chim Trang (Vietnam) * Gao shan liu shui (China) * Gelang Sipaku Gelang (Malaysia) * Hongor Mori (Mongolia) * Loy Krathong (Thailand) * Mejangeran (Indonesia) * Sakura (Japan) * Samalindang (Brunei) * Shiba Mo (China) * Ya, Ya, Maya, Ya (India)
The Beatles Lyrics
"Rich with insider authenticity...Gives us a glimpse into genius" the definitive book of Beatles songs, shown as first written by their own hands and put into authoritative context (Wall Street Journal). For the Beatles, writing songs was a process that could happen anytime -- songs we all know by heart often began as a scribble on the back of an envelope or on hotel stationery. These original documents have ended up scattered across the world at museums and universities and with collectors and friends. Many have never been published before. More than 100 songs and lyrics are reproduced in The Beatles Lyrics, providing Hunter Davies a unique platform to tell the story of the music. The intimacy of these reproductions -- there are sections crossed out and rewritten, and words tossed into the final recordings that were never written down -- ensures that The Beatles Lyrics will be a treasure for musicians, scholars, and fans everywhere. "A fascinating, intimate glimpse into the creative process behind some of the greatest pop songs ever written." --Christian Science Monitor
The Rap Year Book
From Sugarhill Gang to NWA to Biggie to Kanye, The Rap Year Book takes readers on a journey that begins in 1979, widely regarded as the moment rap became recognized as part of the cultural and musical landscape. New York Times and Washington Post Bestseller * Foreword by Ice-T Featuring illustrations by Arturo Torres, The Rap Year Book is an in-depth look at the most influential genre of music in our generation. Complete with infographics, lyric maps, hilarious and informative footnotes, portraits of the artists, and short essays by prominent music writers, The Rap Year Book is both a narrative and illustrated guide to the most iconic and influential rap songs ever created. Award-winning writer Shea Serrano deftly pays homage to the most important rap song of each year. He also examines the most important moments that surround the history and culture of rap music--from artists' backgrounds to issues of race, the rise of hip-hop, and the struggles among its major players--both personal and professional. Covering East Coast and West Coast, famous rapper feuds, chart toppers, and showstoppers. It's like the gold tank from Master P's "Make 'Em Say Uhh!" video, except it's a book. It's like Kanye's verse on "Put On," except it's a book. It's like the face Biggie made when on the boat with Puff in "Hypnotize," except it's a book. Songs include: 1979: Rapper's Delight1982: The Message1988: Straight Outta Compton2004: Still Trippin'2007: International Players Anthem2010: Monster
Rock It Come Over
Rock It Come Over describes the music and lore of Slavery from the early sixteenth century through emancipation in 1838 to the mid twentieth century. Lewin explores the role of music in the lives of the slaves as a method of communication, as a form of resistance and subversion, as a repository of oral history and beliefs, and, ultimately, as a means of survival. The work is based on decades of research into the music sung and played by the working people of Jamaica. Lewin relates the music to traditions that preserve an African way of life and the beliefs of Kumina queen, Imogene "Queenie" Kennedy. Rock It Come Over is the most extensive study of Jamaican folk music yet published. It is also an examination of the roots of that music and a record of the folk heritage that is, in spite of many efforts, rapidly retreating before the pressures of life today.
Underground
Underground is all about the history and future of DIY punk touring in the USA. Daniel Makagon explores the culture of DIY spaces like house shows and community-based music spaces, their impact on underground communities and economies, and why these networks matter. He shows that no matter who you are, organizing, playing, and/or attending a DIY punk show is an opportunity to become a real part of a meaningful movement and to create long-lasting alternatives to the top-down economic and artistic practices of the mainstream music industry. Punk kids playing an illegal show too loudly in someone's basement might not save the world, but they might just be showing us the way to building something better.
