Music: styles and genres Books

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Book SynopsisBernard Gendron investigates five key historical moments when popular music and avant-garde art transgressed the rigid boundaries separating high and low culture to form friendly alliances. This volume offers a new way of thinking about the history of popular music.Trade Review"Between Montmartre and the Mudd Club is highly imaginative and stimulating reading. Bernard Gendron offers detailed perspectives on very different aspects of music and culture, suggesting new ways of thinking about the entire history of popular music in the twentieth century." - Scott DeVeaux, author of The Birth of Bebop

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Book SynopsisBernard Gendron investigates five key historical moments when popular music and avant-garde art transgressed the rigid boundaries separating high and low culture to form friendly alliances. This volume offers a new way of thinking about the history of popular music.Trade Review"Between Montmartre and the Mudd Club is highly imaginative and stimulating reading. Bernard Gendron offers detailed perspectives on very different aspects of music and culture, suggesting new ways of thinking about the entire history of popular music in the twentieth century." - Scott DeVeaux, author of The Birth of Bebop

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Book SynopsisDelving into the archives that document cross-cultural interactions between America and Germany, the author retraces these efforts to export culture as an instrument of nongovernmental diplomacy, paying particular attention to the role of conductors and uncovers the history of the musician as a cultural symbol of German cosmopolitanism.

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Book SynopsisA history of the midcentury calypso craze, which, in the wake of Belafonte's Calypso, saw a brief moment when calypso was more popular than the new genre of rock.Trade Review"Stolen Time provides the first book-length study of the black calypso craze, breaking new and important scholarly ground. Meticulously researched, clearly written, and forcefully argued, Stolen Time demonstrates how mass culture expands conceptions of black freedom and possibility.Vogel provides original insight to the calypso craze while advancing existing conversations in black cultural, literary, and performance studies about mid-twentieth-century popular culturalproduction. Essential reading."--Soyica Colbert, Georgetown University "One of the boldest and most original studies of race and transnational mass culture in recent memory. Stolen Time promises to break wide open new directions in performance studies, cultural studies, black diaspora studies, and beyond."--Daphne Brooks, author of Bodies in Dissent

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Book SynopsisTrade Review"Artists and music journalists have been coining genres for decades, based on sounds shared between artists. This new era for genre is derived from listener data and labelled by engineers who, Seaver says, never expected to become authorities on the matter. This speaks to the contradiction at the heart of Computing Taste: it’s both easier and harder to pinpoint a person’s music taste than you might expect. It all depends on what you think taste is. Spotify can tell us how many times we loop a favorite song, make reasonable assumptions about the genres that speak to us, and deduce from GPS data what we might want to hear in the gym as opposed to the office. But Seaver stresses that a key anthropological question remains unwrapped: why do people love the songs that they do?" -- Katie Hawthorne * Guardian *"Recommendations now 'drive close to half of all users’ streams', according to Spotify’s co-president Gustav Söderström. In Computing Taste, an ethnography of the data scientists and product managers working in 'the world of music recommendation', Seaver gives an account of the way this sort of technology operates. The job of his interviewees, who tend to work for private companies hired by streaming services, is to help their clients 'answer an apparently simple question: what’s next?'" * London Review of Books *"The central premise uniting these theories is that we can’t really tell an algorithm who we are; we have to show it. Platforms used to offer recommendations based on clear user inputs (consider that Netflix used to ask you to rate a movie out of five stars); now things have gotten murkier as our behavior is tracked and collated in complex, opaque ways. Consumers have learned to adjust their actions to get the content they want, according to Nick Seaver, an anthropology professor at Tufts University and the author of Computing Taste: Algorithms and the Makers of Music Recommendation. 'You were much more in control of how you represented yourself under those [earlier] systems,' Seaver told me. Now our behavior—even the embarrassing kind—generates our unique media world." * Atlantic *"A useful deep dive into precisely how these systems are built, the people who build them, their goals and aspirations, and much more." -- Bill Marx * Arts Fuse *"Computing Taste: Algorithms and the Makers of Music Recommendation is a pleasure to read. It is well-written, with nice turns of phrase. I commend it to anyone interested in how media works in the 21st century." * Metascience *"Streaming music services are the norm today, but people don't often think about how they work or how they recommend the next song. Seaver peeks behind the musical curtain in this book about the humans behind the algorithms. . . . Music lovers and those who like books about artificial intelligence will enjoy Seaver's deep dive into the culture, data, and science of music recommendation systems. Computing Taste offers insight into algorithmic music recommendations that's entertaining and easily digestible." -- Natalie Browning * Library Journal *"I would recommend this book if you identify with the following phrase, which is taken from Seaver’s interview with one music company engineer: ‘I’m plagued by the idea that there’s something I haven’t heard yet.’ Music nerds will especially appreciate that Seaver proposes definitions for topics that are hard to describe, like taste and genre. They will enjoy identifying their habits in Chapter 3, ‘What are Listeners Like?’ and learning how music engineers define obscure subgenres like ‘shiver pop.’ . . . The peeks into these veiled companies are almost reminiscent of spy novels. If you’re interested in start-up culture and liked The Social Network, there’s something for you in this book. Throughout Computing Taste, Seaver comments on the balancing act between artificial intelligence and human expertise. He says the title ‘is meant to index that tension’—to probe how technological systems can coexist with something as personal as music taste." -- Hope Karnopp * Daily Cardinal *"The gap between technology and culture might not be as wide as we think, says Seaver in his analysis of how music recommender systems are produced. . . . You’ll come away from Computing Taste realizing that algorithms aren’t the enemy, ready to think again.“ * Engineering and Technology *“Seaver’s nimble account of how contemporary music recommendation systems are conceived and crafted takes readers beyond easy oppositions of humans and algorithms to explore the captivating dynamics of taste and technics, hearing and computing, guidance and coercion.” -- Natasha Dow Schüll, author of "Addiction by Design: Machine Gambling in Las Vegas"“Computing Taste tells a fresh story in the increasingly crowded scholarship on artificial intelligence and culture. It will be immensely useful for those outside of computer science and engineering who want to understand how people think and work in the AI industry.” -- Jonathan Sterne, author of "Diminished Faculties," "MP3," and "The Audible Past""Seaver’s exquisite and essential book brings us into an expert community aspiring to find the delicate balance between caring for and controlling the sprawling phenomenon of taste. The ethnographically engaging Computing Taste offers a complex rendering of the makers of music recommendation systems who believe that algorithms can predict and shape musical taste while also wrestling with the reductive absurdity of such a claim. Seaver’s theoretical creativity both pushes critical studies of technology in new directions and makes this book a joy to read.” -- Lisa Messeri, author of "Placing Outer Space: An Earthly Ethnography of Other Worlds"“Who are the programmers writing the music recommendation recipes that structure so many of our auditory habits in these digital days? How do these new taste makers script listeners into the musical multiverses their algorithms create? Seaver brilliantly tunes us to the cadences of these people’s works and lives, decoding the mix of cosmologies, capital, and computation that channel how and what we hear today.” -- Stefan Helmreich, author "Sounding the Limits of Life: Essays in the Anthropology of Biology and Beyond"“Perhaps there’s no accounting for taste, but as Seaver demonstrates in Computing Taste, his resonant and resourceful ethnography of music recommendation algorithms, musical taste can indeed be counted and coded. By listening to the sociotechnical dynamics of that translation process—the means by which aesthetic, subjective, social, and situational choices are transcribed into human-orchestrated algorithms—Seaver helps us appreciate not only the myriad harmonic parts that music and machines play in our personal and social lives, but also the many modes and contexts in which we listen.” -- Shannon Mattern, author of "A City Is Not a Computer: Other Urban Intelligences"Table of ContentsPrologue: Open Plan Introduction: Technology with Humanity Chapter 1 Too Much Music Chapter 2 Captivating Algorithms Chapter 3 What Are Listeners Like? Chapter 4 Hearing and Counting Chapter 5 Space Is the Place Chapter 6 Parks and Recommendation Epilogue: What Are We Really Doing Here? Acknowledgments Notes Works Cited Index

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Book SynopsisA guide to the musical discourse of ten of the most important German philosophers, from Kant to Adorno. Each chapter consists of a short biographical sketch of the philosopher concerned, a summary of his writings on aesthetics, and finally a detailed exploration of his thoughts on music.

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Book SynopsisPresents the voices of three musicians - queer nightclub star Zeki Muren, arabesk originator Orhan Gencebay, and pop diva Sezen Aksu - who collectively have dominated mass media in Turkey since the early 1950s. Using these three singers as a lens, the author examines Turkey's repressive politics and civil violence as well as its public life.

