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Book SynopsisThis engaging study introduces Renaissance polyphony to a modern audience. It helps readers of all ages and levels of experience make sense of what they are hearing. How does Renaissance music work? How is a piece typical of its style and type; or, if it is exceptional, what makes it so? The makers of polyphony were keenly aware of the specialized nature of their craft. How is this reflected in the music they wrote, and how were they regarded by their patrons and audiences? Through a combination of detailed, nuanced appreciation of musical style and a lucid overview of current debates, this book offers a glimpse of meanings behind and beyond the notes, be they playful or profound. It will enhance the listening experience of students, performers and music lovers alike.Trade Review'In Renaissance Polyphony Fabrice Fitch has produced a refreshingly different book from the usual survey. With a composer's eye he offers a new approach to understanding the world of Renaissance music: its composers and performers, its sources, and its genres, but above all lucid descriptions of how the music is put together. It will appeal to many kinds of readers.' Bonnie J. Blackburn, Wolfson College, Oxford'By combining solid musicology with an engaging sense of history as detective process, this book earns its place in a crowded field.' N. L. Gilbert, Choice'This book is sure to become a classic text in Renaissance music pedagogy.' Melinda Latour, Revue de musicologie'Renaissance Polyphony is a true joy and could also be profitably read by those with a prior knowledge of the music discussed who wish to gain a clearer overview of its principal stylistic features … this is a book I wish I had read as a student; I am glad to have had the chance to read it now'. Antonio Chemotti, Quellen und Forschungen aus italienischen Archiven und BibliothekenTable of Contents1. Introducing Renaissance Polyphony; 2. Making Polyphony: Sources and Practice; 3. Makers of Polyphony; 4. Pitch: An Overview; 5. Voice-names, Ranges, and Functions; 6. Mensural Notation, Duration, and Meter; 7. Genre, Texts, Form; 8. 'Cantus magnus': Music for the Mass; 9. 'Cantus mediocris': The Motet; 10. 'Cantus parvus': Secular Music; 11. Scoring, Texture, Scale; 12. Understanding Musical Borrowing; 13. Canons, Puzzles, Games; 14. Performance Practice: A Brief Introduction.

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Book SynopsisIn the tradition of Anthony Bourdain's Kitchen Confidential comes an insider's look into the cloistered world of classical music. Now a major Amazon.com TV series starring Gabriel Garcia Bernal.From her debut recital at Carnegie Hall to performing with the orchestras of Les Miserables and Miss Saigon, oboist Blair Tindall has been playing classical music professionally for over twenty-five years. She's also lived the secret life of musicians who survive hand to mouth, trading sex and drugs for low-paying gigs and the promise of winning a rare symphony position or a lucrative solo recording contract. In Mozart in the Jungle, Tindall describes her graduation from the North Carolina School of the Arts to the backbiting New York classical music scene, a world where Tindall and her fellow classical musicians often play drunk, high, or hopelessly hung-over, live in decrepit apartments, and perform in hazardous conditions. (In the cramped confines of a Broadway pit, the decibel level of one instrument is equal to the sound of a chain saw.)Mozart in the Jungle offers a stark contrast between the rarefied experiences of overpaid classical musician superstars and those of the working-class musicians. For lovers of classical music, Mozart in the Jungle is the first true, behind-the-scenes look at what goes on backstage and in the Broadway pit.Trade ReviewThis is the most candid and unsparing account of orchestral life ever to see print... Blair Tindall tells it how it is * Norman Lebrecht *Just because they dress up and play expensive instruments, classical musicians are assumed to behave with chaste propriety. Meet blonde chick in a black frock Blair Tindall, oboist and orchestra muso. Her life in the pits of Broadway, blowing for Miss Saigon and Les Mis, when not gigging at Carnegie Hall or recording for movies, was a dance macabre of performance and party, fuelled by coke, alcohol and promiscuity. -- Iain Finlayson * The Times *An hilarious exposé of the American musical world. If you want to know the sexual techniques of different orchestral sections, this is the book for you - an X-rated version of Britten's Young Person's Guide to the Orchestra ... Tindall's book is a serious attempt to take the lid off a world in which the genius in tails is underpaid, undervalued and exploited. Parents of musical children should read it carefully. -- Kate Saunders * Sunday Times *A courageous and often entertaining insight into an alien world ... riveting stuff ... Rest assured that Mozart's music will never sound the same to you again. -- Alexander Waugh * Mail on Sunday *Scathing . . . Its scandalous peek behind the decorous façade of classical music is bound to cause shock waves. -- Michael Shelden * Daily Telegraph *A frank, moving and important work... a poignant and fascinating memoir... Many fundamental questions are raised here concerning the role of music and the arts in society. For anybody who cares about the answers, this is an indispensable book. -- Clemency Burton-Hill * New Statesman *Candid and intriguing. * Observer Music Monthly *Tindall's book offers a devastating indictment of the sordid ethics of American orchestral life ... her engagingly written memoir offers a rare insight into an unpleasant, cloistered world. -- Jeremy Nicholas * Classic FM Magazine *Her description of life in the famous Allendale building . . . is delightful, as are her portraits of fellow musicians and her stories of life in the pit. -- Susan Salter Reynolds * Los Angeles Times *A cautionary tale from the trenches . . . An unsparing glimpse into that world of small triumphs, easy frustrations and surprising excess, dispensing dirty little secrets usually reserved for late-night bar talk and backstage gossip. . . . Tindall succeeds at a more ambitious goal: presenting a surprisingly through analysis and scathing critique of the classical music business. . . . This is a fascinating examination of a peculiar culture that provides so much joy while breaking so many hearts. -- Anya Grundmann * Newsday *

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Book SynopsisIn Django, Michael Dregni offers a definitive portrait of the great guitarist. Born in a gypsy caravan at a crossroads in Belgium, he overcame a childhood injury to became Europe's most famous jazz musician, commanding exorbitant feesand spending the money as fast as he made it. Dregni not only chronicles his remarkably colorful lifeincluding a fascinating account of gypsy culturebut he also sheds much light on Django's musicianship. He examines themultitude of diverse musical forms to which he applied his genius, and the people with whom he collaborated. Along the way, the author offers vivid snapshots of the jazz scene in Paris, and of Django's vagabond wanderings around France, Europe, and the United States. Capturing the extraordinary life and times of one of the great musicians of the twentieth century, Django is a must-read portrait of a true original.Trade Review"One of the most satisfying jazz biographies in recent years.... Dregni writes lyrically of a place where the crosscurrents of art, music and fashion collided to produce a cultural richness that happens only once or twice a century, if humans are lucky.... Rich and rewarding."--Baltimore Sun"Extremely informative.... An important appreciation of an oft-forgotten musician.... Dregni carefully dissects Reinhardt's virtuoso playing style without resorting to technical jargon, and he spends plenty of time tending to Reinhardt's passionate soul--artistic, gypsy and otherwise."--Mitch Myers, DownBeat"A rags-to-riches story of a unique talent whose works continue to touch aspiring guitarists of all genres."--Library Journal (starred review)"A compelling portrait of this colorful musician, one that gives equal time to Reinhardt's fascinating story as well as ample musical analysis."--JazzTimes"An encyclopedic account of the Gypsy jazzman's life and times that provides an abundance of new information, finds new connections between what was already known, and clears up many misconceptions along the way."--Guitar Player"In many ways the book jazz enthusiasts have been waiting for.... Fascinating and well-written. Dregni's musical analysis will send fans running to the stereo, digging out the old recordings and listening with fresh ears. Guitarists will have a feast reading about Django's technique and his famous Selmer Maccaferri guitar. Although Django will always be a larger-than-life figure, Dregni has given us a much clearer picture of the man behind the myth. 'Django' is, for now, the definitive biography, and we are in Dregni's debt for considerably advancing our understanding of the remarkable Django Reinhardt, his music and the world he lived in."--David French, Los Angeles Times Book Review"Dregni's biography does his complex subject justice.... His immersion in the period's history enriches his storytelling and our understanding. The panoramic results present Django Reinhardt as he has never been seen.... Dregni clarifies a lot of history while weaving an illuminated web of contexts around his subject. He vividly describes Gypsy life and mores, and anti-Gypsy bigotry; unearths new aspects of Reinhardt's life and work; discusses Parisian musette, American 'hot' jazz and bebop, and classical music; and insightfully details the music Reinhardt made and the instruments and people he made it with."--Gene Santoro, The New York Times Book Review"There was only one Django Reinhardt, and Dregni supplies a vivid, detailed portrait of the man behind the guitar.... Dregni has given us Reinhardt the man--rascal, scoundrel, transcendent improviser, failed human being."--Joel Selvin, San Francisco Chronicle"The great strength of his book is his tireless research into the world of Django's gypsy roots. He has tracked down and interviewed as many of Reinhardt's relatives as he can find, as well as older gypsies who knew and worked with him. The result is a more complete portrait of Reinhardt's inner life, including his relationships with his parents, his wife and many other women, and two sons. There is even a detailed account of the tragic fire that cost him two fingers.... Django is a remarkable book, and its outsider's perspective is part of the reason."--New York Sun"In this carefully researched biography, rich with details from interviews with family members, friends and musicians, Dregni brings legendary Gypsy jazz guitarist Django Reinhardt into the spotlight.... Dregni casts Django as a mercurial, charismatic Romany innocent, alternately transfixed by dajo life and dismissive of it. Colorful descriptions of the nightclubs of jazz-age Paris and sensitive appraisals of Django's musicianship add to the book's appeal."--Publishers Weekly"The book is alive from beginning to end, and after awhile you feel like you were there as Django's career unfolds. Dregni insures that the story behind the music will not fade. Musicians, guitarists, students of the history of WWII, and those who love a good biography will love this book."--Frank Forte, Just Jazz Guitar"Dregni...not only has managed to break into the French milieu of jazz aficionados and sects in which Django worked but has penetrated the Gypsy, or Romany, world from which Django emerged--a clannish world whose existence, well into the nineteen-fifties and sixties, was still largely furtive, outdoors, vagabond, and, occasionally, criminal. Dregni clears up the two much mystified areas of Django's life--what exactly he did during the Second World War, and what really happened on his one trip to America, in 1946--and he sorts through the music and, nice bonus, manages to suggest plots for at least three fine French movie musicals."--Adam Gopnik, The New Yorker"Uncovers the influences that helped fuse Reinhardt's unique talent and background with a developing music scene that would eventually become a lasting art form."--Vintage Guitar Magazine

