Music Books

Book SynopsisExplores the ways in which 'classical' music made its way into late twentieth-century American mainstream culture - in pop songs, movie scores, and print media. This book proposes a holistic musicology in which disparate musical elements might be brought together in dynamic and humane conversation.Trade Review"This extraordinary work demands and deserves to be read and re-read, time and again, for the ideas presented here are innovative, thought provoking, and among the freshest and most exciting to emerge in recent years." -- Ellen Flint American Music Teacher "Extremely well written and thought-provoking." -- C. A. Traupman-Carr Choice "At the heart of this brilliant ... book is an aesthetic vision of what classical music has come to mean." Journal Of The Society For American Music (Jsam) "Long has succeeded in that most welcome of humanistic scholarly achievements: to take a much-studied and familiar thing and find an original and persuasive way to see it, to hear it, and to understand it." Journal Of Musicological Research "Beautiful Monsters is...doubly significant; it not only problematises the boundary between popular music and classical music, but also questions the disciplinary boundary between popular music studies and musicology." Popular MusicTable of ContentsContents Acknowledgments Introduction Part One. Registering the Classic 1. The Expressive Vernacular 2. Making Overtures 3. Yiddishkeit and the Musical Ethics of Cinema Part Two. Envisioning the Classic 4. Hearing Monsters 5. The Fantastic, the Picturesque, and the Dimensions of Nostalgia 6. Listening in Dark Places 7. Concertos, Symphonies, Rhapsodies (and an Opera) Conclusion: Sitting Down with Mnemosyne Notes Selected Bibliography Index

Read more less

Book SynopsisExamines the role of sound and audio in the development of media theory and practice, including technologies and performance art events, with particular emphasis on sound, embodiment, art, and technological interactions. This book takes an historical approach, focusing on technologies that became available in the mid-twentieth century-electronics.Trade Review"Dyson seamlessly integrates theoretical perspectives with the history of technological developments in this thought-provoking work for scholars and practitioners." Choice "An informative book on the still developing role between new media, consumer, and creator." -- Heather Pinson Notes (Music Library Assoc) "Sophisticated and ... ambitious... Dyson's skillful, erudite excavations of rhetorical and conceptual structures bring many benefits." Filter Magazine "A stimulating read... Dyson engages with an impressive range of perspectives. She contributes valuably to contemporary music scholarship. -- Nina Sun Eidsheim, Mandy-Suzanne Wong Organised SoundTable of ContentsAcknowledgments Introduction 1. Ethereal Transmissions The "Tele" of Ph_n_ 2. Celestial Telegraphies 3. Aural Objects, Recording Devices, and the Proximate Apparatus 4. Death, Silence, and the Tape Recorder 5. Immersion 6. Embodying Technology From Sound Effect to Body Effect 7. Atmospheres Conclusion: Music and Noise Notes References Index

Read more less

Book SynopsisFocuses on the works of Claudio Monteverdi, a master of both genres, to investigate how they reflect changing ideas about performance and role-playing by singers. This title traces the roots of dialogic subjectivity to Petrarch's love poetry arguing that Petrarchism exerted a powerful influence on late Renaissance literature art and music.Table of ContentsIntroduction Part One. La Musica and Orfeo 1. Text, Context, Performance 2. Liminality, Deixis, Subjectivity 3. Performing the Dialogic Self Part Two. Constructing the Narrator 4. From Petrarch to Petrarchism: A Rhetoric of Voice and Address 5. In Search of Voice: Musical Petrarchism in the Sixteenth-Century Madrigal Part Three. Staging the Self 6. Monteverdi, Narrator 7. The Possibility of Opera Epilogue: Subjectivity, Theatricality, Multimediality Appendix 1: Tables of Contents of the Madrigal Books Appendix 2: Monteverdi, Combattimento di Tancredi e Clorinda: Text and Translation