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Book SynopsisThe frank, funny, and unforgettable autobiography of a living legend of Chicago blues. Trade Review“Billy Boy Arnold’s great Vee-Jay sides were a big influence on me when I was first starting out. The first two singles I ever played on were covers of Billy Boy Arnold tunes that I recorded with The Yardbirds. I'm very happy to see Billy Boy Arnold's amazing personal story finally appear in print.” * Eric Clapton, Grammy Award-winning member of the Rock and Roll Hall of Fame *"A lively, illuminating memoir. . . Arnold’s heartfelt, honest, insider’s view of Chicago blues from the 1940s onward will be essential to anyone interested in blues and the origins of rock and roll.” * Library Journal *"A treasure for blues historians and fans alike. . . . The Blues Dream of Billy Boy Arnold is a highly recommended jewel, both as a document of blues history, a documentary of African-American life in the aftermath of the Great Migration, the story of electric Chicago Blues, and lots of deep insight on the South Side music scene, told by one of the last insiders around." * Pop Culture Shelf *"Four stars. This unparalleled memoir of living history is not only billed as a dream, it actually reads like one. . . . Anyone with an interest in the classic era of Chicago blues will want to savor every detail, insight, and anecdote in Billy Boy’s incredible eye-witness account of how it went down back in the day." * Shindig! *"Recommended. . . Long overdue. . . Arnold alone was on the scene for the entire evolution of the Chicago blues style, and he transmits the story from his encyclopedic memory." * Choice *“No one has lived the Chicago blues like Billy Boy Arnold, and no one has more stories. This book is a journey through eighty years of history with an incredible supporting cast and a particularly charming and observant guide, who saw it all and is still making wonderful music.” * Elijah Wald, Grammy Award winner and author of Escaping the Delta: Robert Johnson and the Invention of the Blues *“The Blues Dream of Billy Boy Arnold is in every respect not just excellent but exemplary: a blues autobiography to be reckoned with. Arnold—by dint of his unusually long career, his exceptionally detailed memory, and his many friendships with key figures on the scene—is the only one who can tell this particular story. His shrewd, candid appraisals of his peers, leavened with quirky detail, add significantly to our understanding of postwar Chicago blues.” * Adam Gussow, author of Whose Blues?: Facing Up to Race and the Future of the Music *“Harmonica legend Billy Boy Arnold tells his life story with the help of writer Kim Field. At 86, he’s still standing, telling stories with heart and humor.” * DownBeat *“Arnold narrates in his own distinctive and trustworthy voice, capably facilitated by musician and writer Kim Field. And an amazing story it is. It seems nearly more than an autobiography, as it presents the back-history of an era. . . Arnold is a satisfied man who acknowledges that his is a life well-lived. Kim Field lets that come through loud and clear in Arnold’s own voice. Arnold, who has contributed so much to blues and rock history, adds immeasurably to that history with this outstanding biography.” * Living Blues *“An extremely fascinating read. . . Arnold’s voice inhabits these pages.” * Blues Music *"This is one of the most readable blues biographies of all time. . . . Billy Boy is a walking encyclopaedia of the blues, sharp as a tack with an excellent memory." * Blues & Rhythm *“Arnold narrates in his own distinctive and trustworthy voice, capably facilitated by musician and writer Kim Field. And an amazing story it is. It seems nearly more than an autobiography, as it presents the back-history of an era. . . Arnold is a satisfied man who acknowledges that his is a life well-lived. Kim Field lets that come through loud and clear in Arnold’s own voice. Arnold, who has contributed so much to blues and rock history, adds immeasurably to that history with this outstanding biography.” * Living Blues *“An extremely fascinating read. . . Arnold’s voice inhabits these pages.” * Blues Magic *"For anyone with an interest in blues music, this book is a must-read. In telling the story of Billy Boy Arnold, it also provides readers with first-hand details and descriptions of a golden era of the Chicago blues tradition. Most highly recommended!" * Blues Blast Magazine *Table of ContentsPreface Billy Boy Arnold Introduction Kim Field Chapter One: Born in Chicago Chapter Two: Sonny Boy Williamson Chapter Three: Billy Boy Chapter Four: “Juke” Chapter Five: Bo Diddley Chapter Six: Bluesman Chapter Seven: The Blues Breaks Out Chapter Eight: All around the World Chapter Nine: My Blues Dream Acknowledgments Discography Index

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Book SynopsisHere at last is a study that treats music video as a distinct multimedia artistic genre, different from film, television, and indeed from songs themselves. Carol Vernallis describes how musical, visual and verbal codes work together in music video and reveals modes of representing race, class, gender, and sexuality that characterize the music video form.Table of ContentsAcknowledgements Introduction Theory Telling and Not Telling Editing Actors Settings Props and Costumes Interlude: Space, Color, Texture, and Time Lyrics Musical Parameters Connections Among Music, Image, and Lyrics Analytical Methods Analyses The Aesthetics of Music Video: An Analysis of Madonna's "Cherish" Desire, Opulence, and Musical Authority: The Relation of Music and Image in Prince's "Gett Off" Peter Gabriel's Elegy for Anne Sexton: Image and Music in "Mercy St." Afterword Notes Bibliography Index

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Book SynopsisTrade ReviewBluegrass Print/Media Person of the Year from the International Bluegrass Music Association (IBMA), 2018 "Bluegrass Generation is a magnificent work whose significance radiates thoughtfully far beyond its own ambitions. In partitioning the early-sixties Jamboree from the larger bluegrass narrative, we are able to reclaim the limited historical visibility that these actors themselves encountered. Of the many pleasures this book affords, we can add Rosenberg's light-handed approach to the memoir genre." --Journal of Folklore Research"This work has historical import, not only for what it contributes to our understanding of the emergence of bluegrass music but also for highlighting the significant role that scholars have on recording music history." --Indiana Magazine of History"Bluegrass Generation: A Memoir is well worth the read. Rosenberg’s style is fluid, clear, and reader-friendly; it is detailed without being stuffy, interesting without being narrow, and factual without being opinionated." --Banjo Newsletter"Reading Bluegrass Generation was an enjoyable reminder of my time at Bean Blossom as a Blue Grass Boy. It brought back a lot of memories and reminded me of a few things I'd forgotten, too--and I even learned some things I never knew!"--Del McCoury​"Bluegrass Generation: A Memoir is highly recommended to all students of bluegrass, but especially anyone who has fond memories of the Bean Blossom Festivals in the 1960s, 70s and 80s." --Bluegrass Breakdown"His behind-the-scenes remembrances give valuable insight into the evolution of the bluegrass genre. This book is appropriate for both fans and researchers of bluegrass and country music. Recommended." --Choice"An ode to a time and a place when college kids and country folks bonded over a love of bluegrass." --Wall Street Journal"[Neil Rosenberg's] the perfect guide--our Virgil--to a unique place and time in bluegrass music. This memoir is as essential reading as Bluegrass: A History" --Bluegrass Unlimited "If you want the inside scoop on how bluegrass music came to be, this is it." --Inland Northwest Bluegrass Music Association "The audience for this book need not be limited to bluegrass scholars and enthusiasts. Students of ethnomusicology may find it invaluable as an informal guidebook for ethnography. Readers who are dual musician-scholars or arts administrator-scholars will appreciate the synergy between Rosenberg’s research and industry activities." --CAML Review "A wonderful snap shot of a place and time in the history of bluegrass music. Neil traces his transition from musician to scholar and along the way offers vivid personal, musical and business glimpses of bluegrass patriarch Bill Monroe and his now-legendary Bean Blossom park."--Gary B. Reid, author of The Music of the Stanley Brothers

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Book SynopsisThe cowboy songs and dusty Texas car rides of his youth set Patrick B. Mullen on a lifelong journey into the sprawling Arcadia of American music. That music fused so-called civilized elements with native forms to produce everything from Zydeco to Conjunto to jazz to Woody Guthrie. The civilized/native idea, meanwhile, helped develop Mullen''s critical perspective, guide his love of music, and steer his life''s work. Part scholar''s musings and part fan''s memoir, Right to the Juke Joint follows Mullen from his early embrace of country and folk to the full flowering of an idiosyncratic, omnivorous interest in music. Personal memory merges with a lifetime of fieldwork in folklore and anthropology to provide readers with a deeply informed analysis of American roots music. Mullen opens up on the world of ideas and his own tireless fandom to explore how his cultural identity--and ours--relates to concepts like authenticity and folkness. The result is a charming musical map drawn by a gTrade Review"Mullen’s book is an education for readers with an interest in American roots music. His personal anecdotes and stories help enliven his discussion of his musical heroes, while his insights into the cultural significance of music with traditional roots can enlighten his readers across an expanse of generations." --Ohioana Quarterly