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Book SynopsisIn recent years, a psychological perspective has gained increasing acceptance in the education provided to musicians: teachers, performers, and creatives alike. Research in music psychology has revealed how musicians acquire the ability to convey emotional intentions as sounded music, how listeners perceive it as feelings and moods, and how this powerful process relates to social and cultural dynamics. Of course, people who identify as musicians have special interest in these matters. A well-cited volume ever since its initial publication in 2007, Psychology for Musicians is now brought up-to-date in a second edition, particularly in expanding outside the exclusive context of Western formal/academic settings. This new edition draws on insights from recent research in music psychology, combining academic rigor with accessibility to offer readers research-supported ideas that they can readily apply in their musical activities.Trade Review^lPsychology for Musicians clearly explains the psychological connection between music and humankind. Each of the 12 chapters concludes with a series of discussion questions well suited for either the classroom or independent study. Updating the first edition, this new version includes a diverse range of musical styles and cultures while offering the most current research on the subject of music psychology. * J. J. Leary-Warsaw, The Catholic University of America, CHOICE *It is fortunate that a new generation of students and scholars will be able to benefit from the well-documented, evidence-based discussions of so many issues critical to the study of musical experience. I could imagine this book serving as a text for a number of different sorts of undergraduate and graduate courses in music- and psychology-related disciplines. * Peter Miksza, Professor of Music Education, Indiana University Jacobs School of Music *Robert Woody guides the reader through the wonderfully rich and complex processes of human musicality using the perspective of a musician and the language of a teacher. An essential resource for musicians at every level who are curious about the inner world of musical thought, behavior, and emotion. * Steven Morrison, Professor of Music, Northwestern University *Table of ContentsForeword Preface Part I Musical Learning Chapter 1 Introduction to Music Psychology Chapter 2 Development Chapter 3 Motivation Chapter 4 Practice Part II Musical Skills Chapter 5 Learning and Remembering Musical Works Chapter 6 Expressing and Interpreting Chapter 7 Composing and Improvising Chapter 8 Managing Performance Anxiety Part III Musical Roles Chapter 9 The Performer Chapter 10 The Teacher Chapter 11 The Listener Chapter 12 The User References Index

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Book SynopsisTable of ContentsList of Tables List of Figures List of Examples Introduction PART I: LANDS AND IDENTITIES 1. The Lay of the Land 2. Trouvère Identities: Rank, Status, and Geography PART II: SONG AND SPRING IN TOWN AND COUNTRY 3. In the Meadows: Feeling the Landscape through the Songs of the Knightly Trouvères 4. In the City: Landscape, Season, and Plant-Life in the Works of Cleric-Trouvères PART III: IN THE PASTURE AND THE GARDEN 5. Rural Landscapes and the Pastourelle: Boundaries, Spatial and Social 6. The Song-Space of the Garden: Performance and Privacy in the Medieval Rondet Conclusions: Nature, Culture, and Change in the Middle Ages and Beyond Acknowledgements Appendix: "Au renouveau" by Gace Brulé Manuscript and Print Sources Bibliography Song Index General Index

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Book SynopsisMusic, Communities, Sustainability, edited thoughtfully by Huib Schippers and Anthony Seeger, traces the genesis, implementation, and development of the influential 2003 UNESCO Convention on Safeguarding of the Intangible Cultural Heritage and its impact on music practices around the world. With insights from established and emerging scholars who have been there from the early beginnings to those who work with it in communities today, this book tells a riveting story that celebrates the rise in awareness that approaching music as Intangible Cultural Heritage has brought. At the same time, it critiques the discrepancies between ideologies and realities as they emerged across the globe in its first twenty years, and provides perspectives for sound futures for the planet. Gathering such varied perspectives, this essential volume tells a crucial history and expands our understanding of the possibilities and limitations of interventions in music sustainability on a global scale.Trade ReviewThis anthology is a 'must read' for those who value local and traditional music cultures in an interconnected world. It presents timely and deeply informed perspectives from scholars in ten countries on the debates and impacts of UNESCO's 2003 Convention. Their work raises crucial questions about who benefits, how traditions are both sustained and changed innovatively (though sometimes controversially), whose traditions thrive and whose are left without support when the interests of communities, nation states, and commercial enterprises vie for control. * Beverley Diamond, Memorial University of Newfoundland *A revealing book about music as Intangible Cultural Heritage (ICH) in the words of authors from different parts of the world, writing from a variety of professional perspectives and experiences. Firm understandings of the past and the present give these authors the authority to celebrate, critique, and suggest improvements for the future. * Svanibor Pettan, University of Ljubljana, ICTM President *Table of ContentsAcknowledgements Foreword--Jeff Todd Titon 1. Introduction: Approaching music as Intangible Cultural Heritage (ICH)--Anthony Seeger and Huib Schippers PART ONE: THE GENESIS OF THE ICH CONVENTION 2. Recognizing Intangible Cultural Heritage--Richard Kurin 3. Modalities for community participation in implementing the UNESCO ICH Convention--Noriko Aikawa-Fauré 4. Definitions related to the safeguarding of living culture: Words matter--Wim van Zanten (summary; full text available on companion website) 5. Reclaiming community agency in managing Intangible Cultural Heritage: Paperwork, people, and the potential of the public voice--Naila Ceriba%si'c PART TWO: THE ICH CONVENTION IN ACTION 6. The "ICH Movement" in China: The Status of Traditional Musics after ICH Certification--XIAO Mei & YANG Xiao 7. UNESCO-based and UNESCO-free: Governmental and Non-Governmental Efforts for Safeguarding Intangible Cultural Heritage--Olcay Muslu 8. Community Engagement as a Site of Struggle: UNESCO Conventions, Intangible Cultural Heritage, and State Agendas--Tan Sooi Beng 9. There Is No Price for That: UNESCO as Translator Between Conflicting Value Systems in Guatemala--Logan Elizabeth Clark 10. Sustainability, Agency, and the Ecologies of Music Heritage in Alentejo, Portugal--Salwa El-Shawan Castelo-Branco PART THREE: FUTURE PERSPECTIVES 11. Reading ICH in Cultural Space: China's National Cultural Ecosystem (Experimental) Conservation Areas--GAO Shu 12. Archives, Technology, Communities, and Sustainability: Overcoming the Tragedy of Humpty Dumpty--Anthony Seeger (summary; full text available on companion website) 13. Mapping Musical Vitality: A Comparative Approach to Identifying Musical Heritage in Need of Safeguarding--Catherine Grant 14. Working Musically Through Crisis: What Will It Take to Push for a Sound(er) Future for Haiti?--Rebecca Dirksen

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Book SynopsisTable of ContentsIntroduction Philip Ross Bullock Permissions and Credits Acknowledgments Note on Transliteration and Dating MOSCOW AND MODERNITY Reading the Popular Pessimist: Thought, Feeling, and Dance in Rachmaninoff’s Symphonic Narrative Peter Franklin Sergei Rachmaninoff and Moscow Musical Life Rebecca Mitchell Love Triumphant: Rachmaninoff’s Eros, the Silver Age, and the Middlebrow Marina Frolova-Walker Rachmaninoff and the “Vocalise”: Word and Music in the Russian Silver Age Philip Ross Bullock THREE OPERAS Tchaikovsky’s Echoes, Chaliapin’s Sobs: Aleko, Rachmaninoff, and the Contemporary Emily Frey Rachmaninoff’s Miserly Knight (On Money, Honor, and the Means to Create) Caryl Emerson Burning for You: Rachmaninoff’s Francesca da Rimini Simon Morrison NEW WORLDS Rachmaninoff and the Celebrity Interview: A Selection of Documents from the American Press Selected and Edited by Philip Ross Bullock The Eighteenth Variation Steve Swayne “One of the Outstanding Musical Events of All Time”: The Philadelphia Orchestra’s 1939 Rachmaninoff Cycle Christopher H. Gibbs “The Case of Rachmaninoff”: The Music of a White Emigré in the USSR Marina Raku, translated by Jonathan Walker Aesthetic Ambition and Popular Taste: The Divergent Paths of Paderewski, Busoni, and Rachmaninoff Leon Botstein Index Notes on the Contributors

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Book SynopsisKnown affectionately as The Red Book, Bruno Nettl's The Study of Ethnomusicology became a classic upon its original publication in 1983. Scholars and students alike have hailed it not just for its insights but for a disarming, witty style able to engage and entertain even casual readers while providing essential grounding in the field. In this third edition, Nettl revises the text throughout, adding new chapters and discussions that take into account recent developments across the field and reflecting on how his thinking has changed or even reversed itself during his sixty-year career. An updated bibliography rounds out the volume. A classroom perennial and a must-have for any scholar's bookshelf, the third edition of The Study of Ethnomusicology introduces Nettl's thought to a new generation.Trade Review"The Study of Ethnomusicology is a gift to the field, authored by one of the few scholars--a true giant--capable of such a monumental, broadly focused treatise." --Journal of Folklore Research"Anyone who has ever opened a book to study music will be fascinated with this latest from the indefatigable Bruno Nettl. . . . Nettl covers all the issues, concepts, and controversies of the now well-established field as only he can. Highly recommended."--Choice "An amazing repository of information recounted from texts and others sources, as well as from Nettl's own work and personal interpretations of events, relationships, ideas, directions, and experiences over the course of the history of the discipline. . . Overall, the text provides an excellent historical account of the discipline: it issues, concepts, ideas, methods, terminology, and seminal (and other) scholars." --Notes