Read more less

Book SynopsisExamining the work of such composers as Aaron Copland, Roy Harris, Virgil Thomson, Charles Wakefield Cadman, and Arthur Farwell, this title addresses questions of regionalism, race, and representation as well as changing relationships to the natural world to highlight the intersections between classical music and the diverse worlds of Indians.Trade Review"Music professor Levy looks at how Western Americana has been woven into American culture via music." Sacramento Bee "Levy offers an amazing amount of scholarship. She has researched nearly every person and event of this period... Highly recommended." -- W.K. Kearns, Emeritus, University of Colorado at Boulder ChoiceTable of ContentsList of Illustrations Acknowledgments Abbreviations Introduction: The Course of Empire Chapter 1. The Wa-Wan and the West Chapter 2. Western Democracy, Western Landscapes, Western Music Part Two. Western Encounters: Charles Wakefield Cadman and Others Chapter 3. Encountering Indians Chapter 4. Staging the West Part Three. American Pastorals Chapter 5. West of Eden Chapter 6. Power in the Land Chapter 7. Harvest Home Part Four. Roy Harris: Provincial Cowboy, White Hope Chapter 8. How Roy Harris Became Western Chapter 9. Manifest Destiny Chapter 10. The Composer as Folk Singer Part Five. Aaron Copland: From Orient to Occident Chapter 11. The Saga of the Prairies Chapter 12. Communal Song, Cosmopolitan Song Chapter 13. Copland and the Cinematic West Conclusion: On the Trail Notes Selected Bibliography Index

Read more less

Book SynopsisNorman Granz, who died in 2001, was iconoclastic, independent, influential, often thoroughly unpleasant - and one of jazz's true giants. This biography recounts Granz's story: creator of the legendary jam session concerts known as Jazz at the Philharmonic; founder of the Verve record label; and manager and recording producer for numerous stars.Trade Review"This book is a valuable addition to the jazz literature." -- Norman Vickers The Jazz Society Of Pensacola "[A] diligently researched biography... [Hershorn] meticulously documents the personnel and songs played at many concerts and recording dates." -- David Lander Stereophile "An impressively researched, detailed, and highly readable account of ... one of the most significant non-musicians in jazz." Blue LightTable of ContentsList of Illustrations Foreword by Oscar Peterson Prologue: “I Made Things Work” 1 “All I Wanted Was My Freedom” 2 “A Marvelous Crucible” 3 Cole Train 4 “The Opener” 5 Let Freedom Swing 6 Norman Granz versus . . . 7 Mambo Jambo 8 Enter Ella and Oscar 9 The Continental 10 “I Feel Most at Home in the Studio” 11 Starry Nights 12 “That Tall Old Man Standing Next to Ella Fitzgerald” 13 The Jazz Hurricane 14 “The Lost Generation” 15 Duke, Prez, and Billie 16 Joie de Verve 17 Across the Sea 18 “Musicians Don’t Want to Jam” 19 Picasso on the Beach 20 “One More Once” 21 Takin’ It on Out—for Good 22 “Somewhere There’s Music” Epilogue: “My Career, Such As It Is . . .” Acknowledgments Chronology Notes Selected Bibliography Index

Read more less

Book SynopsisAmid the historic overturnings of 1989, including the fall of the Berlin Wall, pop music also experienced striking changes. This title reimagines how we understand both pop music and its social context in a vibrant exploration of a year famously described as 'the end of history'.Trade Review"[A] dense, provocative, wonderfully written little book... Masterful." The Progressive "[It] is an academic book, but also one that fans of politics and pop culture would savor." -- Carlo Wolff Boston Globe "[An] extraordinary work of political aesthetics... Clover is a gifted music writer, and his descriptions are vivid, surprising and politically sharp without ever being moralistic." -- Owen Hatherley New Statesman "Astute ... [A] vivid snapshot of a tumultuous moment in pop and history." Foreword Magazine "Up close, Clover's analysis is interesting an occasionally brilliant... Rich with historical and musical insight... It's the smaller discoveries along the way that make 1989 worth your time." Bookforum "The book ... makes a valuable contribution to the efforts of all those who believe in music's importance to our lives." Journal Of Popular Music "Music and politics, drugs and society prove to be eerily congruent, and Clover's tough analysis dismantles prevailing myths while revealing even stranger truths." -- Luc Sante, author of Low Life Mother Jones "Clover is a deeply learned and hugely enthusiastic student of popular music; his readings of songs are astute, witty, and unflappable, and each works in a larger argument." Bookslut "Offers a powerful framework through which pop history can be explored." Times Higher Ed Supp (Thes) "Rewardingly ambitious. [Clover] writes with precision and loads of personality, weaving between global politics and musical genres (rave, hip-hop, grunge) with a fan's intensity." Time Out New YorkTable of ContentsLIST OF ILLUSTRATIONS PROLOGUE INTRODUCTION: The Long 1989 PART ONE: 1989 (THE UNCONFINED UNRECKONED YEAR) 1. The Bourgeois and the Boulevard BRIDGE: da inner sound, y'all 2. The Second Summer of Love BRIDGE: I Was up above It 3. Negative Creep BRIDGE: Just a Stop down the Line 4. The Billboard Consensus PART TWO: "1989" (A SHOUT IN THE STREET) 5. The Image-Event and the Blind Spot EPILOGUE ACKNOWLEDGMENTS NOTES WORKS CITED INDEX