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Book SynopsisNeil V. Rosenberg met the legendary Bill Monroe at the Brown County Jamboree. Rosenberg''s subsequent experiences in Bean Blossom put his feet on the intertwined musical and scholarly paths that made him a preeminent scholar of bluegrass music. Rosenberg''s memoir shines a light on the changing bluegrass scene of the early 1960s. Already a fan and aspiring musician, his appetite for banjo music quickly put him on the Jamboree stage. Rosenberg eventually played with Monroe and spent four months managing the Jamboree. Those heights gave him an eyewitness view of nothing less than bluegrass''s emergence from the shadow of country music into its own distinct art form. As the likes of Bill Keith and Del McCoury played, Rosenberg watched Monroe begin to share a personal link to the music that tied audiences to its history and his life--and helped turn him into bluegrass''s foundational figure.An intimate look at a transformative time, Bluegrass Generation tells the inside stTrade ReviewBluegrass Print/Media Person of the Year from the International Bluegrass Music Association (IBMA), 2018 "Bluegrass Generation is a magnificent work whose significance radiates thoughtfully far beyond its own ambitions. In partitioning the early-sixties Jamboree from the larger bluegrass narrative, we are able to reclaim the limited historical visibility that these actors themselves encountered. Of the many pleasures this book affords, we can add Rosenberg's light-handed approach to the memoir genre." --Journal of Folklore Research"This work has historical import, not only for what it contributes to our understanding of the emergence of bluegrass music but also for highlighting the significant role that scholars have on recording music history." --Indiana Magazine of History"Bluegrass Generation: A Memoir is well worth the read. Rosenberg’s style is fluid, clear, and reader-friendly; it is detailed without being stuffy, interesting without being narrow, and factual without being opinionated." --Banjo Newsletter"Reading Bluegrass Generation was an enjoyable reminder of my time at Bean Blossom as a Blue Grass Boy. It brought back a lot of memories and reminded me of a few things I'd forgotten, too--and I even learned some things I never knew!"--Del McCoury​"Bluegrass Generation: A Memoir is highly recommended to all students of bluegrass, but especially anyone who has fond memories of the Bean Blossom Festivals in the 1960s, 70s and 80s." --Bluegrass Breakdown"His behind-the-scenes remembrances give valuable insight into the evolution of the bluegrass genre. This book is appropriate for both fans and researchers of bluegrass and country music. Recommended." --Choice"An ode to a time and a place when college kids and country folks bonded over a love of bluegrass." --Wall Street Journal"[Neil Rosenberg's] the perfect guide--our Virgil--to a unique place and time in bluegrass music. This memoir is as essential reading as Bluegrass: A History" --Bluegrass Unlimited "If you want the inside scoop on how bluegrass music came to be, this is it." --Inland Northwest Bluegrass Music Association "The audience for this book need not be limited to bluegrass scholars and enthusiasts. Students of ethnomusicology may find it invaluable as an informal guidebook for ethnography. Readers who are dual musician-scholars or arts administrator-scholars will appreciate the synergy between Rosenberg’s research and industry activities." --CAML Review "A wonderful snap shot of a place and time in the history of bluegrass music. Neil traces his transition from musician to scholar and along the way offers vivid personal, musical and business glimpses of bluegrass patriarch Bill Monroe and his now-legendary Bean Blossom park."--Gary B. Reid, author of The Music of the Stanley Brothers

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Book SynopsisExpands our understanding of the world of women in West Africa and their complex and subtle roles as verbal artists.Trade ReviewThis book is a valuable source of information for Africanists interested in the role played by women in the continuity of tradition in African culture. . . . Recommended. * Choice * Women's Songs from West Africa, is a valuable resource for scholars interested in West African music, and represents a remarkable achievement. * Ethnomusicology Review *Table of ContentsIntroductionWomen's Songs and Singing in West Africa: New PerspectivesThomas A. Hale and Aissata G. Sidikou1. Wolof Women Break the Taboo of Sex through Songs Marame Gueye2. Jola Kanyalen Songs from the Casamance, Sengeal: From 'Tradition' to Globalization Kirsten Langeveld3. Azna Deities in the Songs of Taguimba Bouzou: A Window on the Visible and Invisible Boubé Namaïwa4. Initiation and Funeral Songs from the Guro of Côte d'IvoireAriane Deluz5. Praises Performances by Jalimusolu in The Gambia Marloes Janson6. Music about Feminine Modernity in the Sahara Aline Tauzin 7. Songs by Wolof Women Luciana Penna-Diaw 8. A Heroic Performance by Siramori Diabate of MaliBrahima Camara and Jan Jansen9. Women's Tattooing Songs from Kajoor, SenegalGeorge Joseph10. Drummed Poems by Songhay-Zarma Women of NigerFatima Mounkaïla11. Space, Language, and Identity in the Palm TreeAissata G. Sidikou12. Bambara Women's Songs in Southern MaliBah Diakité 13. Patriarchy in Songs and Poetry by Zarma WomenAissata Niandou14. Muslim Hausa Women's SongsBeverly B. Mack 15. Lamentation and Politics in the Sahelian SongThomas A. Hale16. Transformations in Tuareg Tende Singing: Women's Voices and Local FeminismsSusan J. Rasmussen17. Income Strategies of a Jelimuso in Mali and FranceNienke MuurlingIndexList of Contributors

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Book SynopsisIn Rubble Music, Abby Anderton explores the classical music culture of postwar Berlin, analyzing archival documents, period sources, and musical scores to identify the sound of civilian suffering after urban catastrophe.Trade ReviewThis is an outstanding piece of interdisciplinary scholarship. . . . Essential. * Choice *This book strength is how successfully Anderton weaves together the narratives of musicians, directors, composers, and performers into examinations of the compositions being performed, the varied approaches to denazification across the occupied zones, and broader themes of German suffering. -- Meghan Ashley Vance - Texas A&M * H-Net Humanities and Social Sciences *Table of ContentsAcknowledgmentsIntroduction 1. Berlin Soundscapes of Defeat and Occupation2. Occupied Music: The Berlin Philharmonic and the American Military3. Rubble Opera after 1945: East Berlin's Staatsoper and West Berlin's Städtische Oper4. Embodied and Disembodied Voices: Listening to Sonic Ruins5. Berlin 1945: Towards a Ruin Aesthetic in MusicConclusionBibliographyIndex

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Book SynopsisIn Rubble Music, Abby Anderton explores the classical music culture of postwar Berlin, analyzing archival documents, period sources, and musical scores to identify the sound of civilian suffering after urban catastrophe.Trade ReviewThis is an outstanding piece of interdisciplinary scholarship. . . . Essential. * Choice *This book strength is how successfully Anderton weaves together the narratives of musicians, directors, composers, and performers into examinations of the compositions being performed, the varied approaches to denazification across the occupied zones, and broader themes of German suffering. -- Meghan Ashley Vance - Texas A&M * H-Net Humanities and Social Sciences *Table of ContentsAcknowledgmentsIntroduction 1. Berlin Soundscapes of Defeat and Occupation2. Occupied Music: The Berlin Philharmonic and the American Military3. Rubble Opera after 1945: East Berlin's Staatsoper and West Berlin's Städtische Oper4. Embodied and Disembodied Voices: Listening to Sonic Ruins5. Berlin 1945: Towards a Ruin Aesthetic in MusicConclusionBibliographyIndex

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Book SynopsisExplores the influence of Shakespeare on American musical theatre through analyses of five important productions from 1938 through 1971. This book offers a fresh look at the development of American musical theatre and an understanding of Shakespeare in the modern American context.Trade ReviewDramaturges and directors will appreciate Dash's detailed textual analyses, her extensive research, and her reliance on primary source material, including detailed descriptions of the original productions, all of which would be useful for anyone staging a revival of any of these gems of the American musical theatre.Sept 2012 * Theatre Survey *[Dash] has done an excellent job in giving new insights into Shakespeare and the American musical.Spring/Summer 2010 * The Shakespeare Newsletter *[Dash] has done a superb job of exploring her source materials and provides excellent details on the genesis and development of each musical. Good illustrations, fine documentation, and a bibliography are assets. . . . Recommended.August 2010 * Choice *[Dash] has made a convincing case for seeing Bard-inspired works as vital in the devlopment of the 20th century's 'organic' or integrated musical in which song, dance and multimedia drive the plot. Summer 2010 * CUNY Matters *

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Book SynopsisThis volume tells of a relationship between Hugo Wolf, one of the greatest masters of the German art song, and Melanie Kochert, the wife of a prominent Viennese jeweller with whom Wolf shared a lifelong emotional, spiritual, and artistic bond.

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Book SynopsisA concise anthology including a wide range of nineteenth-century music.Table of Contents1. Nineteenth-Century Music and Its Contexts 2. The Romantic Imagination 3. Music and the Age of Metternich 4. The Opera Industry 5. Making Music Matter: Criticism and Performance 6. Making Music Speak: Program Music and the Character Piece 7. Beyond Romanticism 8. Richard Wagner and Wagnerism 9. Verdi, Operetta, and Popular Appeal 10. Concert Culture and the “Great” Symphony 11. Musical Life and Identity in the United States 12. The Fin de Siècle and the Emergence of Modernism 13. The Sound of Nineteenth-Century Music

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Book SynopsisDesigned for people who use their voices every dayfrom singers and actors to lawyers and radio announcersThe Performer's Voice offers a complete guide to effective and healthy vocal production.

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Book SynopsisWith Barack Obama, Ben Carson, Kamala Harris, and Donald Trump as case studies, Tracks on the Trail: Popular Music, Race, and the US Presidency sheds light on the factors that motivate candidates and constituents alike to articulate race through music on the campaign trail.Trade Review"Tracks on the Trail is a virtuosic exploration of the relationship between race, music, and our understanding of the (re)presentation(s) of power within the realm of the public discourse surrounding the US presidency. This book not only theorizes race, but looks at how it has made a direct impact in the everyday lives of individuals (of all races) within the US context. As such, this book is perfectly positioned to speak to the musicologies in a wholly unique way. At the same time, it eschews overly complicated musical discussions and jargon in favor of language that is approachable for those outside of music, as well. It is a consummate example of public musicology." - Charles D. Carson, University of Texas at Austin""Tracks on the Trail ​​explores the changing nature of political engagement through a tangential analysis of how the emergence of social media and streaming platforms widened possibilities of garnering new constituents for political candidates. It is a timely study of the ways in which music has been engaged as a means of projecting identity, policy, and ideology during presidential campaigns and administrations." - Tammy Kernodle, Miami University in OhioTable of Contents Acknowledgments Introduction: Tracks on the Trail: Popular Music, Race, and the US Presidency Chapter One: Keepin’ It Real (Respectable): Barack Obama’s Music Strategy and the Formation of Presidential Identity Chapter Two: Anatomy of a Campaign Launch: Heal, Inspire, Revive, Erase with Ben Carson Chapter Three: Kamala Harris Rap Genius? Chapter Four: Girls “Make America Great”: Singing the White Stuff for Donald Trump Chapter Five: Settling the Score: Pop Songs, Protest, and Punishment Notes Bibliography Index

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Book SynopsisExplores the traditions represented in the cultural and musical practices of the late Sixties San Francisco counterculture. This book examines primary source material to demonstrate that the San Francisco counterculture in 1966-67 displayed no interest in commitment to a cause - embracing everything in general, but nothing in particular.