Music and the Armenian Diaspora
Survivors of the Armenian genocide of 1915 and their descendants have used music to adjust to a life in exile and counter fears of obscurity. In this nuanced and richly detailed study, Sylvia Angelique Alajaji shows how the boundaries of Armenian music and identity have been continually redrawn: from the identification of folk music with an emergent Armenian nationalism under Ottoman rule to the early postgenocide diaspora community of Armenian musicians in New York, a more self-consciously nationalist musical tradition that emerged in Armenian communities in Lebanon, and more recent clashes over music and politics in California. Alajaji offers a critical look at the complex and multilayered forces that shape identity within communities in exile, demonstrating that music is deeply enmeshed in these processes. Multimedia components available online include video and audio recordings to accompany each case study.
Gender in Chinese Music
Gender in Chinese Music draws together contributions from ethnomusicologists, anthropologists, and literary scholars to explore how music is implicated in changing notions of masculinity, femininity, and genders "in between" in Chinese culture. Village ritualists, international classical pianists, pop idols, and professional mourners -- whether they perform in temples, on concert stages, or in TV shows, Chinese musicians continually express and negotiate their gendered identities. Gender in Chinese Music brings together contributions from ethnomusicologists, anthropologists, and literary scholars to explore how gender is not only manifested in the diverse musical traditions of Chinese culture but also constructed through performing and observing these traditions. Individual chapters examine unique music cultures ranging from those of courting couples in China's heartlands to ethnic minority singers in the borderlands, and from Ming-period courtesans to contemporary karaoke hostesses. The book also features interviews with musicians, music industry workers, and fans talking about gender. With its wide-ranging subject matter and interdisciplinary approach, this volume will be an important resource for researchers and students interested in how music is implicated in the changing notions of masculinity, femininity, and genders "in between." Contributors: RuardAbsaroka, Rachel Harris, Stephen Jones, Frank Kouwenhoven, Olivia Kraef, Joseph Lam, Rowan Pease, Antoinet Schimmelpenninck, Hwee-San Tan, Shzr Ee Tan, Xiao Mei, Judith Zeitlin, Tiantian Zheng. Rachel Harris is Reader in the Music of China and Central Asia at SOAS, University of London. Rowan Pease is Senior Teaching Fellow at SOAS, University of London. Shzr Ee Tan is Senior Lecturer in Music at Royal Holloway, University of London.
Performing Gender, Place, and Emotion in Music
Presenting a range of ethnographic case studies from around the globe, this edited collection offers new ways of thinking about the interconnectivity of gender, place, and emotion in musical performance. While ethnomusicologists and anthropologists have long recognized the theoretical connections between gender, place, and emotion in musical performance, these concepts are seldom analyzed together. Performing Gender, Place, and Emotion in Music is the first book-length study to examine the interweaving of these three concepts from a cross-cultural perspective. Contributors show how a theoretical focus one dimension implicates the others, creating an exus of performative engagement. This process is examined across different regions around the globe, through two key questions: How are aesthetic, emotional, and imagined relations between performers and places embodied musically? And in what ways is this performance of emotion gendered across quotidian, ritual, and staged events? Through ethnographic case studies, the volume explores issues of emplacement, embodiment, and emotion in three parts: landscape and emotion; memory and attachment; and nationalism and indigeneity. Part I focuses on emplaced sentiments in Australasia through Vietnamese spirit possession, Balinese dance, and land rights in Aboriginal performance. Part II addresses memories of Aboriginal choral singing, belonging in Bavarian music-making, and gender-performativity in Polish song. Part III evaluates emotion and fandom around a Korean singer in Japan, and S獺mi interconnectivities in traditional and modern musical practices. Beverley Diamond provides a thought-provoking commentary in the afterword.