Read more less

Book SynopsisFeatures thirty-six essays on composers ranging from Bortnyansky in the eighteenth century to Tarnopolsky in the twenty-first, as well as all of the famous names in between.Trade Review"[Taruskin's] command of this subject is surely unparalleled... This is an authoritative, consistently challenging, deeply engaging volume of essays - very strongly recommended." -- Philip Borg-Wheeler Classical Music Magazine "Very entertaining." -- Michael Kimmelman New York Review Of Books "[Taruskin's essays] demonstrate his ... rare gift for conveying complex information in a concise, accessible manner... An essential compendium." Notes "Whether [Taruskin is] validating Susan McClary's sexist charges at Beethoven or implicitly acknowledging his debt to Donald Francis Tovey, reading his essays will make you a better, smarter person." Huffington PostTable of Contentspreface: against utopia / ix 1. Et in Arcadia Ego; or, I Didn't Know I Was Such a Pessimist until I Wrote This Thing (a talk) / 1 From the New York Times, mostly 2. Only Time Will Cover the Taint / 21 3. "Nationalism": Colonialism in Disguise? / 25 4. Why Do They All Hate Horowitz? / 30 5. Optimism amid the Rubble / 37 6. A Survivor from the Teutonic Train Wreck / 43 7. Does Nature Call the Tune? / 46 8. Two Stabs at the Universe / 51 Away with the Ives Myth: The "Universe" Is Here at Last / 51 Out of Hibernation: Ives's Mythical Beast / 55 9. In Search of the "Good" Hindemith Legacy / 60 10. Six Times Six: A Bach Suite Selection / 66 11. A Beethoven Season? / 71 12. Dispelling the Contagious Wagnerian Mist / 81 13. How Talented Composers Become Useless / 86 14. Making a Stand against Sterility / 94 15. A Sturdy Musical Bridge to the Twenty-first Century / 98 16. Calling All Pundits: No More Predictions! / 104 17. In The Rake's Progress, Love Conquers (Almost) All / 109 18. Markevitch as Icarus / 118 19. Let's Rescue Poor Schumann from His Rescuers / 124 20. Early Music: Truly Old-Fashioned at Last? / 129 21. Bartok and Stravinsky: Odd Couple Reunited? / 133 22. Wagner's Antichrist Crashes a Pagan Party / 138 23. A Surrealist Composer Comes to the Rescue of Modernism / 144 24. Corraling a Herd of Musical Mavericks / 153 25. Can We Give Poor Orff a Pass at Last? / 161 26. The Danger of Music and the Case for Control / 165 27. Ezra Pound: A Slim Sound Claim to Musical Immortality / 181 28. Underneath the Dissonance Beat a Brahmsian Heart / 186 29. Enter Boris Goudenow, Just 295 Years Late / 191 For the New Republic, mostly 30. The First Modernist / 195 31. The Dark Side of the Moon / 202 32. Of Kings and Divas / 217 33. The Golden Age of Kitsch / 241 34. No Ear for Music: The Scary Purity of John Cage / 261 35. Sacred Entertainments / 280 36. The Poietic Fallacy / 301 37. The Musical Mystique: Defending Classical Music against Its Devotees / 330 From the scholarly press 38. Revising Revision / 354 39. Back to Whom? Neoclassicism as Ideology / 382 40. She Do the Ring in Different Voices / 406 41. Stravinsky and Us / 420 Envoi 42. Setting Limits (a talk) / 448 index / 000