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Book SynopsisThere is a well-developed vocabulary for discussing classical music, but when it comes to popular music, how do we analyze its effects and its meaning? This text demonstrates how listeners form opinions about popular songs, and how they come to attribute a rich variety of meaning to them.Table of ContentsPreface 1 Introduction Prelude I. Codes and competences II. Who is the author? III. Musicology and popular music IV. Postlude 2 Family values in music? Billie Holiday's and Bing Crosby's "I'll Be Seeing You" I. A tale of two (or three) recordings II. Critical discourse III. Biographical discourse IV. Style and history V. Performance, effect, and affect 3 When you're lookin' at Hank (you're looking at country) I. Lyrics, metanarratives, and the great authenticity debate II. Sound, performance, gender, and the hanky-tonk III. "A feeling called the blues" IV. The emergence of "country-western" 4 James Brown's "Superbad" and the double-voiced utterance I. The discursive space of black music II. Signifyin(g)-words and performance III. Musical signifyin(g) 5 Writing, music, dancing, and architecture in Elvis Costello's "Pills and Soap" I. The "popular aesthetic" II. Style and aesthetics III. Interpretation and (post)modern pop IV. A question of influence 6 Afterword: the citizens of Simpleton Appendix A. Reading the spectrum photos B. Registral terminology Notes Bibliography Select discography Index

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Book SynopsisA sourcebook of writings on music for film, bringing together fifty-three critical documents. It includes essays by those who created the music and outlines the major trends, aesthetic choices, technological innovations, and commercial pressures that have shaped the relationship between music and film from 1896 to the present.Trade Review"Hubbert has provided a useful supplemental resource for those interested in the history of film music." -- M. Goldsmith ChoiceTable of ContentsPreface Acknowledgments PART ONE. PLAYING THE PICTURES: MUSIC AND THE SILENT FILM (1895--1925) Introduction 1. F.{ths}H. Richardson / Plain Talk to Theater Managers and Operators (1909) 2. Incidental Music for Edison Pictures (1909) 3. Louis Reeves Harrison / Jackass Music (1911) 4. Eugene A. Ahern / from What and How to Play for Pictures (1913) 5. Clarence E. Sinn / Music for the Picture (1911) 6. W. Stephen Bush / The Art of Exhibition: Rothapfel on Motion Picture Music (1914) 7. Edith Lang and George West / from Musical Accompaniment of Moving Pictures (1920) 8. George Beynon / from Musical Presentation of Motion Pictures (1921) 9. Erno Rapee / from Encyclopaedia of Music for Pictures (1925) 10. Two Thematic Music Cue Sheets: The Thief of Bagdad (1924) and Dame Chance (1926) 11. Hugo Riesenfeld / Music and Motion Pictures (1926) 12. Publishers Win Movie Music Suit (1924) PART TWO. ALL SINGING, DANCING, AND TALKING: MUSIC IN THE EARLY SOUND FILM (1926--1934) Introduction 13. New Musical Marvels in the Movies (1926) 14. Musicians to Fight Sound-Film Devices (1928) 15. Mark Larkin / The Truth about Voice Doubling (1929) 16. Jerry Hoffman / Westward the Course of Tin-Pan Alley (1929) 17. Sigmund Romberg / What's Wrong with Musical Pictures? (1930) 18. Verna Arvey / Present Day Musical Films and How They Are Made Possible (1931) 19. Stephen Watts / Alfred Hitchcock on Music in Films (1934) PART THREE. CARPET, WALLPAPER, AND EARMUFFS: THE HOLLYWOOD SCORE (1935--1959) Introduction 20. George Antheil / Composers in Movieland (1935) 21. Leonid Sabaneev / The Aesthetics of the Sound Film (1935) 22. Max Steiner / Scoring the Film (1937) 23. Erich Wolfgang Korngold / Some Experiences in Film Music (1940) 24. Denis Morrison / What Is a Filmusical? (1937) 25. Aaron Copland / Music in the Films (1941) 26. Harold C. Schonberg / Music or Sound Effects? (1947) 27. Theodor Adorno and Hanns Eisler / The New Musical Resources (1947) 28. Arthur Knight / Movie Music Goes on Record (1952) 29. Elmer Bernstein / The Man with the Golden Arm (1956) 30. Louis and Bebe Barron / Forbidden Planet (1956) 31. James Hillier / Interview with Stanley Donen (1977) 32. Alan Freed / One Thing's for Sure, R 'n' R Is Boffo B.O. (1958) PART FOUR. THE RECESSION SOUNDTRACK: FROM ALBUMS TO AUTEURS, SONGS TO SERIALISM (1960--1977) Introduction 33. June Bundy / Film Themes Link Movie, Disk Trades (1960) 34. Eddie Kalish / Mancini Debunks Album Values (1961) 35. Herrmann Says Hollywood Tone Deaf as to Film Scores (1964) 36. Gene Lees / The New Sound on the Soundtracks (1967) 37. Renata Adler / Movies: Tuning In to the Sound of New Music (1968) 38. Ennio Morricone / Towards an Interior Music (1997) 39. Harvey Siders / Keeping Score on Schifrin: Lalo Schifrin and the Art of Film Music (1969) 40. BBC Interview with Jerry Goldsmith (1969) 41. Harvey Siders / The Jazz Composers in Hollywood: A Symposium (1972) 42. Steven Farber / George Lucas: Stinky Kid Hits the Bigtime (1974) 43. Elmer Bernstein / The Annotated Friedkin (1974) 44. David Raksin / Whatever Became of Movie Music? (1974) PART FIVE. THE POSTMODERN SOUNDTRACK: FILM MUSIC IN THE VIDEO AND DIGITAL AGE (1978--PRESENT) Introduction 45. Susan Peterson / Selling a Hit Soundtrack (1979) 46. Craig L. Byrd / Interview with John Williams (1997) 47. Terry Atkinson / Scoring with Synthesizers (1982) 48. Marianne Meyer / Rock Movideo (1985) 49. Stephen Holden / How Rock Is Changing Hollywood's Tune (1989) 50. Randall D. Larson / Danny Elfman: From Boingo to Batman (1990) 51. Interviews from The Celluloid Jukebox (1995) 52. Philip Brophy / Composing with a Very Wide Palette: Howard Shore in Conversation (1999) 53. Rob Bridgett / Hollywood Sound (2005) Index

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Book SynopsisCovers the various terrain of African American music, from bebop to hip-hop. This title offers an account of the author's own musical experiences with family and friends on the South Side of Chicago, evoking Sunday-morning worship services, family gatherings with food and dancing, and jam sessions at local nightclubs.Trade Review"Race Music is slammin'! Ramsey brilliantly interweaves oral history with his own scholarly readings of jazz, gospel, popular music, and film soundtracks with pathbreaking results. Race Music revolutionizes the way we receive and critique African American popular culture and provides a new context for our understanding of black music and cultural memory. A must read - intelligent, engaging and powerful." - Rae Linda Brown, author of The Heart of a Woman "This work easily makes Guthrie one of the top musicologists of his generation who writes on black music. The scope, depth, and breadth are highly impressive. His criticisms of other scholars are fair. And his treatments of black musical artists in time, in space, and in place are quite illuminating. I know no one else who has his mastery of knowledge over such a broad range of black musical works of different genres and periods." - Cornel West, Princeton University; "Witty, powerful, smart, opinionated, beautifully written, groundbreaking, and bold. Scholars will read Race Music and debate it for years to come." - Robin D. G. Kelley, author of Freedom Dreams"Table of ContentsList of Illustrations Preface 1. Daddy's Second Line: Toward a Cultural Poetics of Race Music 2. Disciplining Black Music: On History, Memory, and Contemporary Theories 3. "It's Just the Blues": Race, Entertainment, and the Blues Muse 4. "It Just Stays with Me All of the Time": Collective Memory, Community Theater, and the Ethnographic Truth 5. "We Called Ourselves Modern": Race Music and the Politics and Practice of Afro-Modernism at Midcentury 6. "Goin' to Chicago": Memories, Histories, and a Little Bit of Soul 7. Scoring a Black Nation: Music, Film, and Identity in the Age of Hip-Hop 8. "Santa Claus Ain't Got Nothing on This!": Hip-Hop Hybridity and the Black Church Muse Epilogue: "Do You Want It on Your Black-Eyed Peas?" Notes Selected Bibliography Acknowledgments Index