Javanese Gamelan and the West
Preeminant gamelan performer and scholar Sumarsam explores the concept of hybridity in performance traditions that have developed in the context of Javanese encounters with the West. Javanese Gamelan and the West studies the meaning, forms, and traditions of the Javanese performing arts as they developed and changed through their contact with Western culture. Authored by a gamelan performer, teacher, and scholar, the book traces the adaptations in gamelan art as a result of Western colonialism in nineteenth-century Java, showing how Western musical and dramatic practices were domesticated by Javanese performers creating hybrid Javanese-Western art forms, such as with the introduction of brass bands in gendhing mares court music and West Javanese tanjidor, and Western theatrical idioms in contemporary wayang puppet plays. The book also examines the presentation of Javanese gamelan to the West, detailing performances in World's Fairs and American academia and considering its influence on Western performing arts and musical and performance studies. The end result is a comprehensive treatment of the formation of modern Javanese gamelan and a fascinating look at how an art form dramatizes changes and developments in a culture. Sumarsam is a University Professor of Music at Wesleyan University. He is the author of Gamelan: Cultural Interaction and Musical Development in Central Java (University of Chicago Press, 1995) and numerous articles in English and Indonesian. As a gamelan musician and a keenamateur dhalang (puppeteer) of Javanese wayang puppet play, he performs, conducts workshops, and lectures throughout the US, Australia, Europe, and Asia.
Classical Music in the German Democratic Republic
Approaches the topic of classical music in the GDR from an interdisciplinary perspective, questioning the assumption that classical music functioned purely as an ideological support for the state. Classical music in the German Democratic Republic is commonly viewed as having functioned as an ideological support or cultural legitimization for the state, in the form of the so-called "bourgeois humanist inheritance." The largenumbers of professional orchestras in the GDR were touted as a proof of the country's culture. Classical music could be seen as the polar opposite of Americanizing pop culture and also of musical modernism, which was decried as formalist. Nevertheless, there were still musical modernists in the GDR, and classical music traditions were not only a prop of the state. This collection of new essays approaches the topic of classical music in the GDR from an interdisciplinary perspective, presenting the work of scholars in a number of complementary disciplines, including German Studies, Musicology, Aesthetics, and Film Studies. Contributors to this volume offer a broad examination of classical music in the GDR, while also uncovering nonconformist tendencies and questioning the assumption that classical music in the GDR meant nothing but (socialist) respectability. Contributors: Tatjana B繹hme-Mehner, Martin Brady, Lars Fischer, Kyle Frackman, Golan Gur, Peter Kupfer, Albrecht von Massow, Carola Nielinger-Vakil, Jessica Payette, Larson Powell, Juliane Schicker, Martha Sprigge, Matthias Tischer, Jonathan L. Yaeger, Johanna Frances Yunker Kyle Frackman is Assistant Professor of Germanic Studies at the University of British Columbia. Larson Powell is Professor of German at the University of Missouri-Kansas City.
The Pitchfork Review No. 6
Pitchfork continues our venture into print with Issue 6 of The Pitchfork Review. We're proud to present the sixth edition of our perfect-bound quarterly music publication, combining new long-form feature stories, photography, illustrations, and other ephemera with selected recent pieces from Pitchfork. Each issue is printed on three-four different stocks, with a soft touch coating on the French-folded cover.
Clark
Compelling from cover to cover, this is the story of one of the most recorded and beloved jazz trumpeters of all time. With unsparing honesty and a superb eye for detail, Clark Terry, born in 1920, takes us from his impoverished childhood in St. Louis, Missouri, where jazz could be heard everywhere, to the smoke-filled small clubs and carnivals across the Jim Crow South where he got his start, and on to worldwide acclaim. Terry takes us behind the scenes of jazz history as he introduces scores of legendary greats-Ella Fitzgerald, Oscar Peterson, Dizzy Gillespie, Dinah Washington, Doc Severinsen, Ray Charles, Thelonious Monk, Billie Holiday, Sarah Vaughan, Coleman Hawkins, Zoot Sims, and Dianne Reeves, among many others. Terry also reveals much about his own personal life, his experiences with racism, how he helped break the color barrier in 1960 when he joined the Tonight Show band on NBC, and why-at ninety years old-his students from around the world still call and visit him for lessons.
Willin'
The saga of the legendary Los Angeles band Little Feat is one of rock 'n' roll's great stories. Formed in 1969 by ex-members of Frank Zappa's Mothers of Invention, Little Feat created groove-heavy music that was an irresistible mix of rock, blues, R&B, country, jazz, soul, and funk. Fronted by the charismatic but doomed vocalist and brilliant slide guitarist Lowell George, the band recorded such classic studio albums as Sailin' Shoes and Dixie Chicken, as well as Waiting for Columbus, which many consider to be one of the best live albums of all time. Acclaimed journalist Ben Fong-Torres -- working with Little Feat's surviving members, their friends, and associates -- wrote Willin' based on hours of brand new interviews with the key players. The result? The first definitive biography of this beloved rock 'n' roll institution.