Read more less

Book SynopsisCovers the San Francisco's musical life during the first half of the twentieth century, showing how a fractious community overcame virulent partisanship to establish cultural monuments such as the San Francisco Symphony (1911) and Opera (1923).Trade Review"Few histories or musicological studies provide as lively and entertaining reading as Music and Politics." San Francisco Classical Voice "A lively and compelling read." Forward "Solidly researched and of interest to a broad audience... Highly recommended." Choice "Solidly researched and of interest to a broad audience... Highly recommended." -- W. K. Kearns Choice "By inviting music into her study as circumscribed by time and place, rather than by style or genre, Miller presents a colorful tapestry of social relations mediated by the civic soundscape." Journal of the Society for American MusicTable of ContentsList of Illustrations Acknowledgments Abbreviations 1. The Paris of the West: San Francisco at the Turn of the Century Part One. From the Quake to the Crash 2. The Politics of Class: The San Francisco Symphony, the People's Philharmonic, and the Lure of European Culture (1911-1930) 3. The Politics of Race: Chinatown, Forbidden and Alluring Interlude 1: Two Musical Tributes to San Francisco's Chinatown 4. The Politics of Labor: The Union(s), the Clubs and Theaters, and the Predicament of Black Musicians 5. Musical Utopias: Ada Clement, Ernest Bloch, and the San Francisco Conservatory 6. Opera: The People's Music or a Diversion for the Rich? Part Two. The Depression and Beyond 7. The Despair of the Depression and the Clash of Race 8. Ultramodernism and Other Contemporary Offerings: Looking West, Challenging the East 9. The Politics of Work: Idealism Confronts Bureaucracy in the Federal Music Project Interlude 2: Highlights from San Francisco's Federal Music Project: Take Your Choice and Keeton's Concert Spirituals 10. Welcoming the World: San Francisco's Fairs of 1915 and 1939-1940 11. Aftermath Notes References Index

Read more less

Book SynopsisFocusing on the New Orleans African American community, this title pays homage to the city, its region, and its residents, by mapping recent and often contradictory social and cultural transformations, and seeking to counter inadequate and often pejorative accounts of the people and place that give New Orleans its soul.Trade Review"[Provides] stunning insight into the day-to-day lives of the citizens of New Orleans, both before and after the storm." Critical Studies in ImprovisationTable of ContentsPreface Acknowledgments Foundations: Plates 1--16 Section 1. New Orleans, America, Music Section 2. Reflections on Jazz Fest 2006 Hurricane Katrina: Plates 17--43 Funerals and Second Lines: Plates 44--62 Mardi Gras: Plates 63--80 Section 3. Parading against Violence Section 4. Reconstruction's Soundtrack Section 5. To Reinvent Life Notes Selected Bibliography Index

Read more less

Book SynopsisPresents an examination of the interrelationships of music and surfing explores different ways that surfers combine surfing with making and listening to music. This title discusses the origins of surfing in Hawai'i, its central role in Hawaiian society, and the mele (chants) and hula (dance or visual poetry) about surfing.Trade Review"[Cooley] tells a story that is just good entertainment. It will appeal to general audiences as much as it will to surfers and fans of surf music and surf culture." -- Brett Leigh Dicks Santa Barbara News Press "A serious book about a normally laid-back subject." -- Phyllis Fong Men's Journal "Invites the reader to hop on the board and catch the (sound) wave." -- Bill Baars Library Journal "Cooley, an ethnomusicologist and a surfer, finds commonalities in the ephemeral, creative qualities of the two activities." -- Star-Advertiser Staff Honolulu StarTable of ContentsList of Figures List of Online Examples Acknowledgments Introduction 1. Trouble in Paradise: The History and Reinvention of Surfing 2. "Surf Music" and the California Surfing Boom: New Surfing Gets a New Sound 3. Music in Surf Movies 4. Two Festivals and Three Genres of Music 5. The Pro Surfer Sings 6. The Soul Surfer Sings 7. Playing Together and Solitary Play: Why Surfers Need Music Notes Bibliography Discography Filmography Index