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Book SynopsisGershwin created some of the most beloved music of the twentieth century and, along with Jerome Kern, Irving Berlin, and Cole Porter, helped make the golden age of Broadway golden. This biography of George Gershwin (1898-1937) unravels the myths surrounding one of America's most celebrated composers and establishes the enduring value of his music.Trade Review"Filled with new and revelatory information, Howard Pollack's fascinating and meticulous book is the closest anyone has come to capturing the essence of Gershwin's life and work" - Michael Feinstein, Grammy Nominated Singer Songwriter "The scholarship and breadth of coverage are remarkable. This outstanding work should become the first port of call for any future study of Gershwin's life and works." - Andrew Lamb, author of 150 Years of Popular Musical Theatre and Leslie Stuart, Composer of Florodora "Brilliantly researched. Howard Pollack has written the most comprehensive and detailed survey of Gershwin's music." - Robert Kimball, editor, The Complete Lyrics of Ira Gershwin"Table of ContentsContents Preface PART I. LIFE 1. Gershwin and His Family 2. Gershwin's Musical Education to the Rhapsody in Blue (1924) 3. Gershwin and the New Popular Music 4. The Popular Pianist 5. Toward a Career in the Theater 6. Gershwin among His Friends 7. Later Studies 8. Gershwin and the Great Tradition 9. Gershwin and Popular Music and Jazz after 1920 10. Working Methods 11. Gershwin the Man PART II. WORK 12. From "Ragging the Traumerei" (ca. 1913) to The Capitol Revue (1919) 13. From Morris Gest's Midnight Whirl (1919) to The Perfect Fool (1921) 14. From The French Doll to Our Nell (1922) 15. From The Sunshine Trail to Sweet Little Devil (1923) 16. The Rhapsody in Blue (1924) 17. The Scandals of 1924, Primrose, and Lady, Be Good! (1924) 18. Short Story, Tell Me More, and the Concerto in F (1925) 19. Tip-Toes and Song of the Flame (1925) 20. Oh, Kay! and Other Works (1926) 21. Strike Up the Band and Funny Face (1927) 22. Rosalie and Treasure Girl (1928) 23. An American in Paris (1928) and East Is West (1929) 24. Show Girl and The Dybbuk (1929) 25. Girl Crazy (1930) 26. Delicious and the Second Rhapsody (1931) 27. Of Thee I Sing (1931) 28. George Gershwin's Song-Book (1932) 29. The Cuban Overture (1932) and Pardon My English (1933) 30. Let 'Em Eat Cake (1933) and Variations on "I Got Rhythm" (1934) 31. Porgy and Bess (1935) 32. The First Production of Porgy and Bess 33. Porgy and Bess in Revival 34. Porgy and Bess on Disc, Film, and the Concert Stage 35. From Swing Is King (1936) to A Damsel in Distress (1937) 36. From The Goldwyn Follies (1938) to Kiss Me, Stupid (1964) Conclusion Notes Selected Bibliography Index

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Book SynopsisTakes the reader into the heart of what we mean by 'experimental' in avant-garde music. This title examines five disparate events.Trade Review"Richly deserving superlatives, [Experimentalism Otherwise] is a memorable, exciting, rigorous, and beautifully written book of considerable importance." -- Edward Crooks, University of York Tacet "This is an important book, and should be part of every academic music library." -- Clemens Greeser Notes (Music Library Assoc) "Objective, insightful prose" All About Jazz "An original and important book... Impressive in its scope... A concise and focused account." -- Thomas Fogg Current Musicology "Experimental Otherwise crafts a surprisingly strong narrative." -- Dave Cantor Skyscraper

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Book SynopsisFrank Sinatra was only one of a handful of popular entertainers who dominated Western popular culture for six decades.Trade Review'Chris Rojek's study Frank Sinatra is simply brilliant. It is far and away the best study of Sinatra and a U.S. popular singer that I have read. While there are a small row of classics on the great rock singers, pop performers like Sinatra have mainly received celebrity gossip treatment. Rojek's study however, deeply probes Sinatra's celebrity status, including his singing career, his film work, his nightclub and concert tours, his connections with major politicians, and more notoriously, with the Mafia and a series of highly publicized sex scandals.' Doug Kellner, University of California, Los AngelesTable of ContentsPreface. Introduction. 1. Frank's World. 2. Uomo Di Rispetto. 3. Antinomies of Achieved Celebrity. 4. The Rat Pack. 5. Envoi. Notes. References. Index.

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Book SynopsisFrank Sinatra was only one of a handful of popular entertainers who dominated Western popular culture for six decades.Trade Review'Chris Rojek's study Frank Sinatra is simply brilliant. It is far and away the best study of Sinatra and a U.S. popular singer that I have read. While there are a small row of classics on the great rock singers, pop performers like Sinatra have mainly received celebrity gossip treatment. Rojek's study however, deeply probes Sinatra's celebrity status, including his singing career, his film work, his nightclub and concert tours, his connections with major politicians, and more notoriously, with the Mafia and a series of highly publicized sex scandals.' Doug Kellner, University of California, Los AngelesTable of ContentsPreface. Introduction. 1. Frank's World. 2. Uomo Di Rispetto. 3. Antinomies of Achieved Celebrity. 4. The Rat Pack. 5. Envoi. Notes. References. Index.

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Book SynopsisCrossovers brings together four decades of popular and academic writings by folklorist, anthropologist, and jazz scholar John Szwed.Trade Review"In this collection of thirty-one short articles, essays, and reviews written over a thirty-six-year period, John Szwed consistently displays the extraordinary imagination and ingenuity that have made him one of the most respected scholars in African-American and Afro-diasporic Studies. Crossovers is both a revealing intellectual history of Szwed's development as a scholar and critic, and a unified and integrated argument on behalf of the aesthetic, moral, and political genius of the African diaspora." * George Lipsitz, H-Urban *Table of Contents1. Introduction 2. Musical style and racial conflict 3. Musical adaptation among Afro-Americans 4. An American anthropological dilemma: the politics of Afro-American culture 5. Reconsideration: the myth of the Negro past 6. Reconsideration: Lafcadio Hearn in Cincinnati 7. The forest as moral document: the achievement of Lydia Cabrera 8. Race and the embodiment of culture 9. After the myth: studying Afro-American cultural patterns in the plantation literature 10. Speaking people, in their own terms 11. The lizards fake the fake 12. As it is prophesied, so it used to be 13. Greenwich's good gnosis 14. Free samples: Roy Nathanson and Anthony Coleman 15. Milling at the mall 16. Childhood's ends 17. Sweet feet 18. From "Messin' around" to "Funky western civilization": the rise and fall of dance instruction songs 19. The Afro-American transformation of European set dances and dance suites 20. All that beef, and symbolic action, too! : notes on the occasion of the banning of 2 Live Crew's As nasty as they wanna be 21. The real old school 22. Josef Skvorecky and the tradition of jazz literature 23. World views collide: the history of jazz and hot dance 24. Way down yonder in Buenos Aires 25. Improvising under apartheid: Afro blue 26. Sonny Rollins in the age of mechanical reproduction 27. Sun Ra, 1914-1993 28. Ornette Coleman: ?civilization 29. The local and the express: Anthony Braxton's title-drawings 30. Magnificent declension: Solibo magnificent 31. Metaphors of incommensurability

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Book SynopsisDrawing on dozens of interviews with performers, deejays, and industry professionals, Group Harmony details the emergence of vocal rhythm & blues out of black urban neighborhoods in the postwar period.Trade Review"An important and valuable contribution to the literature of twentieth-century popular music." * American Historical Review *"Goosman challenges major myths, conventional wisdom, and historical inaccuracies concerning black popular music between 1940 and 1960. . . . A groundbreaking study." * Popular Music and Society *"With haunting voices and compelling arguments, Group Harmony brings us to a deeper awareness of the traditions, convictions, and energies, as well as the talent, that brought forth the R&B group sound. As oral history and social portrait, this is the story we need to hear about a music we'll never forget." * Charles McGovern, College of William and Mary and the Smithsonian Institution *

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Book Synopsisoffers a valuable interdisciplinary approach and contributes to the history of women’s voices in the Middle Ages and Early Modern periods. It illuminates the critical role of voice in negotiating culture, celebrating and innovating traditions, advancing personal and political projects, and defining the literary and musical developments that shaped medieval France.Trade Review“With its integration of current philosophy of voice, feminist criticism, and queer theory, this collection offers nuanced readings at every turn. The essays acknowledge the classical and ecclesiastical underpinnings of medieval misogyny while insightfully demonstrating how various genres and voices reflected—while undermining—conventional medieval European positions on women.”—Christopher Callahan, cotranslator of Thibaut de Champagne’s Les Chansons, textes et melodies