I Got a Name
Jim Croce, singer-songwriter of the #1 hits Bad Bad Leroy Brown and Time in a Bottle, was at the height of his career when his life was cut short in a plane crash while on tour. Just 30 years old on September 20, 1973, Jim was revered by an adoring audience for his gentle melodies and everyman demeanor. Now, for the first time, this memoir reveals the man behind the denim jackets and signature mustache, a hard-working, wry charmer who was also beset with exhaustion at the sheer magnitude of his own success. I Got a Name, told with full access to everyone who knew and loved Jim Croce, is at once a revealing portrait of a great artist and a moving love story.
Crossed Paths
"Crossed Paths" documents and explores a slice of the underground art and music scene in the Pomona Valley of California, beginning in the early 1980s and moving into the 21st Century with a particular focus on The Desperation Squad. Highlights include stories from The Warped Tour, America's Got Talent, and lead singer Kevin Ausmus's run for mayor of Pomona (the "Rock and Roll Mayor").
Legions of Boom
Armed with speakers, turntables, light systems, and records, Filipino American mobile DJ crews, such as Ultimate Creations, Spintronix, and Images, Inc., rocked dance floors throughout the San Francisco Bay Area from the late 1970s through the mid-1990s. In Legions of Boom noted music and pop culture writer and scholar Oliver Wang chronicles this remarkable scene that eventually became the cradle for turntablism. These crews, which were instrumental in helping to create and unify the Bay Area's Filipino American community, gave young men opportunities to assert their masculinity and gain social status. While crews regularly spun records for school dances, weddings, birthdays, or garage parties, the scene's centerpieces were showcases-or multi-crew performances-which drew crowds of hundreds, or even thousands. By the mid-1990s the scene was in decline, as single DJs became popular, recruitment to crews fell off, and aspiring scratch DJs branched off into their own scene. As the training ground for a generation of DJs, including DJ Q-Bert, Shortkut, and Mix Master Mike, the mobile scene left an indelible mark on its community that eventually grew to have a global impact.
The Cambridge Companion to Hip-hop
It has been more than thirty-five years since the first commercial recordings of hip-hop music were made. This Companion, written by renowned scholars and industry professionals reflects the passion and scholarly activity occurring in the new generation of hip-hop studies. It covers a diverse range of case studies from Nerdcore hip-hop to instrumental hip-hop to the role of rappers in the Obama campaign and from countries including Senegal, Japan, Germany, Cuba, and the UK. Chapters provide an overview of the 'four elements' of hip-hop - MCing, DJing, break dancing (or breakin'), and graffiti - in addition to key topics such as religion, theatre, film, gender, and politics. Intended for students, scholars, and the most serious of 'hip-hop heads', this collection incorporates methods in studying hip-hop flow, as well as the music analysis of hip-hop and methods from linguistics, political science, gender and film studies to provide exciting new perspectives on this rapidly developing field.
The Pitchfork Review No. 5
Pitchfork continues our venture into print with Issue 5 of The Pitchfork Review. We're proud to present the fifth edition of our perfect-bound quarterly music publication, combining new long-form feature stories, photography, illustrations and other ephemera with selected recent pieces from Pitchfork. Each issue has a print run of 10,000 copies, with approximately 160-208 pages per issue, sheetfed printed on three-four different stocks, with a soft touch coating on the french-folded cover.