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Book SynopsisThe all-embracing, whaddya got? nature of rebellion in Fifties America included pop music's unlikely challenge to entrenched notions of masculinity. Within that upheaval, four prominent artists dared to behave in ways that let the public assumebut not seetheir queerness. That these artists cultivated ambiguous sexual personas often reflected an understandable fear, but also a struggle to fulfill personal and professional expectations. Vincent L. Stephens confronts notions of the closetboth coming out and staying inby analyzing the careers of Liberace, Johnny Mathis, Johnnie Ray, and Little Richard. Appealing to audiences hungry for novelty and exoticism, the four pop icons used performance and queering techniques that ran the gamut. Liberace's flamboyance shared a spectrum with Mathis's intimate sensitivity while Ray's overwrought displays as Mr. Emotion seemed worlds apart from Little Richard's raise-the-roof joyousness. As Stephens shows, the quartet not only thrived in an era of graTrade Review"Scholars interested in queer history, music history, race, and American popular culture generally will therefore learn much from this excellent book." --Journal of the History of SexualityAn Advocate Best Queer Non-Fiction Book of 2019 "Stephen's Rocking the Closet investigates how contemporary queer stars such as Little Richard navigated the mid-twentieth-century popular music landscape and, as important, how observers reacted to their unconventional gender presentation. . . . Stephens should be commended for the diverse range of primary sources marshalled in his study. . . . Rocking the Closet presents students and practitioners of queer cultural history, as well as those studying post-war cultural history, with fresher methods of examining popular culture and its legacies." --Cultural History"Distinguished by excellent writing Rocking the Closet achieves the admirable goal of being both a sound scholarly work and accessible to readers from all walks of life. It raises provocative ideas and arguments, challenging entrenched ways of thinking about the history of queerness in postwar America." --Notes "Well-argued and thoughtful." --Arts Fuse "Rocking the Closet is a worthy contribution to better understanding the queering of postwar masculine identities and popular music. . . . As the barriers between folk and popular cultures continue to be dismantled, scholarship such as Rocking the Closet follows an interdisciplinary trajectory that will satisfy scholars across disciplines." --Western Folklore "The spirit of Rocking the Closet is enjoyed in how deftly Stephens illuminates those nuances. He is as lucid about the music as about the cultural moment, the entertainment business, and the lives of the musicians." --On the Seawall "The contemporary mainstream LGBT narrative claims that artists should out themselves for the greater good. But Rocking the Closet makes a persuasive case that 'open secrecy' helped make stars of Little Richard, Liberace, Johnny Mathis, and Johnny Ray in the decades prior to and after Stonewall. These (until now) academically under-examined, yet enormously successful and influential musicians used the surprising leeway of the glass closet to develop artistic personae that were both appealing and ambiguous, leading to commercial success that rivals that of our current musicians. Stephens' insightful intersectional book will liven the debate in identity and popular culture scholarship!"--Shana Goldin-Perschbacher, Temple University

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Book SynopsisToday, the names Bach and Mozart are mostly associated with Johann Sebastian Bach and Wolfgang Amadeus Mozart. But this volume of Bach Perspectives offers essays on the lesser-known musical figures who share those illustrious names alongside new research on the legendary composers themselves. Topics include the keyboard transcriptions of J. S. Bach and Johann Gottfried Walther; J. S. Bach and W. A. Mozart's freelance work; the sonatas of C. P. E. Bach and Leopold Mozart; the early musical training given J. C. Bach by his father and half-brother; the surprising musical similarities between J. C. Bach and W. A. Mozart; and the latest documentary research on Mozart's 1789 visit to the Thomasschule in Leipzig. An official publication of the American Bach Society, Bach Perspectives, Volume 14 draws on a variety of approaches and a broad range of subject matter in presenting a new wave of innovative classical musical scholarship. Contributors: Eleanor Selfridge-Field, Yoel Greenberg, NoellTrade Review"It is a major challenge to do justice to the topic of Bach and Mozart and nearly impossible to fulfill the expectations of a book so entitled. Nevertheless, each of the six conference papers that make up the present volume (originally presented at the joint meeting of the American Bach and Mozart Societies at Stanford in 2019) add fresh and illuminating facets to the big picture of the two composers and their interrelationship."--Christoph Wolff, Bach's Musical Universe: The Composer and His WorkTable of ContentsPreface AbbreviationsThe Keyboard Transcriptions of J. S. Bach and J. G. Walther BY ELEANOR SELFRIDGE-FIELDPrecedents for the “Secondary Development” from Bach to Mozart and Their Implications for Understanding Early Sonata Form 23 BY YOEL GREENBERGA Pursuit of Wealth: The Freelance Endeavors of Bach and Mozart BY NOELLE M. HEBERJohann Christian Bach’s German Heritage BY STEPHEN ROEMozart, J. C. Bach, and the Bach Tradition BY DAVID SCHULENBERGDoles and the Prefect of the Choir: New Observations on Mozart’s Visit to the Thomasschule BY MICHAEL MAULContributorsGeneral IndexIndex of Works

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Book Synopsis Sweet Air rewrites the history of early twentieth-century pop music in modernist terms. Tracking the evolution of popular regional genres such as blues, country, folk, and rockabilly in relation to the growth of industry and consumer culture, Edward P. Comentale shows how this music became a vital means of exploring the new and often overwhelming feelings brought on by modern life. Comentale examines these rural genres as they translated the traumas of local experience--the racial violence of the Delta, the mass exodus from the South, the Dust Bowl of the Texas panhandle--into sonic form. Considering the accessibility of these popular music forms, he asserts the value of music as a source of progressive cultural investment, linking poor, rural performers and audiences to an increasingly vast network of commerce, transportation, and technology. Trade Review"In this eloquently written book Edward P. Comentale accomplishes what he sets out to do--'to disentangle vernacular music from certain romantic myths of origin and identity and explore its inherent modernism.' Highly personal, erudite, and informed, Sweet Air: Modernism, Regionalism, and American Popular Song is an original and important contribution."--The Journal of Southern History "With the potential to be enormously influential, Sweet Air addresses American popular song as a whole while offering a compelling reinterpretation of the rise of pop music as an expansion of vernacular modernism. This book will be warmly received by a wide variety of scholars in American studies, southern studies, musicology, and popular music."--Diane Pecknold, author of The Selling Sound: The Rise of the Country Music Industry "Sweet Air is brilliant in its way of tracing the commercial genres of popular music from their purported regionalism to a deterritorialization made possible by modern technology. An original and engaging argument about regionalism and modernity." --Barbara Ching, author of Wrong's What I Do Best: Hard Country Music and Contemporary Culture "In his second book, Edward Comentale revisits and reconceptualizes some obscure portions of American popular music. . . .It aptly highlights the dynamics opposing mainstream culture and regional cultures in the US. . . . No one can deny this author is passionate about early American music from the South."--Journal of American Culture"An impressive treatment of modern American popular song, marking a definite advance on celebrations of blues primitivism and inventions of a mythical musical past."--European Journal of Communication“This profound intervention expands the appreciation of modernism and cuts through the layers of mythology and romanticization that still cloud broader understandings of American vernacular music. . . . A significant and engaging achievement.”--Rock Music Studies "Aptly highlights the dynamics opposing mainstream culture and regional cultures in the US. It is clear Comentale knows very well the American music he comments and loves."--Journal of American Culture

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Book SynopsisA first-of-its-kind history, The Mormon Tabernacle Choir tells the epic story of how an all-volunteer group founded by persecuted religious outcasts grew into a multimedia powerhouse synonymous with the mainstream and with Mormonism itself. Drawing on decades of work observing and researching the Mormon Tabernacle Choir, Michael Hicks examines the personalities, decisions, and controversies that shaped America''s choir. Here is the miraculous story behind the Tabernacle''s world-famous acoustics, the anti-Mormonism that greeted early tours, the clashes with Church leaders over repertoire and presentation, the radio-driven boom in popularity, the competing visions of rival conductors, and the Choir''s aspiration to be accepted within classical music even as Mormons sought acceptance within American culture at large. Everything from Billboard hits to TV appearances to White House performances paved the way for Mormonism''s crossover triumph. Yet, as Hicks shows, such success raised Trade ReviewFinalist, Utah Book Award for Nonfiction, Utah Center for the Book, 2016. Honorable Mention, Best Biography, Mormon History Association, 2016. “Mormon history written by Mormons can be pretty dry, but Mr. Hicks, a professor of music at Brigham Young University, is funkier than your average saint. . . .the anecdotes alone are worth the price of the book.”--The Wall Street Journal "Tracking the choir from its humble beginnings in 1836 to moves into radio, international touring, and TV and film appearances, the material is as expansive in scope as the choir's reach has become. . . . Intriguing."--Library Journal "A well-done biography that best highlights the historical aspects of the growth of the choir and the vision of its several directors."--Association for Mormon Letters "While the historical information is well presented and highly engaging, it is the story of the choir's intersection with American society and culture, and Hicks' ability to bring out these nuances, that make this book a brilliant read."--The Journal of the Association of Anglican Musicians“Hicks documents plenty of intrigue in the leadership, mission and repertoire of ‘America's choir,’ . . . . this history is more provocative than readers may suspect.”--Kirkus Reviews "The Mormon Tabernacle Choir: A Biography is the most accessible and authoritative history of this unique musical ensemble yet published. . . . Required reading not only for Mormons and musicians, but for anyone who wants to learn about the realities of world-class music making in a hierarchal religious community."--Mormon Studies Review "This fascinating, honest account should find many eager readers among the Mormon Tabernacle Choir's millions of fans. Michael Hicks combines the accuracy of a fine historian with the sensitivity of a judicious music critic." --Daniel Walker Howe, Pulitzer-Prize-winning author of What Hath God Wrought: The Transformation of America, 1815–1848 "An invaluable retelling of one of America's most vibrant and important musical institutions." --Eric Whitacre "A fascinating history of the wonderful Mormon Tabernacle Choir. Michael Hicks traces the story of this great ensemble from its early days to its current status as one of the world's great choirs. He highlights the remarkable dedication and musicianship of the choir members through the years, and the leadership and vision of the conductors." --David Hurley, member of The King's Singers