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Book SynopsisIn It's Been Beautiful, Gayle Wald examines Soul!, the first African American black variety television show on public television, which between 1968 and 1973 was instrumental in expressing the diversity of black popular culture, thought and politics, as well as helping to create the notion of black community.Trade Review“[An] evocative, detailed book. . . . Wald’s book is both a timely and a galvanizing addition to what might be described as black analog studies.” -- Mark Anthony Neal * Chronicle Review *“Wald's writing energises the reader when describing specific episodes. She was granted full access to the 30 or so episodes that survive as well as securing photographs for the book from Chester Higgins, who shot publicity stills each week during filming. When the narrative and the photographs intersect, the book really begins to resonate. Every couple of pages, you wish that you could view the Thelonious Monk performance being described, or hear the voice of Malcolm X's widow Betty Shabazz detailing her struggles. This is a singular book that will never be bettered or repeated. . . ." -- Pat Thomas * The Wire *“In the late 60s and early 70s, Ellis Haizlip's groundbreaking public television program Soul! presented black authors, activists, and musicians speaking and performing without any kind of filter. Episodes included Nikki Giovanni debating James Baldwin and Labelle covering the Who's ‘Won't Get Fooled Again.’ Wald provides evocative descriptions of the shows and places them in cultural context.” -- Aaron Cohen * Chicago Reader *"It’s Been Beautiful is an important and timely book that charts how Soul! broadcast the vitality of black culture to predominately black audiences." -- Matt Delmont * Journal of American History *"It’s Been Beautiful offers a great contribution on the Black Power movement, chronicling a mediatic space that played a central role in black people’s lives during the late 1960s and early 1970s. Wald shows how media engages in ideological and identity processes while also demonstrating its radical potential. Any scholar interested in Black Power and media would surely enjoy this well-written and engaging book." -- Bianca Gonzalez-Sobrino * Ethnic and Racial Studies *"Since Wald argues that one of Soul!’ s key attributes is the unique 'archive' it provides of this era in black history, the book provides a very useful companion to courses examining the period. By showcasing and interviewing artists associated with the Black Arts Movement such as the Last Poets; featuring jazz musicians like Rahsaan Roland Kirk; including conversations about family, gender, and domesticity between poet Nikki Giovanni and writer James Baldwin; and airing discussions with poet and activist Amiri Baraka, the show and Wald’sanalysis of it provide students with productive texts to examine and deepen their understanding of the era." -- Aniko Bodroghkozy * History Teacher *"It’s Been Beautiful successfully brings attention, with both dignity and respect, to a neglected but influential and deserving part of African American cultural history." -- Rob Bowman * IASPM@Journal *Table of ContentsIllustrations vii Photographer's Note: A Vision of Soul! / Chester Higgins ix Introduction. "It's Been Beautiful" 1 1. Soul! and the 1960s 36 2. The Black Community and the Affective Compact 70 3. "More Meaningful Than a Three-Hour Lecture": Music on Soul! 104 4. Freaks Like Us: Black Misfit Performance on Soul! 145 5. The Racial State and the "Disappearance" of Soul! 181 Conclusion. Soul! at the Center 213 Acknowledgments 221 Notes 225 Bibliography 253 Index 265

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Book SynopsisDavid Grubbs explores the ephemeral nature of improvised music in Now that the audience is assembled, a prose poem that in its depiction of a fictional musical performance challenges common understandings of how and where music is composed, performed, and experienced.Trade Review"Primarily, in the beginning, this is a discourse on—and through—rhythm, on what it means to pause and to repeat, on all t he many shades of the same and its other, of noise and silence. That the book is able to make you pause and think about all these things while being itself rhythmically (and musically) interesting is no small feat. On top of that, it also manages to be very funny. And like all best comedy, now that the audience is assembled is ultimately a matter of ... timing." -- Robert Barry * The Wire *“Now that the audience is assembled, a new book-length poem by musician David Grubbs, reminds us that listening can feel stranger than dreaming." -- Chris Richards * Washington Post *"A formally adventurous prose poem. . . . I've only read the 140-page book once, and I know I missed many of its nuances, but its audacity and provocation nonetheless moved me." -- Peter Margasak * Chicago Reader *"Imaginative.... A work that combines the directness of an actual improvisation with the well-chosen language afforded by after-the-fact reflection." -- Daniel Barbiero * Avant Music News *"Now That the Audience is Assembled is an interesting and compelling exploration of the boundaries between literature and improvised music, of waiting for the work to age, and between various and different media presentations of its content. . . . Grubbs presents a noisy vision of an improvised musical performance through a different form of writing. Come early, stay all night, get on the stage with the performer, participate or you won't feel a thing." -- John F. Barber * Leonardo Reviews *"Now That the Audience is Assembled shows the possibilities of an imagined and unfolding musical event. This book also offers an excellent example of how specifically musical performance, and generally all performance, might be made to perform and sound on the page through the use of a poetic and descriptive form of writing. Engaging this prose poem invites the reader to be part of Grubbs’s assembled audience of witnesses. And the experiments of music, sound, and writing are offered for you to add to and transform through your own desires, expectations, and presence." -- Chris McRae * Text and Performance Quarterly *"This long form poem is as much a reflection on the contemporary music audience and their responses to an unnamed musician’s experimentation as it is a commentary on the act of spontaneous creation.Grubbs’s writing style – ephemeral and esoteric, with patches of lucidity and remarkable wit – is highly engaging and entertaining, offering a thoughtful experiment in music writing that invites the reader in to participate themselves, performing as one of the assembled audience." -- Toby Young * Twentieth-Century Music *"The slim volume is a masterful metaconceptual play on conceptual art and a pleasure to read. But it is more than just a suggestion for a reader’s own private, internal performance. Grubbs’s writing does triple duty as a poem, a book, and a score for live performance—like almost all of Cage’s writings. . . . The best thing about this book, for me, is that it demonstrates that great scholarship can be great art and that scholarly inquiry on the nature of experimentalism can itself be experimental." -- Sara Haefeli * American Music *Table of ContentsNow that the audience is assembled 1 Afterword 135 Acknowledgments 139

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Book SynopsisDavid Grubbs explores the ephemeral nature of improvised music in Now that the audience is assembled, a prose poem that in its depiction of a fictional musical performance challenges common understandings of how and where music is composed, performed, and experienced.Trade Review"Primarily, in the beginning, this is a discourse on—and through—rhythm, on what it means to pause and to repeat, on all t he many shades of the same and its other, of noise and silence. That the book is able to make you pause and think about all these things while being itself rhythmically (and musically) interesting is no small feat. On top of that, it also manages to be very funny. And like all best comedy, now that the audience is assembled is ultimately a matter of ... timing." -- Robert Barry * The Wire *“Now that the audience is assembled, a new book-length poem by musician David Grubbs, reminds us that listening can feel stranger than dreaming." -- Chris Richards * Washington Post *"A formally adventurous prose poem. . . . I've only read the 140-page book once, and I know I missed many of its nuances, but its audacity and provocation nonetheless moved me." -- Peter Margasak * Chicago Reader *"Imaginative.... A work that combines the directness of an actual improvisation with the well-chosen language afforded by after-the-fact reflection." -- Daniel Barbiero * Avant Music News *"Now That the Audience is Assembled is an interesting and compelling exploration of the boundaries between literature and improvised music, of waiting for the work to age, and between various and different media presentations of its content. . . . Grubbs presents a noisy vision of an improvised musical performance through a different form of writing. Come early, stay all night, get on the stage with the performer, participate or you won't feel a thing." -- John F. Barber * Leonardo Reviews *"Now That the Audience is Assembled shows the possibilities of an imagined and unfolding musical event. This book also offers an excellent example of how specifically musical performance, and generally all performance, might be made to perform and sound on the page through the use of a poetic and descriptive form of writing. Engaging this prose poem invites the reader to be part of Grubbs’s assembled audience of witnesses. And the experiments of music, sound, and writing are offered for you to add to and transform through your own desires, expectations, and presence." -- Chris McRae * Text and Performance Quarterly *"This long form poem is as much a reflection on the contemporary music audience and their responses to an unnamed musician’s experimentation as it is a commentary on the act of spontaneous creation.Grubbs’s writing style – ephemeral and esoteric, with patches of lucidity and remarkable wit – is highly engaging and entertaining, offering a thoughtful experiment in music writing that invites the reader in to participate themselves, performing as one of the assembled audience." -- Toby Young * Twentieth-Century Music *"The slim volume is a masterful metaconceptual play on conceptual art and a pleasure to read. But it is more than just a suggestion for a reader’s own private, internal performance. Grubbs’s writing does triple duty as a poem, a book, and a score for live performance—like almost all of Cage’s writings. . . . The best thing about this book, for me, is that it demonstrates that great scholarship can be great art and that scholarly inquiry on the nature of experimentalism can itself be experimental." -- Sara Haefeli * American Music *Table of ContentsNow that the audience is assembled 1 Afterword 135 Acknowledgments 139