Read more less

Book SynopsisAn exploration of why innumerable boys were castrated for singing between the mid-sixteenth and late-nineteenth centuries. This book shows that the entire foundation of Western classical singing, culminating in bel canto, was birthed from an unlikely and historically set of desires, public and private, aesthetic, economic, and political.Trade Review"Rich in scholarship and filled with subtle analysis." -- Colm Toibin London Review of Books "This is a remarkable book... An impressive achievement." -- Nicholas Clapton Early Music "Meticulously researched, beautifully written and richly illustrated ... In this book, as erudite as it is gripping, there is little to criticize." Cultural History "?Feldman's high-mindedness? ... ?allows her to investigate this most easily sensationalized of topics with subtlety, taste and doses of scholarship that are not suffocatingly encyclopedic?... ?If you love singing there's every reason to read The Castrato?.?" -- Tim Pfaff The Bay Area ReporterTable of ContentsPreface Note on Textual Transcription, Translations, Lexicon, and Musical Nomenclature PART ONE. Reproduction 1. Of Strange Births and Comic Kin Appendix to Chapter 1 2. The Man Who Pretended to Be Who He Was PART TWO. Voice 3. Red Hot Voice 4. Castrato De Luxe PART THREE. Half-light 5. Cold Man, Money Man, Big Man Too 6. Shadow Voices, Castrato and Non Acknowledgments Abbreviations Notes Bibliography List of Illustrations Index

Read more less

Book SynopsisSuitable for students and scholars of American music, gender and sexuality, class, and pop culture, this book looks at how class and gender identity play out in one of America's most culturally and politically charged forms of popular music.Trade Review"This is one of the most intellectually stimulating books I have read in a long time." -- Benita Wolters-Fredlund Notes Rednecks, Queers, and Country Music is an intellectual tour de force that offers a nuanced exploration of the ways that white middle-class attitudes toward country music and white working-class modes of discourse have led to the marginalization of the white working class in political and cultural discourse. -- Travis Stimeling Journal of the Society for American Music "Rednecks, Queers, and Country Music" is a far-ranging, multi-layered analysis, full of provocative insights, packaged in crisp, engaging prose" -- John Hayes Agricultural History "Hubbs uses country music to uncover longstanding alliances between white working class and queer subcultures. Such alliances have been obscured by stereotypes of low-status whites, or "rednecks," as uniformly bigoted and homophobic, and of "middle America" as homogenous and provincial. Hubbs trenchantly critiques middle-class disavowals of working class culture (exemplified by the phrase "I'll listen to anything but country"), and meticulously analyzes songs by the Foo Fighters, Gretchen Wilson, David Allen Coe, and others. Hubbs writes that "To hear country on its own terms, we must seek out the particular values and devalued culture of the working class." IASPM-US (2015 Woody Guthrie Award, Honorable Mention)Table of ContentsList of Illustrations Acknowledgments INTRO PART I. Rednecks and Country Music 1. Anything but Country 2. Sounding the Working-Class Subject PART II. Rednecks, Country Music, and the Queer 3. Gender Deviance and Class Rebellion in "Redneck Woman" 4. "Fuck Aneta Briant" and the Queer Politics of Being Political OUTRO Notes References Subject Index Song Index

Read more less

Book SynopsisWhere do you place the hyphen in "Beethoven" if it breaks between two lines? How do you cite John Coltrane's album A Love Supreme? Is it "premiere" or "premiere"? This title deals with these questions. It includes examples from world music, rock, jazz, popular music, and cinema.Table of ContentsPreface to the Third Edition Introduction: First Principles 1. Music Terminology Titles of Works Major and Minor Capitalization Schemes Proper Names Thematic Catalogs of Composers' Works Pitch Names Dynamics Numbers Other 2. Narrative Text Getting Started Numbers Dates Money Punctuation Lowercase and Uppercase Foreign Languages British English Diacritics (Accents) Ligatures Word Breaks Abbreviations Block Citations References in Running Text Roman and Italic Other Typical House Rules Format and Design Finally ... 3. Citations and Credits Articles Books Digital Media Sound Short Titles Review Heads Abbreviations Principles of Annotation Sample Notes and Bibliography 4. Musical Examples Lyrics Scores and Parts 5. Tables and Illustrations Tables Illustrations 6. Programs, Program Notes, and Concert Reviews Concerts Operas Texts and Translations Rosters of Personnel Program Notes, Liner Notes The Concert Listing Reviews Finally ... 7. File Preparation and Control 8. Best Practices for Student Writers Preliminaries Typescript Citations, Again Vetting Submission and Production Beware Appendix: Problem Words and Sample Style Sheet Works Cited Illustration Credits