The Nashville Sound
While on a Nieman Fellowship at Harvard, journalist and novelist Paul Hemphill wrote of that pivotal moment in the late sixties when traditional defenders of the hillbilly roots of country music were confronted by the new influences and business realities of pop music. The demimonde of the traditional Nashville venues (Tootsie's Orchid Lounge, Robert's Western World, and the Ryman Auditorium) and first-wave artists (Roy Acuff, Ernest Tubb, and Lefty Frizzell) are shown coming into first contact, if not conflict, with a new wave of pop-influenced and business savvy country performers (Jeannie C. "Harper Valley PTA" Riley, Johnny Ryles, and Glen Campbell) and rock performers (Bob Dylan, Gram Parsons, the Byrds, and the Grateful Dead) as they took the form well beyond Music City. Originally published in 1970, The Nashville Sound shows the resulting identity crisis as a fascinating, even poignant, moment in country music and entertainment history.
Bjork ARTBOOK
A celebration of the magical world of Icelandic icon Bj繹rkBj繹rk is a contemporary icon whose contributions to music, video, film, fashion and art have influenced a generation worldwide. Designed by top graphic design agency M/M as a slipcased world of wonders, this publication--which accompanies The Museum of Modern Art's spring 2015 exhibition on Bj繹rk--is composed of six parts: four booklets, a paperback and a poster. Each booklet contains illustrated texts by, respectively, curator Klaus Biesenbach, New Yorker music critic Alex Ross, British professor of musicology Nicola Dibben and the philosopher Timothy Morton (in conversation with Bj繹rk), while the poster features artwork from Bj繹rk's albums and singles. The main book focuses on her seven major albums and the personas created for each one. Poetic texts by longtime collaborator, Icelandic poet Sj籀n, are accompanied by shots of Bj繹rk performing live; multiple stills from music videos made by directors including Michel Gondry, Chris Cunningham and Spike Jonze; images of Bj繹rk in breathtaking costumes by designers such as Alexander McQueen and Hussein Chalayan; and shots by star photographers such as Nan Goldin, Juergen Teller, St矇phane S矇dnaoui, Inez van Lamsweerde & Vinoodh Matadin and Araki. All combine to form an extraordinary design masterpiece, celebrating the magical world of Bj繹rk.
25 Piazzolla Tangos for Violin and Piano
(Boosey & Hawkes Chamber Music). 25 tangos by the revolutionary tango musician and composer Astor Piazzolla, arranged for violin and piano. These crowd-pleasing tangos borrow from classical, jazz, and Latin traditions. Includes Piazzolla's most famous tangos "Libertango" and "Oblivion." Appropriate for the intermediate to early advanced player. Contents: ARTISANE 1 from A Midsummer Night's Dream AUSENCIAS (The Absent) CHANSON DE LA NAISSANCE (Song of the Birth) DANSEE (Dance) from A Midsummer Night's Dream DUO 1 from A Midsummer Night's Dream EL VIAJE (The Voyage) FRACANAPA LA CHANSON DU POPO (The Song of Popo) from Famille d'artistes LIBERTANGO LOS SUENOS (Dreams) MILONGA from A Midsummer Night's Dream MILONGA FOR THREE MILONGA PICARESQUE MUMUKI NUEVO MUNDO (New World) OBLIVION OUVERTURE from A Midsummer Night's Dream PSICOSIS (Psychosis) SENSUEL (Sensual) from Famille d'artistes SIN RUMBO (Aimless) STREET TANGO TANGO FINAL from Famille d'artistes TODO FUE (It All Was) VUELVO AL SUR (I'm Returning South)
Civic Jazz
Jazz is born of collaboration, improvisation, and listening. In much the same way, the American democratic experience is rooted in the interaction of individuals. It is these two seemingly disparate, but ultimately thoroughly American, conceits that Gregory Clark examines in Civic Jazz. Melding Kenneth Burke's concept of rhetorical communication and jazz music's aesthetic encounters with a rigorous sort of democracy, this book weaves an innovative argument about how individuals can preserve and improve civic life in a democratic culture. Jazz music, Clark argues, demonstrates how this aesthetic rhetoric of identification can bind people together through their shared experience in a common project. While such shared experience does not demand agreement--indeed, it often has an air of competition--it does align people in practical effort and purpose. Similarly, Clark shows, Burke considered Americans inhabitants of a persistently rhetorical situation, in which each must choose constantly to identify with some and separate from others. Thought-provoking and path-breaking, Clark's harmonic mashup of music and rhetoric will appeal to scholars across disciplines as diverse as political science, performance studies, musicology, and literary criticism.