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Book Synopsis* A lively and engaging collection of lyrical poems, carols, and traditional British ballads written in between the thirteenth and fifteenth centuries, together with some twentieth--century American versions of them. * Introduces readers to the rich variety of Middle English poetry.Trade Review"A very attractive anthology, notable for its variety and the careful and expert way it has been designed for the use of students." --Douglas Gray "Students will particularly value the range of critical material cited." --Valerie Edden, University of Birmingham, Modern Language ReviewTable of ContentsList of Illustrations. Preface. List of Abbreviations. Introduction. I. Poems of Mourning, Fear, and Apprehension. 1 O Glorius God, redemer of mankynde. 2 Mirie it is while sumer i-last. 3 Now goth sonne vnder wod. 4 If man him bithocte. 5 Wen the turuf is thy tuur. 6 As I went in a mery mornyng. 7 Thegh thou habbe casteles and toures. II. Poems of Joy and Celebration. 8 Svmer is i-cumen in. 9 Adam lay i-bowndyn. 10 My gostly fadir, Y me confesse. 11 Lett no man cum into this hall. 12 Witte hath wondir that resoun ne telle kan. III. Poems Inscribed to the Blessed Virgin. 13 I syng of a mayden. 14 Of on that is so fayr and brigt. 15 Haill, Quene of Hevin and Steren of Blis. 16 I saw a fayr mayden. IV. Poems of Narrative Reflection. 17 In the vaile of restles mynd. 18 Alas, alas, and alas, why. 19 I wolde witen of sum wys wiht. V. Poems Whose Meanings Are Hidden (but Not Necessarily Unknown). 20 Maiden in the mor lay. 21 Foweles in the frith. 22 Ich am of Irlaunde. 23 I seche a youthe that eldyth noght. 24 He bare hym vp, he bare hym down. VI. Poems about Christ’s Life and Passion. 25 A child is boren amonges man. 26 Al other loue is lych the mone. 27 Wose seye on rode. 28 O man vnkynde. 29 Ihesu, my spowse good and trewe. 30 Causa materialis huius rubricacionis est. VII. Poems Inviting or Disparaging Love. 31 Bytuene Mersh and Aueril. 32 Goe, lytyll byll, and doe me recommende. 33 I haue a yong suster. 34 Goo, lyttell ryng, to that ylke suehte. 35 Vnto you, most froward, this lettre I write. 36 O fresch floure, most plesant of pryse. VIII. Poems about Sex. 37 Westron wynde, when wyll thow blow. 38 Al nist by the rose, Rose. 39 I haue a gentil cok. 40 Ladd Y the daunce. IX. Ballads. 41 Sir Patrick Spens. Patrick Spencer (American version). 42 Bonnie Barbara Allan. Barbara Allen (American version). 43 Lord Randal. Jimmy Randal (American version). 44 The Unquiet Grave. The Wind Blew Up, the Wind Blew Down (American version). 45 The Three Ravens. Willie McGee McGaw (American version). X. Carols. 46 Go day, Syre Cristemas, our kyng. 47 I shall you tell a gret mervayll. 48 Off seruyng men I wyll begyne. 49 Owre kynge went forth to Normandy. 50 As the holly grouth grene. Appendix A. Some Lyrics of Geoffrey Chaucer. A1 Truth. A2 The Complaint of Chaucer to his Purse. A3 To Rosamounde. A4 Lak of Stedfastnesse. A5 Embedded Lyric A. A6 Embedded Lyric B. A7 To Adam, My Scribe. Appendix B. Poems of William Hereberet, Richard Rolle, and John Audelay. B1 Alma Redemptoris Mater (Holy Moder, that bere Cryst). B2 Jesus Our Ransom (Iesu our raunsoun). Richard Rolle. B3 A Song of Love-Longing to Jesus (Ihesu, God sone, Lord of Mageste). B4 A Prose Lyric: Spiritual Joy in Jesus (Gastly gladnes in Ihesu). B5 Embedded Lyric A (Ihesu, be thou my ioy). B6 Embedded Lyric B (A, Lord, kyng of myght). B7 Embedded Lyric C (To loue the). John Audelay. B8 Of the Love of God (I haue a loue is heuen kyng). B9 Of Our King, Henry VI (A! Pereles Pryns to the we pray). Appendix C. Three Poems from the Findern Anthology. C1 Where Y haue chosyn, stedefast woll Y be. C2 Whatso men seyn. C3 Continvaunce. Glossary. A Short Bibliography of the Middle English Lyric. First Line Index. Manuscript Index.

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Book SynopsisMedieval Lyric is a colourful collection of lyrical poems, carols, and traditional British ballads written between the thirteenth and fifteenth centuries, together with some twentieth-century American versions of them. A lively and engaging collection of lyrical poems, carols, and traditional British ballads written in between the thirteenth and fifteenth centuries, together with some twentieth-century American versions of them. Introduces readers to the rich variety of Middle English poetry. Presents poems of mourning and of celebration, poems dedicated to the Blessed Virgin and to Christ, poems inviting or disparaging love, poems about sex, and more. Reader-friendly - uses modernized letter forms, punctuation and capitalization, and side glosses explaining difficult words. Opens with a substantial introduction by the editor to the medieval lyric as a genre, and features short introductions to each section and poem. Trade Review"A very attractive anthology, notable for its variety and the careful and expert way it has been designed for the use of students." --Douglas Gray "Students will particularly value the range of critical material cited." --Valerie Edden, University of Birmingham, Modern Language Review Table of ContentsList of Illustrations. Preface. List of Abbreviations. Introduction. I. Poems of Mourning, Fear, and Apprehension. 1 O Glorius God, redemer of mankynde. 2 Mirie it is while sumer i-last. 3 Now goth sonne vnder wod. 4 If man him bithocte. 5 Wen the turuf is thy tuur. 6 As I went in a mery mornyng. 7 Thegh thou habbe casteles and toures. II. Poems of Joy and Celebration. 8 Svmer is i-cumen in. 9 Adam lay i-bowndyn. 10 My gostly fadir, Y me confesse. 11 Lett no man cum into this hall. 12 Witte hath wondir that resoun ne telle kan. III. Poems Inscribed to the Blessed Virgin. 13 I syng of a mayden. 14 Of on that is so fayr and brigt. 15 Haill, Quene of Hevin and Steren of Blis. 16 I saw a fayr mayden. IV. Poems of Narrative Reflection. 17 In the vaile of restles mynd. 18 Alas, alas, and alas, why. 19 I wolde witen of sum wys wiht. V. Poems Whose Meanings Are Hidden (but Not Necessarily Unknown). 20 Maiden in the mor lay. 21 Foweles in the frith. 22 Ich am of Irlaunde. 23 I seche a youthe that eldyth noght. 24 He bare hym vp, he bare hym down. VI. Poems about Christ’s Life and Passion. 25 A child is boren amonges man. 26 Al other loue is lych the mone. 27 Wose seye on rode. 28 O man vnkynde. 29 Ihesu, my spowse good and trewe. 30 Causa materialis huius rubricacionis est. VII. Poems Inviting or Disparaging Love. 31 Bytuene Mersh and Aueril. 32 Goe, lytyll byll, and doe me recommende. 33 I haue a yong suster. 34 Goo, lyttell ryng, to that ylke suehte. 35 Vnto you, most froward, this lettre I write. 36 O fresch floure, most plesant of pryse. VIII. Poems about Sex. 37 Westron wynde, when wyll thow blow. 38 Al nist by the rose, Rose. 39 I haue a gentil cok. 40 Ladd Y the daunce. IX. Ballads. 41 Sir Patrick Spens. Patrick Spencer (American version). 42 Bonnie Barbara Allan. Barbara Allen (American version). 43 Lord Randal. Jimmy Randal (American version). 44 The Unquiet Grave. The Wind Blew Up, the Wind Blew Down (American version). 45 The Three Ravens. Willie McGee McGaw (American version). X. Carols. 46 Go day, Syre Cristemas, our kyng. 47 I shall you tell a gret mervayll. 48 Off seruyng men I wyll begyne. 49 Owre kynge went forth to Normandy. 50 As the holly grouth grene. Appendix A. Some Lyrics of Geoffrey Chaucer. A1 Truth. A2 The Complaint of Chaucer to his Purse. A3 To Rosamounde. A4 Lak of Stedfastnesse. A5 Embedded Lyric A. A6 Embedded Lyric B. A7 To Adam, My Scribe. Appendix B. Poems of William Hereberet, Richard Rolle, and John Audelay. B1 Alma Redemptoris Mater (Holy Moder, that bere Cryst). B2 Jesus Our Ransom (Iesu our raunsoun). Richard Rolle. B3 A Song of Love-Longing to Jesus (Ihesu, God sone, Lord of Mageste). B4 A Prose Lyric: Spiritual Joy in Jesus (Gastly gladnes in Ihesu). B5 Embedded Lyric A (Ihesu, be thou my ioy). B6 Embedded Lyric B (A, Lord, kyng of myght). B7 Embedded Lyric C (To loue the). John Audelay. B8 Of the Love of God (I haue a loue is heuen kyng). B9 Of Our King, Henry VI (A! Pereles Pryns to the we pray). Appendix C. Three Poems from the Findern Anthology. C1 Where Y haue chosyn, stedefast woll Y be. C2 Whatso men seyn. C3 Continvaunce. Glossary. A Short Bibliography of the Middle English Lyric. First Line Index. Manuscript Index.