Read more less

Book SynopsisA study that asks why we have held on to vivid images of the Nazis' total control of the visual and performing arts. To answer this question, it investigates how historians since 1945 have written about music, art, architecture, theater, film, and dance in Nazi Germany and how their accounts have been colored by politics of the Cold War.Trade Review"[Potter's] book unquestionably provides a ground-breaking historiographic foundation for understanding the mechanisms that stood behind the descriptions and analyses of the Third Reich and the cultural and artistic life of the Nazi state...She raises significant questions related to myths about the unrestricted power of authoritarian and dictatorial regimes in all matters related to culture. And, most important, she hints at anti-democratic, authoritarian trends found in liberal and Western societies today where cultural life is ostensibly immune to intervention and coercion." Ha'aretz

Read more less

a huge range and FREE tracked UK delivery on ALL orders.

Read more less

Book SynopsisThe New York loft jazz scene of the 1970s was a pivotal period for uncompromising, artist-produced work. Faced with a flagging jazz economy, a group of young avant-garde improvisers chose to eschew the commercial sphere and develop alternative venues in the abandoned factories and warehouses of Lower Manhattan. This is a study of this period.Trade Review"[Heller] paints a kaleidoscopic portrait... inherently fascinating." The Wire "Heller - through dozens of interviews and painstaking research that included full access to the ample personal archive of percussionist Juma Sultan, a pivotal figure in the movement - refreshingly moves beyond reductionist notions." Village Voice "Using interviews and archival research, Michael G. Heller examines the scene's rise and eventual fall from historical, pedagogical and sociological perspectives... [He] itemizes what differentiated Loft Jazz from other styles and how its creation, dissemination and demise affected innovative jazz." The New York City Jazz RecordTable of ContentsList of Illustrations and Table 1. Fragmented Memories and Activist Archives PART ONE: HISTORIES 2. Influences, Antecedents, Early Engagements 3. The Jazz Loft Era PART TWO: TRAJECTORIES 4. Freedom 5. Community 6. Space 7. Archive 8. Aftermaths and Legacies Acknowledgments Notes Bibliography Index

Read more less

Book SynopsisWith roots in popular music traditions, improvisation, and the avant-garde, this book provides a lens through which we can better understand the meaning and creation of the counterculture community. It examines the wider significance and impact of its politics of improvisation.Trade Review"...presents a complex but rounded picture of a band that was both deeply traditional yet genuinely avant-garde, fiercely independent yet—at least in its latter years—undeniably mainstream, apolitical yet politically challenging." * All About Jazz *Table of ContentsSeries Foreword Acknowledgments Introduction 1. Popular Avant-Garde? Renegotiating Tradition 2. Wave That Flag: An Apolitical Band 3. Crashes in Space: Aspects of Improvisation Coda: Listening for the Secret Discography Notes Bibliography Index

Read more less

Book SynopsisTakes you behind the scenes of jazz history and introduces scores of legendary greats -Ella Fitzgerald, Oscar Peterson, Dizzy Gillespie, Dinah Washington, Doc Severinsen, Ray Charles, Thelonious Monk, Billie Holiday, Sarah Vaughan, Coleman Hawkins, Zoot Sims, and Dianne Reeves, among many others.Trade Review"'Clark' chronicles, in endearing prose, Terry's personal and professional journey... Onstage and in the backroom, Terry and his trumpet shared a front-row seat to jazz history. "Clark" is nothing short of that remarkable story." -- Alexander Heffner San Francisco Chronicle "Terry's wonderful book is a true labor of love." -- Peter Vacher Jazzwise "Informative, detailed, intimate, and throughly absorbing, "Clark" is very strongly recommended." The Midwest Book ReviewTable of ContentsPreface by Quincy Jones Foreword by Bill Cosby Introduction by David Demsey 1. Big Dreams 2. First Instruments 3. Kicked Out 4. The Vashon High Swingsters 5. First Road Gig 6. Nigga 7. Ida Cox 8. Stranded 9. Lincoln Inn 10. On the Road Again 11. Tennis Shoe Pimp 12. Jailed 13. Len Bowden 14. Navy Days 15. Gray Clouds 16. The Big Apple 17. George Hudson 18. The Club Plantation 19. Galloping Dominoes 20. Tempting Offers 21. Lionel Hampton 22. Road Lessons 23. Pauline 24. Charlie Barnet 25. Count Basie 26. Big Debt 27. Duke Ellington 28. Leaving Basie 29. The University of Ellingtonia 30. Working with Duke 31. Duke's Team 32. Duke's Management Arts 33. Miles and Bird 34. Billy Strayhorn 35. Endurances 36. Flugelhorn 37. Europe 38. Norman Granz 39. Norman's Battles 40. Q 41. NBC 42. Jim and Andy's 43. Johnny and Ed 44. Mumbles 45. First House 46. Big Bad Band 47. Carnegie Hall 48. Etoile 49. Jazz Education Arena 50. Those NBC Years 51. Storms 52. Black Clouds 53. Keep on Keepin' On 54. New Love 55. Whirlwinds 56. Through the Storm 57. Second Chance 58. The Biggest Surprise Acknowledgments Honors and Awards Original Compositions Selected Discography Index Photographs follow page 186