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Book SynopsisA Pitchfork Best Music Book of 2022When Tom Breihan launched his Stereogum column in early 2018, The Number Ones-a space in which he has been writing about every #1 hit in the history of the Billboard Hot 100, in chronological order-he figured he''d post capsule-size reviews for each song. But there was so much more to uncover. The column has taken on a life of its own, sparking online debate and occasional death threats.The Billboard Hot 100 began in 1958, and after four years of posting the column, Breihan is still in the early aughts. But readers no longer have to wait for his brilliant synthesis of what the history of #1s has meant to music and our culture. In The Number Ones, Breihan writes about twenty pivotal #1s throughout chart history, revealing a remarkably fluid and connected story of music that is as entertaining as it is enlightening.The Numbers Ones features the greatest pop artists of all time, from the Brill

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Book SynopsisUnder the dictatorships of the twentieth century, music never ceased to sound. Even when they did not impose aesthetic standards, these regimes tended to favour certain kinds of art music such as occasional works for commemorations or celebrations, symphonic poems, cantatas and choral settings. In the same way, composers who were more or less ideologically close to the regime wrote pieces of music on their own initiative, which amounted to a support of the political order. This book presents ten studies focusing on music inspired and promoted by regimes such as Nazi Germany, Fascist Italy, France under Vichy, the USSR and its satellites, Franco's Spain, Salazar's Portugal, Maoist China, and Latin-American dictatorships. By discussing the musical works themselves, whether they were conceived as ways to provide music for the people, to personally honour the dictator, or to participate in State commemorations of glorious historical events, the book examines the relationship betwTrade Review'Ten fascinating narratives are presented here about the function of state music in a wider range of twentieth-century dictatorships. An international roster of distinguished authors ensures the most detailed study of this subject thus far. This unique volume clarifies how music was used to present the public face of state sanctioned propaganda.' - Patricia Hall, University of Michigan, USA'These essays, surveying musical works that span five decades and three continents, shed light on creations generally overlooked by virtue of their being "tainted" because they were commissioned by dictatorships. Instead of shunning these works, the essays explore the complex interactions of the state, the composers, and the public and offer new paths toward dissecting notions of creative autonomy in the twentieth century.' - Pamela Potter, University of Wisconsin-Madison, USA"Composing for the State [offers] ten case studies grounded in original research on the subject of music and twentieth-century dictatorships. Geographically, the scope is also wider, encompassing work not just on Europe but also on Latin America and China. And yet, its central question is not too far removed from Riley and Smith’s: How do we understand music commissioned by the state when that state is a dictatorship? In their introduction, the editors usefully suggest that these compositions should not simply be written off as propaganda. Instead, we should explore them, their genesis, and their reception both to enrich our comprehension of cultural life and net-works under dictatorships and, more broadly, to investigate further music’s role in the construction and perseverance of such political regimes." - Anthony J. Steinholff, Université du Québec à Montréal, Canada"...the chapters in this collection help to set the record straight about the relationship between music and politics in an admirable number of contexts." -Lindsay Carter, University of Bristol"While many readers will wish to consult this book for its rather specialist case studies (aided by the detailed index), the most pertinent of the chapters here raise questions that can be traced across decades of scholarship. Buch’s and Frolova-Walker’s chapters stand out as particularly urgent contributions, raising questions that help to show the potential scope of this area of enquiry. " -Daniel Elphick, Oxford Academic'Ten fascinating narratives are presented here about the function of state music in a wider range of twentieth-century dictatorships. An international roster of distinguished authors ensures the most detailed study of this subject thus far. This unique volume clarifies how music was used to present the public face of state sanctioned propaganda.' - Patricia Hall, University of Michigan, USA'These essays, surveying musical works that span five decades and three continents, shed light on creations generally overlooked by virtue of their being "tainted" because they were commissioned by dictatorships. Instead of shunning these works, the essays explore the complex interactions of the state, the composers, and the public and offer new paths toward dissecting notions of creative autonomy in the twentieth century.' - Pamela Potter, University of Wisconsin-Madison, USA"...the chapters in this collection help to set the record straight about the relationship between music and politics in an admirable number of contexts." -Lindsay Carter, University of BristolTable of ContentsEsteban Buch, Igor Contreras Zubillaga and Manuel Deniz Silva – ‘State Music’ and Dictatorship: an IntroductionPart 1: Music for the People1. Yannick Simon Music and the Vichy Regime through Jeune France’s Three Joan-of-Arc Productions (1941)2. Analía Chernavsky The ‘Dança da Terra' Issue’ (1943): Heitor Villa-Lobos and the Vargas Dictatorship3. Hon-lun Yang Unravelling The East Is Red (1964): Socialist Music and Politics in the People’s Republic of ChinaPart 2: Composing for the Dictator4. Katherine L. FitzGibbon (Lewis&Clark College, Portland) – Gottfried Müller’s Deutsches Heldenrequiem (1934): Nazi Ideology Cloaked in Historic Style5. Justine Comtois Alfredo Casella’s Il deserto tentato (1937): an Opera Dedicated to Benito Mussolini6. Marina Frolova-Walker A Birthday Present for Stalin: Shostakovich’s Song of the Forests (1949)7. Andrzej Tuchowski ‘State music’ in Poland under the Stalinist Regime: Alfred Gradstein’s Cantata A Word about Stalin (1951)Part 3: State Commemorations8. Manuel Deniz Silva Salazar’s dictatorship and the paradoxes of State music: Luís Freitas Branco’s ill-fated Solemn Overture 1640 (1939)9. Igor Contreras Zubillaga El Concierto de la Paz (1964): Three Commissions to Celebrate 25 Years of Francoism10. Esteban Buch Conquistadores, Indians, and Argentine Generals: Iubilum op. 51, a Commission to Alberto Ginastera (1980).Index

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Book SynopsisTrade Review"Startling insights on every page."---Henrietta Bredin, Country Life Magazine"A provocative and beautiful collection of twenty-six often deeply personal essays. . . . The works in Ways of Hearing point to the magic in music . . . its ability to enrich and affirm life, to express depths that words cannot reach, to provide hope and healing, and perhaps most importantly, to connect us to other people, near and far, and to all that exists and moves around us. . . . The volume . . . is a pleasure."---Thomas M. Kitts, Popular Music and Society"Across the 26 easily digestible essays that span subjects from Olivier Messiaen to Charles Mingus, this book gives the reader a unique insight into the role music plays in the lives of some of the world’s great artists and thinkers."---Angus McPherson, Limelight Magazine

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Book SynopsisWoody Guthrie kept moving throughout his life, making friends, soaking up influences, and writing about his experiences. Along the way, he produced more than 3,000 songs, as well as fiction, journalism, poetry, and visual art. Will Kaufman examines the artist's career through the perspective of time and place in Guthrie's artistic evolution.Trade ReviewMapping Woody's travels as a way of revealing the impact of time and place on his work is a journey few are qualified to undertake. The reader is in good hands as Will Kaufman guides us along Woody's road and his path across the seas to explore the places and spaces that inspired America's greatest balladeer."" - Deana McCloud, Executive Director, Woody Guthrie Center""We always knew Woody was a 'travelin' man,' but Will Kaufman shows us so much more. Movement across space and through time enriched Guthrie by providing him - and by extension, us - the multiple vantage points through which to view and understand America at mid-twentieth century. Our preeminent Woody Guthrie scholar delivers yet again."" - Brian Hosmer, H. G. Barnard Chair of Western American History, University of Tulsa

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Book SynopsisShows how the album - "Use Your Illusion" - has matured into a work whose baroque excesses have something to teach us about pop and the platforms it raises and lowers, about a man who suddenly found himself praised to the firmament for every character trait that had hitherto marked him as an irredeemable loser.Trade ReviewAn astute scholar of the pop marketplace as well as of pop music, Eric Weisbard tackles Guns N’ Roses’ 1991 double album Use Your Illusion … choosing to write first about how it exists in the pop cultural landscape—both as a conservative inversion of rock’s countercultural aims and as a colossal monument that closed out the 1980s and ushered in the alternative ‘90s … ultimately and begrudgingly respects the band’s ridiculously outsize ambitions. -- Stephen M. Deusner * Pitchfork *