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Book SynopsisAn anthology of compositions by popular Philadelphia jazz and blues artists accessible for every musicianTrade Review“As far back as I can remember, The Real Book has been a must-have for jazz musicians. It brings me great joy that this particular version features the music of Philadelphia musicians. Philadelphia has always had a wealth of wonderful composers, so this is another must-have version of The Real Book for gigging cats. I’m honored to have a few of my own compositions included.”—Joey DeFrancesco, Grammy-nominated organist, multi-instrumentalist, composer, multiple DownBeat poll winner“Philadelphia is steeped in jazz culture and has made significant contributions to the many sounds of jazz, dating back to its early pioneers, Joe Venuti and Eddie Lang. Many, including Jimmy Smith and Lee Morgan, helped shape the idiom known as hard bop, while others, most notably John Coltrane, forged new frontiers. All left their compositional mark on the music, and many are highlighted in this splendid edition of The Real Philadelphia Book .”—Michael Ricci, Founder of All About Jazz“Thank God for The Real Philadelphia Book and the Heath Brothers. Celebrating the gifts and talents of Philadelphians is incredible. The concert I performed with them was filled with love, laughs, tears, joy and celebration. Jimmy Heath’s music takes you on an emotional journey as both performer and listener. The gift is to look back and reflect upon the high level of musicianship demonstrated on stage and documented in this book.” —Terell Stafford, Grammy-winning trumpeter and Chair of Instrumental Studies and Jazz at Temple University“The Real Book is perhaps the most widely used publication amongst jazz musicians. It’s a great idea to present a version of your hometown. My pride is overflowing as I share with my homies to keep that Philly Love and bond strong.”—Duane Eubanks, trumpeter, composer, educator“The Real Philadelphia Book is now a staple in the jazz community. It serves as a resource while supporting the outstanding composers from the Philadelphia area. Philadelphia has always harvested a wealth of talent on so many levels—it grows stronger with each generation. Jazz Bridge is a great supporter, always shining a light on Philadelphia musicians. The Real Philadelphia Book is the real deal.” —Monnette Sudler, guitarist, composer, vocalist, recording artist, educator“In years to come, this will be seen as a gift of musical ancestry and a historical documentation of stories you could only attribute to jazz. I am overjoyed that I sit in this circle of the most honored Philadelphia jazz griots and get to share my story! Embracing this book is a reminder that we each have a story to tell. The griots would say, ‘A story, a story, bring it!’”—Rhenda Fearrington, vocalist and President of the Jazz Bridge Project“The Real Philadelphia Book is an amazing project that celebrates the way in which a jazz community can be made up of a beautiful harmony of similarities and differences. Philadelphia, like so many other great cities in our country, has produced a plethora of great jazz composers, and, with such well-edited charts, it is clear to me that this book will become an immediate treasure in the jazz education community.” —Dr. Angelo Versace, pianist and Director of Jazz Studies at the University of Arizona

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Book SynopsisAgainst the standard retelling of the history of modern rock', Robin James looks to the local scenes that made true independence possible by freeing individual artists from the whims of the boardroom. This philosophy of community-rooted independence offers a counternarrative to the orthodox history of indie rock.

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Book SynopsisAgainst the standard retelling of the history of modern rock', Robin James looks to the local scenes that made true independence possible by freeing individual artists from the whims of the boardroom. This philosophy of community-rooted independence offers a counternarrative to the orthodox history of indie rock.

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Book SynopsisThe regional and transnational impact of the Son Jarocho musical tradition.Table of ContentsAcknowledgments Introduction Chapter 1. Mario Barradas’s Life in Music (Mario Barradas) Chapter 2. Musical Reflections on Mario Barradas and Son Jarocho (Francisco González) Chapter 3. Son Jarocho’s Indigenous Expressivity across Geographies (Yolanda Broyles-González) Chapter 4. Mario Barradas and Mexican Cinema (Rafael Figueroa Hernández) Mario Barradas Discography (Rafael Figueroa Hernández) About the Authors Index

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Book SynopsisThe regional and transnational impact of the Son Jarocho musical tradition.Table of ContentsAcknowledgments Introduction Chapter 1. Mario Barradas’s Life in Music (Mario Barradas) Chapter 2. Musical Reflections on Mario Barradas and Son Jarocho (Francisco González) Chapter 3. Son Jarocho’s Indigenous Expressivity across Geographies (Yolanda Broyles-González) Chapter 4. Mario Barradas and Mexican Cinema (Rafael Figueroa Hernández) Mario Barradas Discography (Rafael Figueroa Hernández) About the Authors Index

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Book SynopsisA who's who of American popular music fills this lively memoir, in which Ray Benson recalls how a Philadelphia Jewish hippie and his bandmates in Asleep at the Wheel turned on generations of rock and country fans to Bob Willsstyle Western swing.Trade ReviewA pleasure for fans of Benson and the band. * Kirkus Reviews *In his own words, Benson reflects on the wild ride that's led him to where he is today. * The Boot, "10 Best Country Music Books of 2022" *Benson has a treasure trove of outlandish anecdotes, assorted nuggets of wisdom, and a deep and vast wealth of musical knowledge to share. * PopMatters *A let-it-all-hangout memoir. * Texas Monthly *The man is a trip, literally and figuratively . . . a real relaxin’ ride with a mellow fellow. * Library Journal *Full of humor and humility and a truly iconoclast outlook on life . . . since Benson started Asleep at the Wheel as a working-class country band, it's one helluva ride worth telling. * Austin Chronicle *Asleep at the Wheel and country music fans will have trouble putting down this book, which barrels forward with all the energy of a Saturday night show at a dance hall in Austin. . . . Benson is the wily old veteran, spinning yarns and imparting wisdom learned from years on the road. We’d all be wise to listen. * Jewish Book Council *Highly recommended. * Ink29 *Table of Contents Prologue: February 15, 1979 Friday's Child You Get a Smile Every Time with the Heads-up Taste of a Ballantine Bright Lights, Big Cities Almost Heaven, West Virginia A Name of Our Own Asleep at the Wheel Goes to Washington Go West, Young Man (and Woman) On the Road Again Into the Mystic with "The Beatles of Western Swing" Austin Calling On the Bus Spinning Texas Gold "Framed" Deadly Sins Write Your Own Song The Zen of Willie The Film Industry Is a Series of Peaks and Valleys 615 Blues Ride with Bob Ride with Job Into the Black Epilogue: Bringing It All Back Home Acknowledgments Index

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Book SynopsisTyler Bickford traces the dramatic rise of the tween pop music industry, showing how it marshaled childishness as a key element in legitimizing children's participation in public culture.Trade Review“A pathbreaking contribution that will reach and be relevant to a wide audience, Tween Pop is the first book to treat the tween pop explosion of the 2000s as a cohesive phenomenon. I have no doubt that it will reach a wide audience while repositioning music as central to childhood studies and demanding for children's music a central place in the study of popular music as a whole.” -- Diane Pecknold, author of * The Selling Sound: The Rise of the Country Music Industry *“Tyler Bickford masterfully describes a ‘tween moment’ in American public culture, examining those young music consumers who teeter between childhood and adolescence, and the attention of the popular music industry in reconceptualizing music for them in this critical growth stage. This highly original and ambitious book is a substantial contribution to ethnomusicology, sociology, media studies, education, and child studies, and convincingly clarifies the struggle of the culture industries to convert childhood into a cultural identity all its own.” -- Patricia Shehan Campbell, University of Washington“Tween Pop offers valuable new directions in many areas across multiple disciplines. The scholarship here should remain beneficial for quite some time. . . . I urge readers to pick up this book now and make the most of it.” -- Christopher A. Medjesky * Journal of Popular Culture *“Tween Pop is well-researched, expertly written, and thorough, and it includes supporting images. It is an essential text for those wanting to understand the important tween audience and its continuing impact on popular music.” -- Kathy Merlock Jackson * Journal of American Culture *Table of ContentsAcknowledgments vii Introduction. The Tween Moment 1 1. Singing Along 41 2. Music Television 56 3. "Having It All" 87 4. The Whiteness of Tween Innocence 106 5. The Tween Prodigy at Home and Online 140 Conclusion. After the Tween Moment 167 Notes 187 References 197 Index 221

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Book SynopsisIn the early years of the twenty-first century, the US music industry created a new market for tweens, selling music that was cooler than Barney, but that still felt safe for children. In Tween Pop Tyler Bickford traces the dramatic rise of the tween music industry, showing how it marshaled childishness as a key element in legitimizing children's participation in public culture. The industry played on long-standing gendered and racialized constructions of childhood as feminine and white-both central markers of innocence and childishness. In addition to Kidz Bop, High School Musical, and the Disney Channel's music programs, Bickford examines Taylor Swift in relation to girlhood and whiteness, Justin Bieber's childish immaturity, and Miley Cyrus/Hannah Montana and postfeminist discourses of work-life balance. In outlining how tween pop imagined and positioned childhood as both intimate and public as well as a cultural identity to be marketed to, Bickford demonstrates the importance of children's music to core questions of identity politics, consumer culture, and the public sphere.Trade Review“A pathbreaking contribution that will reach and be relevant to a wide audience, Tween Pop is the first book to treat the tween pop explosion of the 2000s as a cohesive phenomenon. I have no doubt that it will reach a wide audience while repositioning music as central to childhood studies and demanding for children's music a central place in the study of popular music as a whole.” -- Diane Pecknold, author of * The Selling Sound: The Rise of the Country Music Industry *“Tyler Bickford masterfully describes a ‘tween moment’ in American public culture, examining those young music consumers who teeter between childhood and adolescence, and the attention of the popular music industry in reconceptualizing music for them in this critical growth stage. This highly original and ambitious book is a substantial contribution to ethnomusicology, sociology, media studies, education, and child studies, and convincingly clarifies the struggle of the culture industries to convert childhood into a cultural identity all its own.” -- Patricia Shehan Campbell, University of Washington“Tween Pop offers valuable new directions in many areas across multiple disciplines. The scholarship here should remain beneficial for quite some time. . . . I urge readers to pick up this book now and make the most of it.” -- Christopher A. Medjesky * Journal of Popular Culture *“Tween Pop is well-researched, expertly written, and thorough, and it includes supporting images. It is an essential text for those wanting to understand the important tween audience and its continuing impact on popular music.” -- Kathy Merlock Jackson * Journal of American Culture *Table of ContentsAcknowledgments vii Introduction. The Tween Moment 1 1. Singing Along 41 2. Music Television 56 3. "Having It All" 87 4. The Whiteness of Tween Innocence 106 5. The Tween Prodigy at Home and Online 140 Conclusion. After the Tween Moment 167 Notes 187 References 197 Index 221

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