Read more less

Book SynopsisIn our divided, post-Cold War, and now post-9/11 world, Russian music, formerly a quiet corner on the margins of musicology, has become a site of noisy contention. The author assesses the political and cultural stakes that attach to it in the era of Pussy Riot and renewed international tensions.Table of ContentsPreface Introduction: My Wonderful World; or, Dismembering the Triad PART ONE: NOT BY MIND? 1. Non-Nationalists, and Other Nationalists 2. Revenants 3. Crowd, Mob, and Nation in Boris Godunov: What Did Musorgsky Think, and Does It Matter? 4. Catching Up with Rimsky-Korsakov 5. Not Modern and Loving It 6. Written for Elephants: Notes on Rach 3 7. Is There a "Russia Abroad" in Music? 8. Turania Revisited, with Lourie My Guide 9. The Ghetto and the Imperium 10. Two Serendipities: Keynoting a Conference, "Music and Power" 11. What's an Awful Song Like You Doing in a Nice Piece Like This? The Finale in Prokofieff's Symphony-Concerto, Op. 125 12. The Birth of Contemporary Russia out of the Spirit of Music (Not) PART TWO: REVISITING STRAVINSKY 13. Just How Russian Was Stravinsky? 14. How The Rite Became Possible 15. Diaghilev without Stravinsky? Stravinsky without Diaghilev? 16. Resisting The Rite 17. Stravinsky's Poetics and Russian Music 18. Did He Mean It? 19. In Stravinsky's Songs, the True Man, No Ghostwriters 20. "Un Cadeau Tres Macabre" Index

Read more less

Book SynopsisIn our divided, post-Cold War, and now post-9/11 world, Russian music, formerly a quiet corner on the margins of musicology, has become a site of noisy contention. The author assesses the political and cultural stakes that attach to it in the era of Pussy Riot and renewed international tensions.Table of ContentsPreface Introduction: My Wonderful World; or, Dismembering the Triad PART ONE: NOT BY MIND? 1. Non-Nationalists, and Other Nationalists 2. Revenants 3. Crowd, Mob, and Nation in Boris Godunov: What Did Musorgsky Think, and Does It Matter? 4. Catching Up with Rimsky-Korsakov 5. Not Modern and Loving It 6. Written for Elephants: Notes on Rach 3 7. Is There a "Russia Abroad" in Music? 8. Turania Revisited, with Lourie My Guide 9. The Ghetto and the Imperium 10. Two Serendipities: Keynoting a Conference, "Music and Power" 11. What's an Awful Song Like You Doing in a Nice Piece Like This? The Finale in Prokofieff's Symphony-Concerto, Op. 125 12. The Birth of Contemporary Russia out of the Spirit of Music (Not) PART TWO: REVISITING STRAVINSKY 13. Just How Russian Was Stravinsky? 14. How The Rite Became Possible 15. Diaghilev without Stravinsky? Stravinsky without Diaghilev? 16. Resisting The Rite 17. Stravinsky's Poetics and Russian Music 18. Did He Mean It? 19. In Stravinsky's Songs, the True Man, No Ghostwriters 20. "Un Cadeau Tres Macabre" Index