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Book SynopsisA survey of the influence of the Arthurian legends on musical works.King Arthur in Music is the first book to be devoted to the subject. The range of musical material is too wide for a single author to tackle satisfactorily, and the nine contributors to this volume are experts in the very different fields involved. The first essay, by Robert Shay, deals with the late seventeenth century semi-opera King Arthur, while the final essay by William Everitt looks at the appearances of Arthur on stage and screen and the scores that have accompanied these. Between these two extremes, the main body of the book deals largely with opera as we now understand it, from Wagner's 'Tristan' and 'Parsifal' to Harrison Birtwistle's 'Sir Gawain and the GreenKnight'. Some works have never been performed, such as Hubert Parry's 'Guenever' and Rutland Boughton's Arthurian cycle, while others have only recently been staged or revived, such as Isaac Albeníz's 'Merlin' and Ernest Chausson's 'Le roi Artus', both striking post-Wagnerian works in very different styles: 'Merlin', for instance, begins with a passage based on Gregorian chant. The range of music is therefore wider than one might at first suspect, and other aspects of Arthurian music are brought out in the introduction, which is a general survey of the field, and in Jerome V.Reel's comprehensive listing of Arthurian musical items which is printed as an appendix. Contributors ROBERT ADLINGTON, RICHARD BARBER, WALTER A. CLARK, JEREMY DIBBLE, WILLIAM A. EVERITT, TONY HUNT, MICHAEL HURD, JEROME V. REEL, NIGEL SIMEONE, ROBERT SHAY, DEREK WATSON.Trade ReviewNine authoritative essays... a very important book, a landmark for all future research in the area. ARTHURIANA This innovative collection adds a new dimension to Arthurian Studies. * MEDIUM AEVUM *Table of ContentsDryden and Purcell's King Arthur: Legend and Politics on the Restoration Stage - Robert Shay Wagner: Tristan and Isolde and Parsifal - Derek Watson Parry's Guenever: Trauma and Catharsis - Jeremy Dibble King Arthur and the Wagner Cult in Spain: Isaac Albéniz's Opera Merlin - Walter Clark Ernest Chausson's Le Roi Arthus - Tony Hunt Rutland Boughton's Arthurian Cycle - Michael Hurd An Exotic Tristan in Boston: the first performance of Messiaen's Turangalîla-Symphonie - 'Good lodging': Harrison Birtwistle's reception of Sir Gawain and the Green Knight - Robert Adlington King Arthur in Popular Musical Theatre and Film - William A Everett A Listing of Arthurian Music - Jerome V Reel

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Book SynopsisIgor Stravinsky's strikingly original compositions continue to fascinate scholars and music-lovers across the globe. This volume brings together a collection of 35 short, specially commissioned essays that illuminate the varied contexts from which emerged Stravinsky's impressive catalogue of innovative and richly creative music.Trade Review'a fascinating read for more-seasoned musicians … Recommended.' M. Neil, Choice ConnectTable of ContentsPreface; List of Contributors; List of Abbreviations; Part I. Russia and Identity: 1. Memory and truth: Stravinsky's childhood (1882-1901) Catriona Kelly; 2. Religion, life and death in St Petersburg Natalia Braginskaya; 3. Kashperova and Stravinsky: the making of a concert-pianist Graham Griffiths; 4. Reminiscences of Rimsky-Korsakov, his family and artistic circle Lidia Ader; 5. Orthodoxies and unorthodoxies: Stravinsky's spiritual journey Ivan Moody; 6. The Russian soul Rowan Williams; Part II. Stravinsky and Europe: 7. Sergei Diaghilev and Stravinsky: from world of art to ballets russes John E. Bowlt; 8. Paris and the Belle Époque Davinia Caddy; 9. Paris, Art Deco, and the spirit of Apollo Jonathan Cross; 10. Stravinsky's Spain: fan or mirror? Graham Griffiths; 11. 'It is Venice that he loves…' Mauricio Dottori; Part III. Partnerships and Authorship: 12. Stravinsky's sphere of influence: Paris and beyond Inessa Bazayev; 13. Stravinsky and his literary collaborators Maureen Carr; 14. Assuming co-authorship: Stravinsky and his 'ghost-writers' Valérie Dufour; 15. Nadia Boulanger and Stravinsky: the transition to America Kimberly Francis; 16. Conversations with Craft Anna Schmidtmann; Part IV. Performance and Performers: 17. Challenges to realism and tradition: Stravinsky's modernist theatre Massimiliano Locanto; 18. Igor Stravinsky and ballet as modernism Stephanie Jordan; 19. Stravinsky's ear for instruments Chris Dromey; 20. Towards a conductor-proof ideal Hannah Baxter; 21. The pianist in the recording studio: re-imagining interpretation Daniel Barolsky; 22. The legacy of Stravinsky as recorded history Per Dahl; Part V. Aesthetics and Politics: 23. Stravinsky versus literature Emily Frey; 24. Stravinsky and Greek antiquity Katerina Levidou; 25. Stravinsky's response to 'Japonisme' Mai Ikehara; 26. Stravinsky, modernism and mass culture Ross Cole; 27. Perspectives on Schoenberg and Stravinsky: Adorno and others Alan Street; 28. Stravinsky's 'problematical' political orientation during the 1920s and 1930s Erik Levi; Part VI. Reception and Legacy: 29. The Apollonian clockwork re-wound Elmer Schönberger; 30. Stravinsky reception in the USSR Philip Ewell; 31. The Stravinsky/Craft conversations in Russian and their reception Olga Manulkina; 32. Publishing Stravinsky Nigel Simeone; 33.Copyright, the Stravinsky estate, and the Paul Sacher foundation Heidy Zimmermann; 34. Evoking the past, inspiring the future Lynne Rogers; 35. 'Music is, by its very essence, powerless to express anything at all' Daniel K L Chua; Index.

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Book SynopsisStudents of pop music and pop culture as well as fans who have loved the music since it came into being will gain valuable insight into this genre of the 1970s and 1980s. Listen to New Wave Rock!: Exploring a Musical Genre contains background on new wave music in general, with an overview and history of new wave rock in particular. While the bulk of the book is devoted to analysis of 50 must-hear musical examples, which include artists, songs, and albums, the book also explores how this genre of the late 1970s and 1980s came into being, musical influences on the genre, and how the genre influenced later generations of artists. Additional chapters analyze the impact of new wave rock on American popular culture and the legacy of new wave music, including how the music is still used today in film and television soundtracks and in television commercials.The combination of detailed examination of specific artists, songs, and albums and discussion of background, legacy, and impact diTrade Review. . .written with authority, but succeeds at its goal of being accessible. It will be a useful addition to public and school library collections or other settings where a general introduction to new wave is desired. * ARBA *Table of ContentsSeries Foreword Preface 1 Background 2 Must-Hear Music The B-52's: "Rock Lobster" The Bangles: "Manic Monday" Blondie: "Heart of Glass" Blondie: "One Way or Another" The Buggles: "Video Killed the Radio Star" The Cars: "Just What I Needed" The Cars: "My Best Friend's Girl" The Cars: "Shake It Up" The Clash: "London Calling" Elvis Costello: "Pump It Up" Elvis Costello: "(What's So Funny 'bout) Peace, Love, and Understanding" Culture Club: "Karma Chameleon" Depeche Mode: "Just Can't Get Enough" Devo: "Whip It!" Dire Straits: "Sultans of Swing" Thomas Dolby: "She Blinded Me with Science" Duran Duran: "Hungry Like the Wolf" Eurythmics: "Sweet Dreams (Are Made of This)" A Flock of Seagulls: "I Ran (So Far Away)" The Go-Go's: Beauty and the Beat Haircut One Hundred: "Favourite Shirts (Boy Meets Girl)" The Human League: "Don't You Want Me" Joe Jackson: "Is She Really Going Out with Him?" The Jam: "In the City" Katrina and the Waves: "Walking on Sunshine" The Knack: "My Sharona" Cyndi Lauper: She's So Unusual Nick Lowe: "I Knew the Bride (When She Used to Rock and Roll)" Men at Work: "Down Under" Men at Work: "Who Can It Be Now?" Naked Eyes: "Always Something There to Remind Me" New Order: "Blue Monday" Orchestral Manoeuvres in the Dark: "Messages" The Police: "Don't Stand So Close to Me" The Police: "Every Breath You Take" The Pretenders: "Brass in Pocket (I'm Special)" Prince: "I Could Never Take the Place of Your Man" Psychedelic Furs: "Love My Way" The Ramones Spandau Ballet: "True" The Specials: "A Message to You, Rudy" Split Enz: "I Got You" Squeeze: "Cool for Cats" The Stranglers: "No More Heroes" The Stray Cats: "Rock This Town" Talking Heads: "Burning Down the House" Talking Heads: "Life during Wartime" Talking Heads: "Once in a Lifetime" Tears for Fears: "Everybody Wants to Rule the World" Television: Marquee Moon 3 Impact on Popular Culture 4 Legacy Bibliography Index