Strange Way to Live
Carl Dixon's journey through the twists and turns of a music performer's life began in Northern Ontario, where his boyhood dreams, shaped by the 1960s, collided with a new musical culture.Though Carl's road was rocky, it was still paved with gold. It has led from his early days with hard rockers Coney Hatch to tours and lasting friendships with huge acts like Iron Maiden. The ups and downs were meteoric. Carl became a member of the legendary bands The Guess Who and April Wine and then faced the hardest test of all: a horrific auto collision in Australia that left him in a coma, barely clinging to life.Strange Way to Live follows Carl's progress, never faltering and sometimes comical, toward musical glory. Blind determination can lead one to some strange places. Carl's took him through some of the biggest, smallest, and weirdest scenes in this vast country, and from the glory days of Canadian rock to the present day.
The Concise Guide to Hip-Hop Music
In 1973, the music scene was forever changed by the emergence of hip-hop. Masterfully blending the rhythmic grooves of funk and soul with layered beats and chanted rhymes, artists such as DJ Kool Herc and Grandmaster Flash paved the way for an entire new genre and generation of musicians. In this comprehensive, accessible guide, Paul Edwards breaks down the difference between old school and new school, recaps the biggest influencers of the genre, and sets straight the myths and misconceptions of the artists and their music. Fans old and new alike will all learn something new about the history and development of hip-hop, from its inception up through the current day, in The Concise Guide to Hip-Hop Music.
The Eagles Faq
THE EAGLES FAQ: ALL THAT'S LEFT TO KNOW ABOUT CLASSIC ROCK'S SUPERSTARS
New York Noise
Coined in 1992 by composer/saxophonist John Zorn, "Radical Jewish Culture," or RJC, became the banner under which many artists in Zorn's circle performed, produced, and circulated their music. New York's downtown music scene, part of the once-grungy Lower East Side, has long been the site of cultural innovation. It is within this environment that Zorn and his circle sought to combine, as a form of social and cultural critique, the unconventional, uncategorizable nature of downtown music with sounds that were recognizably Jewish. Out of this movement arose bands, like Hasidic New Wave and Hanukkah Bush, whose eclectic styles encompassed neo-klezmer, hardcore and acid rock, neo-Yiddish cabaret, free verse, free jazz, and electronica. Though relatively fleeting in rock history, the "RJC moment" produced a six-year burst of conversations, writing, and music--including festivals, international concerts, and nearly two hundred new recordings. During a decade of research, Tamar Barzel became a frequent visitor at clubs, post-club hangouts, musicians' dining rooms, coffee shops, and archives. Her book describes the way RJC forged a new vision of Jewish identity in the contemporary world, one that sought to restore the bond between past and present, to interrogate the limits of racial and gender categories, and to display the tensions between secularism and observance, traditional values and contemporary concerns.
New York Noise
Coined in 1992 by composer/saxophonist John Zorn, "Radical Jewish Culture," or RJC, became the banner under which many artists in Zorn's circle performed, produced, and circulated their music. New York's downtown music scene, part of the once-grungy Lower East Side, has long been the site of cultural innovation. It is within this environment that Zorn and his circle sought to combine, as a form of social and cultural critique, the unconventional, uncategorizable nature of downtown music with sounds that were recognizably Jewish. Out of this movement arose bands, like Hasidic New Wave and Hanukkah Bush, whose eclectic styles encompassed neo-klezmer, hardcore and acid rock, neo-Yiddish cabaret, free verse, free jazz, and electronica. Though relatively fleeting in rock history, the "RJC moment" produced a six-year burst of conversations, writing, and music--including festivals, international concerts, and nearly two hundred new recordings. During a decade of research, Tamar Barzel became a frequent visitor at clubs, post-club hangouts, musicians' dining rooms, coffee shops, and archives. Her book describes the way RJC forged a new vision of Jewish identity in the contemporary world, one that sought to restore the bond between past and present, to interrogate the limits of racial and gender categories, and to display the tensions between secularism and observance, traditional values and contemporary concerns.