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Book SynopsisMost classical musicians, whether in orchestral or ensemble situations, will have to face a piece by composers such as Ligeti, Messiaen, Varèse or Xenakis, while improvisers face music influenced by Dave Holland, Steve Coleman, Aka Moon, Weather Report, Irakere or elements from the Balkans, India, Africa or Cuba. Rafael Reina argues that today's music demands a new approach to rhythmical training, a training that will provide musicians with the necessary tools to face, with accuracy, more varied and complex rhythmical concepts, while keeping the emotional content. Reina uses the architecture of the South Indian Karnatic rhythmical system to enhance and radically change the teaching of rhythmical solfege at a higher education level and demonstrates how this learning can influence the creation and interpretation of complex contemporary classical and jazz music. The book is designed for classical and jazz performers as well as creators, be they composers or improvisers, and is a clear Trade Review"This important study provides a comprehensive view of one of the richest rhythmic traditions in the world. Built on sustained experiential learning, Karnatic rhythm provides an almost scientific investigation of rhythmic possibility, something which, through dedication and long study, Rafael Reina is especially able to convey and invoke. His is a study from a Western musician, and the double benefit of this book is that he is then able to demonstrate the efficacy and inspiration that a Karnatic approach to rhythm and rhythmic structure can bring to Western music, showing both how it can enhance performance and learning techniques, and also be a source for the composer of intriguing and reframing compositional devices." Peter Wiegold, Brunel University, UK"It is impossible to discuss the whole content of this extensive work here, but this is unmistakably a book you can continue to read for many years with great pleasure, to either improve yourself or be inspired by new creative ideas." David de Marez Oyens, de Bassist Magazine"Applying Karnatic Rhythmical Techniques to Western Music is an ambitious book. In less than 500 pages, Rafael Reina is able to present dozens of Karnatic techniques, explain how to practice them, and show how they can be applied to learning and creating rhythmically advanced music, giving composers, improvisers, and other musicians a great array of tools. Furthermore, Reina’s work allows readers to access all of this information without needing to become fluent in a different language or having to learn a new instrument…The second part of the book centers on applying Karnatic techniques to performing and composing Western music. The first chapter analyzes works from composers such as Brian Ferneyhough, Vijay Iyer, György Ligeti, John McLaughlin, Iannis Xenakis, and Frank Zappa, organizing them according to the rhythmic procedures featured in the piece. Although many of the excerpts were written by composers with no knowledge of Indian music, the use of Karnatic techniques to describe these works is not forced, as the similarities with the rhythmic devices explored in the first section are obvious. Here, Reina’s thesis shines by showing how the study of Karnatic music is a great aid when dealing with complex compositions, even if their relationship with Indian music is unintended. The second chapter presents three pieces by Reina’s students with commentaries from both the author and the composers. Complete scores are included for all three works and the Karnatic techniques utilized are listed and explained. This chapter showcases how the rhythmic devices featured in the book can be integrated into Western music in a variety of different ways. Each composer has a distinct approach, but none of them seem interested in Karnatic music for its exotic flavor; most listeners probably would not hear any Indian influence. In the commentaries, the students express how Reina’s program has given them a more cohesive method for working with complex rhythms, which has also improved their music’s playability". Echo: A Music-Centered Journal, Volume 15.1 (2019)‘I am convinced that the rhythmical concepts I learned from the Advanced Rhythm programme , crystallised in the book Applying Karnatic rhythmical techniques to western music gave me an advantage while preparing for the International Gaudeamus competition, for which I won the 1st prize in 1996. My private instrumental instruction with Harrie Starreveld was of course a huge inspiration, support and guidance. But instrumental instructors do not follow you into the practice room. What follows you are concepts you pick up on how to practice and approach music. Since I was deep into the ideas from the programme, I found ways to dissect complex rhythms from the perspective of Karnatic rhythmical structures and make studies out of difficult passages using Karnatic improvisational methods.’ Helen Bledsoe, flute player with MusikFabriek (Cologne)‘In my various capacities as former percussionist and also as conductor of both instrumental ensembles and choirs throughout Europe I am constantly struck by the inadequacies of the majority of western musicians in the domain of rhythm. That goes especially for all the professional singers with whom I work regularly today - to a lesser extent for the instrumentalists and to a lesser extent still for the percussionists - but even the very finest of today's European, Japanese and American percussionists still have an awful lot to learn from the phenomenal traditions in the percussive arts of India, Iran and the Middle East. In his ground-breaking book, Applying Karnatic Rhythmical Techniques to Western Music, Rafael Reina has not only provided an in-depth study of Karnatic rhythmics and its history, but he has also taken the crucial extra step in teaching it to Western musicians and composers in a way which will transform the way they think about rhythm. This revelation has the potential to bring all of us Western musicians closer to the source of that innate gift of rhythm that so many Indian and Iranian musicians seem to have.’ James Wood, B.A. Hons (Cantab.), F.R.A.M., F.R.C.O. Composer, conductor, musicologist, former percussionist - Professor of Percussion: Internationale Ferienkurse für Neue Musik Darmstadt 1982-1994‘Rafael Reina is the foremost figure in devising practical pedagogical approaches to the technical integration of Karnatic musical techniques into the performance of western music and composition. His work has not been concerned with surface stylistic features but with fundamental concepts that have universal significance. These aspirations have been cultivated by him over very many years and has greatly benefitted the many students of the Amsterdam Conservatorium through the unique programmes he inaugurated called 'Advanced Rhythm' and ‘Applications of karnatic rhythm to western music’. His book Applying Karnatic Rhythmical Techniques to Western Music (Ashgate 2015) brings together more than twenty years of experience and study in this field. It is an impressively comprehensive work with no obvious comparisons. At present it stands alone.’ Frank Denyer (composer, emeritus professor Dartington College, University of Falmouth, UK)‘I met Rafael Reina years ago, when I was in the midst of a decade long study of Karnatic music, searching for ways to integrate the principles into my own work. When I visited Amsterdam and saw his students at work, it was immediately clear to me that he had found ways to utilize principles and techniques of Karnatic music that simultaneously respected this tradition and expanded the abilities of performers in his program. Later, when Applying Karnatic Rhythmical Techniques to Western Music was published, I gained a fuller understanding of the scope of his ambition, which is massive and ongoing. Based on my experience of 25 years of touring and teaching around the world, it is my opinion that Rafael Reina is in a singular position to advance rhythmic pedagogy in a direction that unites Western and Eastern modes of thought in a truly unique way.’ Miles Okazaki (B.A. Harvard University, M.M. Manhattan School of Music, A.D. Juilliard School, professor of guitar and rhythmic studies, University of Michigan)‘For years I have been using Applying Karnatic Rhythmical Techniques to Western Music in my Composition Courses at Brussels Royal Flemish Conservatory and the Bornem Academy, and currently in the MUSICA MUNDI SCHOOL, Waterloo. The opportunities that Karnatic rhythms (including poly rhythmic, poly pulse and poly tempo) offer are absolutely unique. The rhythmic vocabulary generated with so many new techniques is not available in classical music. With the application of those rhythms new music is seriously enriched with great achievements. The sensations the listener experiences are fascinating and astonishing.’ Dr Jan van Landeghem, PhD in the Arts (VUB KCB Brussels), Composer – Organist - Pianist, Emeritus Professor Composition Royal Conservatory Brussels, Honorary Director Academy for Music, Theater and Dance Bornem. Professor Composition Musica Mundi School Brussels. Member of the Royal Flemish Aademy for Sciences and Arts Brussels ‘More and more young composers from all over the world with a thorough knowledge of the rhythmic traditions of South Indian music have emerged during the past few years. But it is not so much the knowledge which matters here, it is all about the know-how. The know-how of how to implement Karnatic theory of rhythm into practice, the practice of composing new music according to how it has been understood in the West. This is what makes the courses of Karnatic music taught at the Conservatorium van Amsterdam and Rafael Reina’s book Applying Karnatic rhythmical techniques to western music absolutely unique.’ Toivo Tulev, Leading Professor Department of Composition and Improvisational Performing Arts, EAMT. Former Composition artistic director of the Tallinn Academy of Music and Theatre'Rafael Reina’s book is a masterpiece. The most thorough and complete work I have ever explored in the field of advanced rhythmic concepts explained, using western music notation and language. The combination of Reina’s comprehensive knowledge of the Karnatic Rhythmical techniques, with his understanding of what needs to be explained for a musician brought up in the western music tradition (and how to explain it), places his work in a league of its own among "rhythm aficionados" all over the world.' Jonas Johansen (Denmark) – Independent drummer, composer, bandleader and educator. (Former: Danish Radio Big Band 1990 – 99 / NHØP Trio 1993 – 2004 / Associate Professor Rhythmic Music Conservatory, Copenhagen 1999 – 2016)Table of ContentsInstructions to Access Online Material, Rafael Reina; Introduction, Rafael Reina; Part 1 Description of Karnatic Concepts and Techniques; Chapter 102 A: Foundations, Rafael Reina; Chapter 1 The Tala System, Rafael Reina; Chapter 2 Gatis, Rafael Reina; Chapter 3 Jathis, Rafael Reina; Chapter 4 Gati Bhedam, Rafael Reina; Chapter 5 Rhythmical Sangatis, Rafael Reina; Chapter 6 Jathi Bhedam, Rafael Reina; Chapter 7 Introduction to Anuloma-Pratiloma, Rafael Reina; Chapter 103 B: Exclusively Creative Techniques, Rafael Reina; Chapter 8 Mukthays, Rafael Reina; Chapter 9 Yati Phrases, Rafael Reina; Chapter 10 Yati Mukthays, Rafael Reina; Chapter 11 Tirmanas, Rafael Reina; Chapter 12 Compound Mukthays, Rafael Reina; Chapter 13 Yatis Prastara, Rafael Reina; Chapter 14 Double and Triple Mukthays, Rafael Reina; Chapter 15 Mukthay Combinations, Rafael Reina; Chapter 16 Poruttam A, Rafael Reina; Chapter 17 Moharas, Rafael Reina; Chapter 104 C: Motta Kannakku, Rafael Reina; Chapter 18 Nadai Bhedam, Rafael Reina; Chapter 19 Mixed Jathi Nadai Bhedam, Rafael Reina; Chapter 20 Combinations Anuloma-Pratiloma, Rafael Reina; Chapter 21 Derived Creative Techniques, Rafael Reina; Chapter 105 D: Recent Developments, Rafael Reina; Chapter 22 Tala Prastara, Rafael Reina; Chapter 23 Further Development of the Mukhy System, Rafael Reina; Chapter 24 Latest Developments of Gatis, Rafael Reina; Part 2 Pedagogical and Creative Applications to Western Music, Rafael Reina; Chapter 25 Application of Karnatic Techniques to Existing Western Pieces, Rafael Reina; Chapter 26 Analysis of Students’ Pieces, Rafael Reina; Chapter 106 Conclusion, Rafael Reina Sources of Information, Rafael Reina;

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Book SynopsisUsing an approach to music informed by T. W. Adorno, this book examines the real-world, political significance of seemingly abstracted things like musical and literary forms.Trade Review"Taking up longstanding debates on the politics of modernist aesthetics, Gemma Moss frames her lines of inquiry brilliantly through Adorno.? Her understanding of music is crucial to her breakthrough understandings.? This is a book that will make a significant difference in our reading and listening to modernism at work in the world." -Vincent Sherry, Washington University in St Louis

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Book Synopsis In the whole body of Christmas carols sung in English, among the most famous and beloved is a song universally called The Twelve Days of Christmas. Although its association with the holiday remains unquestioned, the tune was originally a raucous drinking song with wildly different connotations. This book documents the unfamiliar and distant history of one of the world''s most well-known holiday songs, inextricably linked to the earliest celebrations of a festival suppressed by the Church itself. The rowdy and mischievous tone of traditional Christmas has vanished, as have the songs that accompanied the festival of drinking, gambling, fighting, feasting and sex. Modern participants of Christmas may be either embarrassed or pleased to discover the scandalous roots of a beloved holiday classic.Table of Contents Table of Contents Acknowledgments  vi Preface  1 Chapter 1  7 Chapter 2  15 Chapter 3  28 Chapter 4  37 Chapter 5  45 Chapter 6  51 Chapter 7  61 Chapter 8  67 Chapter 9  71 Chapter 10  91 Chapter 11  101 Chapter 12  109 Chapter 13  125 Chapter 14  136 Chapter 15  143 Chapter 16  150 Chapter 17  154 Chapter 18  170 Chapter 19  176 Chapter Notes  187 Works Cited  217 Index  221

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Book SynopsisProvides an original, vivid investigation of innovative collaborations between renowned contemporary jazz artists and prominent independent filmmakers. The book explores how these integrative jazz-film productions challenge us to rethink the possibilities of cinematic music production.

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Book SynopsisThis book explores the cultural, aesthetic, and political relevance of music in radio art from its beginnings to present day. Contributors include musicologists, literary studies, and cultural studies scholars and cover radio plays, radio shows, and other programs in North American, English, Spanish, Greek, Italian, and German radio.Table of ContentsRadio Art and Music: An IntroductionJarmila Mildorf and Pim VerhulstChapter 1: The Making of a Nomenclature: José Iges on Radiophonic ArtLuz María Sánchez CardonaChapter 2: Maestro, If You Please: The Radio Producer as MusicianJeremy LakoffChapter 3: Norman Corwin, Bernard Herrmann, and Musical Direction for Columbia Presents CorwinReba A. WissnerChapter 4: “Attitudes toward History” and the Radiophonic Compositions of Daphne Oram and the Firesign TheatreDavid McCarthyChapter 5: Between Art and Promotion: The Prix Italia, Its Historical Context and Aims in the First Fifty Years 1949-1998 Angela Ida De Benedictis Chapter 6: A Canadian Experiment in Words-as-Music: Glenn Gould’s Invention of Form in his Radio Program The Idea of NorthElissa GuralnickChapter 7: Jewish Musical Material in a 1946 American Radio Drama: “Rachel”Paula Eisenstein Baker and Robert S. NelsonChapter 8: The Bad Violin’s Good Politics: Music of Protest and Disavowal in The Jack Benny ProgramJade ConleeChapter 9: Shifting Hues of Blackface: Performance of Race in Radio Adaptations of Holiday Inn (1942)Emily LaneChapter 10: Voicing the Other World: Music and the Victorian Occult in Midcentury American Radio DramaOlivia CacchioneChapter 11: Collective Responsibility in Ingeborg Bachmann and Hans Werner Henze’s Radio Drama The CicadasLucy JeffreyChapter 12: Music and Politics in the BBC Radio Adaptation of Alan Bennett’s The Madness of George IIIJarmila MildorfChapter 13: Adapting the Soundtrack of Revolution: Tom Stoppard’s Rock ’n’ Roll from Stage to RadioPim VerhulstChapter 14: Children’s Songs as Socio-Political Comment in the Greek Radio Show Edo LilipoupoliAikaterini GiampouraAbout the Contributors

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Book SynopsisExperimentations provides a detailed historical and theoretical analysis of the first three decades of experimental composer John Cage's aesthetic production (ca. 1940-1972). Paying particular attention to Cage's inter- and cross-disciplinary engagements with the visual arts and architecture during this period, the book sheds new light on some of Cage's most controversial and influential innovations, such as the use of noise, chance techniques, indeterminacy, electronic technologies, and computerization, as well as upon lesser known but important ideas and strategies such as transparency, multiplicity, virtuality, and actualization. Ultimately, it traces the development of Cage's avant-garde aesthetic and political project as it transformed from the emulation of historical avant-garde precedents such as futurism and the Bauhaus, to the development of important precedents for the post-World War II movements of happenings and Fluxus, to its ultimate abandonment in the aftermath ofTrade ReviewBranden W. Joseph's formidable Experimentations: John Cage in Music, Art and Architecture throws open the terrain [of Cagean studies] once again. * The Wire *Branden Joseph gradually unfolds the role of chance, transformation, performativity and transparency in music, and provides an interesting multi-layered understanding of the latter’s intercourse with other disciplines ... The book provides an innovative understanding of the examined ideas that remains open, allowing for other disciplines to enter into the suggested discourse ... In this way Joseph offers to artists and architects valuable tools to work on the further development on the role of tracing, documenting, scoring and attuning in the performative understanding of their areas. * The Journal of Architecture *Experimentations: John Cage in Music, Art, and Architecture is a brilliant and vital critical contribution to the growing body of art historical scholarship on John Cage’s multidisciplinary legacy. The readymade Cage of chance and silence is replaced by a rich and nuanced narrative of a compositional practice nourished by its evolving and often conflicted exchanges with the artistic, architectural and political avant-gardes. * Ina Blom, Professor, Department of Philosophy, Classics, History of Art and Ideas, University of Oslo, Norway *With great musical and historical sensitivity Joseph unpacks John Cage’s struggles, on the one hand, with Beethoven, Schoenberg, Stockhausen—the whole weighty European musical tradition, and on the other, with changing notions of experimentation and the avant-garde. What emerges is an artist who places music in the service of remaking the entire institution of art. Joseph succeeds in writing a brilliant book that is equally captivating for musicians and art historians. * Alexander Rehding, Professor of Music, Harvard University, USA *...Experimentations: John Cage in Music, Art, and Architecture provides its reader with an overview of Branden W. Joseph’s two-decade engagement with John Cage and represents some of the most intellectually rigorous writing about the composer … nuanced and important. * Critical Inquiry *Table of ContentsI. Introduction II. A Therapeutic Value for City Dwellers III. Hitchhiker in an Omnidirectional Transport IV. The Architecture of Silence V. Chance/Indeterminacy/Multiplicity VI. Ghost or Monster? Bibliography Index

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Book SynopsisWelsh post-punk band Young Marble Giants released one LP in 1980 and then, like their vanishing portraits on the album's cover, disappeared. Even though Colossal Youth received positive reviews and sold surprisingly well, Young Marble Giants quickly slid into the margins of rock ''n'' roll historyrelegated to cult status among post-punk and indie rock fans. Their lasting appeal owes itself to the band's singular approach and response to punk rock. Instead of employing overt political ideology and abrasive sounds to rebel against the status quo, Young Marble Giants filled their songs with restraint, ambiguity, and silence. The trio opened up their music to new sounds and ideas that redefined punk's rules of rebellion.Where did their rebellious ideas and impulses come from? By tracing Colossal Youth's artistic origins from Ancient Greece to the 20th-century avant-garde, Michael Blair and Joe Bucciero uncover the intricacies of Young Marble Giants' idiosyncratic take on musiTrade ReviewFans of this album – and it is a great one – should find something to chew on here. * Buzz Magazine *Table of ContentsTrack Listing Acknowledgements 1. For You are Movement… 2. Eaten Out of House and Home 3. Everything Comes from Chaos 4. Showing the Way to Go 5. The World is Not You 6. Let’s Be a Tree 7. Don’t Label Me 8. Sit at Home and Watch the Tube 9. No Rain Outside 10. Blind as the Fate Decrees 11. The Editors Agree 12. They Were Good, They Were Young 13. ...and That is Nothing Bibliography Endnotes

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Book SynopsisAndrew Barker is a Senior Features Writer for Variety.Trade ReviewThe book traces the album’s fitful creation through its release, and shows how five guys who were never as good apart as they were together could shine so bright on a single album. * Vinyl Me, Please *Barker's journalistic study offers a vivid insight into how five hip-hop everymen came to make one of the genre's defining works. * Record Collector *Table of ContentsTrack Listing Interlude: 4 Better and 4 Worse Chapter One Chapter Two Chapter Three Chapter Four Interlude: If I Were President Chapter Five Chapter Six Chapter Seven Interlude: Quinton’s Here Chapter Eight Chapter Nine Chapter Ten Chapter Eleven Chapter Twelve Chapter Thirteen Chapter Fourteen Interlude: The Pipe Chapter Fifteen Acknowledgements Works Cited

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Book SynopsisOwning the Masters provides the first in-depth history of sound recording copyright. It is this form of intellectual property that underpins the workings of the recording industry. Rather than being focused on the manufacture of goods, this industry is centred on the creation, exploitation and protection of rights. The development and control of these rights has not been straightforward. This book explores the lobbying activities of record companies: the principal creators, owners and defenders of sound recording copyright. It addresses the counter-activity of recording artists, in particular those who have fought against the legislative and contractual practices of record companies to claim these master rights for themselves. In addition, this book looks at the activities of the listening public, large numbers of whom have been labelled pirates' for trespassing on these rights. The public has played its own part in shaping copyright legislation. This is an essential subject forTrade ReviewCopyright is a tool used by record labels to extract value from recording artists, but it is also the mechanism that allows artists to profit from their music. In Owning the Masters, Richard Osborne deftly threads a historical narrative between these two positions. This book is indispensable reading for anyone trying to understand the role of copyright in the world today. * David Arditi, Associate Professor of Sociology and Anthropology, The University of Texas at Arlington, USA, and author of Getting Signed: Record Contracts, Musicians and Power in Society *Table of ContentsAcknowledgements Introduction 1. Mechanizing 2. Performing 3. Producing 4. Expanding 5. Justifying 6. Networking 7. Owning Glossary Timeline Bibliography Index

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Book SynopsisBrooke McCorkle Okazaki is Assistant Professor of Music at Carleton College in Northfield, Minnesota, USA. McCorkle Okazaki co-authored the book Japan's Green Monsters: Environmental Commentary in Kaiju Cinema (2018) with Sean Rhoads. In it, they explore the various ways Japanese monster movies address contemporary ecological concerns. Thanks to a Japan Foundation Fellowship, McCorkle Okazaki is currently completing her next book, Searching for Wagner in Japan.Table of ContentsList of Images and Tables Acknowledgements Preface Introduction: Itadakimasu! (Let’s Eat!) 1. Girl Bands and Josei Rock, 1950s–1980s 2. Food, Gender, and Music in Postwar Japan 3. Shonen Knife’s Songs in the Key of Food 4. Konnichiwa!: An Introduction to Happy Hour (1998) and its Cover Art 5. Happy Hour: Food, Music, and Transnational Flow 6. The Delicious Banality of “Banana Chips” 7. Sweet Candy Power: Shonen Knife and Their Josei Rock Legacy Notes Bibliography Discography Index

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Book SynopsisThe one-hit wonder has a long and storied history in popular music, exhorting listeners to dance, to teach the world to sing in perfect harmony, to ponder mortality, to get a job, to bask in the sunshine, or just to get up and dance again. Catchy, memorable, irritating, or simply ubiquitous, one-hit wonders capture something of the mood of a time. This collection provides a series of short, sharp chapters focusing on one-hit wonders from the 1950s to the present day, with a view toward understanding both the mechanics of success and the socio-musical contexts within which such songs became hits. Some artists included here might have aspired to success but only managed one hit, while others enjoyed lengthy, if unremarkable, careers after their initial chart success. Put together, these chapters provide not only a capsule history of popular music tastes, but also ruminations on the changing nature of the music industry and the mechanics of fame.Trade ReviewOne-hit wonders are pop’s overachieving underachievers, winners-but-losers that stretch categories – up to a point. In this big book of small fries, academics and musicians reckon with the results, from bubblegum to global pop – every musical identity ersatz, every twist and turn a chance to marvel, yet again: “How Bizarre.” -- Eric Weisbard, Professor of American Studies, University of Alabama, author of Top 40 Democracy: The Rival Mainstreams of American Popular Music (2014)A fascinating look at the cultural and personal context around one-hit wonders, this collection deftly explains why some of these songs escaped obscurity — and makes excellent cases why others might be best left in the past. -- Annie Zaleski, editor, music journalist, and author of Duran Duran’s Rio (2021) in Bloomsbury's 33 1/3 seriesOne-Hit Wonders is a treasure trove of analysis into why particular songs resonate at specific moments in history and how quickly they can date. Hill’s collection is full of insight into the vagaries of taste, the nature of audiences and why certain musical moments remains timeless. It poses fascinating questions about what happens to those whose careers are defined by that one hit song. -- Kirsty Fairclough, Reader in Screen Studies, School of Digital Arts (SODA), Manchester Metropolitan University, UK, co-editor of Prince and Popular Music: Critical Perspectives on an Interdisciplinary Life (Bloomsbury, 2020)One-Hit Wonders unveils the many layers behind those familiar, catchy, (and sometimes grating) hit songs that all too often evade the pop music history textbooks. Covering a wide variety of songs, as though you are turning a radio dial that traverses a Top 40 format across decades, this engaging collection emphasizes that these songs are not standalone entities but are deeply embedded in larger cultural movements and moments. -- Brian Fauteux, Associate Professor of Popular Music and Media Studies, University of Alberta, Canada, author of Music in Range: The Culture of Canadian Campus Radio (2015)Table of ContentsList of Figures Acknowledgements The Chart of the Book: One-Hit Wonders' Top Hits Introduction Sarah Hill, St Peter's College, University of Oxford, UK 1. Buchanan & Goodman, "The Flying Saucer" Parts 1 & 2 (1956) Paul Carr, University of South Wales, UK 2. The Kingsmen, "Louie Louie" (1963) Samuel Murray, Middlesex University, UK 3. ? and the Mysterians, "96 Tears" Adam Behr, Newcastle University, UK 4. The Easybeats, "Friday on My Mind" (1966) Dai Griffiths, Independent Scholar, Oxford, UK 5. Norman Greenbaum, "Spirit in the Sky" (1969) Philip Auslander, Georgia Institute of Technology, USA 6. The Archies, "Sugar Sugar" (1969) Jon Stewart, BIMM Institute, Brighton, UK 7. Serge Gainsbourg, "Je t’aime(moi non plus" (1969) Philippe Gonin, University of Burgundy Franche-Comté, France; trans. Jackie Ortiz 8. Blue Swede, "Hooked On a Feeling" (1974) Sarah Hill, St. Peter's College, Oxford, UK; with Bengt Palmers 9. Wild Cherry, "Play That Funky Music" (1976) Robert Fink, UCLA Herb Alpert School of Music, USA 10. Althea and Donna, "Uptown Top Ranking" (1977) Paul Long, Monash University, Australia 11. Plastic Bertrand, "Ça Plane Pour Moi" (1977) Patrick McGuinness, St. Anne's College, Oxford, UK 12. Nick Gilder, "Hot Child in the City" (1978) Richard Parfitt, Independent Scholar, Wales, UK 13. The Vapors, "Turning Japanese" (1980) Abigail Gardner, University of Gloucestershire, UK 14. Aneka, "Japanese Boy" (1981) Richard Elliott, Newcastle University, UK 15. Toni Basil, "Mickey" (1981) Tim J. Anderson, Old Dominion University, USA 16. Trio, "Da Da Da" (1981) Tim Quirk, Singer and Lyricist, USA 17. Nena, "99 Luftballons/99 Red Balloons" (1983) Melanie Schiller, University of Groningen, Netherlands 18. The Grateful Dead, "Touch of Grey" (1987) Tom Irvine, University of Southampton, UK 19. A View from the Ground: Latin Quarter, "Radio Africa" (1986) Michael Jones, Senior Lecturer in Music, University of Liverpool, UK 20. A View from the Desk: Product Management Sarah Hill, St. Peter's College, Oxford, UK 21. Shakespear’s Sister, "Stay"(1992) Áine Mangaoang, University of Oslo, Norway 22. OMC, "How Bizarre" (1996) Geoff Stahl, Victoria University of Wellington, Aotearoa/New Zealand 23. The Butthole Surfers, "Pepper" (1996) Gina Arnold, University of San Francisco, USA 24. Chumbawamba, "Tubthumping" (1997) Matt Grimes, Birmingham City University, UK 25. Meredith Brooks, "Bitch" (1997) Asya Draganova, Birmingham City University, UK 26. New Radicals, "You Get What You Give" (1998) Jon Gower, Independent Scholar, UK 27. Las Ketchup, "Aserejé" (2002) Eulalia Febrer Coll, Conservatori Superior de Música de les Illes Balears and Universidad Internacional de La Rioja, Spain 28. Gotye ft. Kimbra, "Somebody That I Used to Know" (2011) Ellis Jones, University of Leeds, UK List of Contributors Index

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Book SynopsisThis book explores an album of popular music with a remarkable significance to a violent wave of postcolonial tensions in the Netherlands in the 1970s. Several actions were claimed by a small number of first-generation descendants of ca. 12,500 reluctant migrants from the young independent state of Indonesia (former Dutch East Indies). Transferred in 1951, this culturally coherent group consisted of ex-Royal Dutch Colonial Army personnel and their families. Their ancient roots in the Moluccan archipelago and their protestant-christian faith defined their minority image. Their sojourn should have been temporary, but frustratingly turned out to be permanent. At the height of strained relations, Massada rose to the occasion. Astaganaga (1978) is a telling example of the will to negotiate a different diasporic Moluccan identity through uplifting contemporary sounds.Table of ContentsContents Introduction Part I Backdrops Colonial times and impact Popular music in exile Latin in the Lowlands Part II Massada before Astaganaga In the air What’s in a name Decisive break The action years Part III Massada’s Astaganaga The making of Track by track Sleeve art and credits Reception and rewards Part IV Massada after Astaganaga Bang the drum Mission accomplished Full circle Hindsight Part V Afterwork Discography About research Literature Thanks About author Endnotes

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Book SynopsisNatasha Lasky is a writer and filmmaker living in Chicago, USA.Trade ReviewFantastic. . . . An amazing book. * New Books Network *Table of ContentsAcknowledgments Introduction 1. A Sicko Producer’s Dream 2. Bimbos of the Apocalypse 3. Just Real Bitches in a Fake-Ass World Coda

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Book SynopsisHenry Johnson is Professor of music at the University of Otago, New Zealand. His books include Many Voices: Music and National Identity in Aotearoa/New Zealand (2010); Global Glam (2016); Migration, Education and Translation (2020); and Nenes' Koza Dabasa (Bloomsbury, 2021). He is Associate Director of the Centre for Global Migrations.Trade ReviewA "must have" book for your library. * DustyShelves Book Reviews and BookBits *Table of ContentsList of Figures 1. Introduction 1.1. Introduction 1.2. Bic Runga: A Short Biography 1.3. Focus 1.4. Structure 1.5. Summary 2. Break 2.1. Introduction 2.2. Rockquest 2.3. Drive EP 2.4. Music Awards 2.5. Case Study: “Drive” 2.6. Summary 3. Drive and Beyond 3.1. Introduction 3.2. Musical Output 3.3. Style and Production 3.4. Case Study: “Bursting Through” 3.5. Summary 4. Identity 4.1. Introduction 4.2. Ethnicity 4.3. Gender 4.4. Case Study: “Sway” 4.5. Summary 5. Performance 5.1. Introduction 5.2. National Scene 5.3. International Scene 5.4. Case Studies: “Suddenly Strange” and “Roll Into One” 5.5. Summary 6. Conclusion References Acknowledgments Appendix 1: Drive: Track Listing and Personnel Appendix 2: Bic Runga: Discography (New Zealand Album Releases) Index

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