Read more less

Book SynopsisWhat, exactly, is knowledge of music? And what does it tell us about humanistic knowledge in general? This book grapples directly with these fundamental questions - questions especially compelling at a time when humanistic knowledge is enmeshed in debates about its character and future.Trade Review"The volume is essential; the issues under study here remain vital, and the author enunciates them clearly ... Summing up: recommended." CHOICE "Kramer has been hugely successful in creating a community of formalist and hermeneutic analytical discourse that has inspired a new generation of thinkers to question music's inherent meaning and value in contemporary society... a hugely important and timely work that should no doubt become the focus of much future work and pedagogy." NotesTable of ContentsPreface: The Thought of Music Acknowledgments 1 * Music and the Forms of Thought 2 * Speaking of Music: In Search of an Idiom 3 * The Ineffable and How (Not) to Say It 4 * Pleasure and Valuation 5 * The Cultural Field: Beyond Context 6 * Virtuosity, Reading, Authorship: A Genealogy 7 * The Newer Musicology? Context, Performance, and the Musical Work Postscript: Imagining the Score Notes Index of Names Index of Concepts

Read more less

Book SynopsisPresents a social analysis of new music dissemination at the Warsaw Autumn International Festival of Contemporary Music, one of the most important venues for East-West cultural contact during the Cold War. The author examines the festival's institutional organization, negotiations among its various actors, and its reception in Poland.Trade Review"Lisa Jakelski's Making New Music in Cold War Poland is an important contribution to international and transnational history... Logically organized and lucidly written." H-DiploTable of ContentsList of Illustrations and Tables Acknowledgments Abbreviations Introduction 1. The Sounds of Revolution? 2. Building an Empty Frame 3. A Raucous Education 4. From Warsaw to the World 5. Mobilizing Performers, Scores, and Avant-Gardes 6. The Limits of Exchange Epilogue Appendix 1: Concert Program of the Warsaw Autumn International Festival of Contemporary Music, 10–21 October 1956 Appendix 2: Biographical Notes Notes Bibliography Index

Read more less

Book SynopsisAt publication date, a free ebook version of this title will be available through Luminos, University of California Press's Open Access publishing program for monographs. Visit www.luminosoa.org to learn more. In the 1990s, Los Angeles was home to numerous radical social and environmental eruptions. In the face of several major earthquakes and floods, riots and economic insecurity, police brutality and mass incarceration, some young black Angelenos turned to holy hip hop-a movement merging Christianity and hip hop culture-to save themselves and the city. Converting street corners to airborne churches and gangsta rap beats into anthems of praise, holy hip hoppers used gospel rap to navigate complicated social and spiritual realities and to transform the Southland's fractured terrains into musical Zions. Armed with beats, rhymes, and bibles, they journeyed through black Lutheran congregations, prison ministries, African churches, reggae dancehalls, hip hop clubs, Nation of Islam meetings, and Black Lives Matter marches. Zanfagna's fascinating ethnography provides a contemporary and unique view of black LA, offering a much-needed perspective on how music and religion intertwine in people's everyday experiences.Trade Review“While most scholarship on hip hop is focused on lyrical analysis, Zanfagna takes the sanctifying process of lyrical conversion in holy hip hop and situates it within the religious, cultural, and physical landscapes of LA. …Holy Hip Hop in the City of Angels is a thorough and engaging account of race, religion, and personal striving for musical authenticity and spiritual movement within and across spaces that historically have denied and constrained both.” * Reading Religion *Table of ContentsIntroduction: Earthquake Music and the Politics of Conversion 1. “Now I Bang for Christ”: Rites/Rights of Passage 2. Hip Hop Church L.A.: Shifting Grounds in Inglewood 3. Beyond Babylon: Geographies of Conversion 4. The Evangelical Hustle: Selling Music, Saving Souls 5. Roads to Zion: Hip Hop’s Search for the City Yet to Come Epilogue: Aftershocks Acknowledgments Notes Bibliography Musical Links Index

Read more less

Book SynopsisA free ebook version of this title is available throughLuminos, University of California Press's Open Access publishing program. Visitwww.luminosoa.orgto learn more. Situated at the intersections of twentieth-century music history, historiography, and aesthetics,Middlebrow Modernismuses Benjamin Britten's operas to illustrate the ways in which composers, critics, and audiences mediated the great divide between modernism and mass culture. Reviving mid-century discussions of the middlebrow, Christopher Chowrimootoo demonstrates how Britten's works allowed audiences to have their modernist cake and eat it: to revel in the pleasures of consonance, lyricism, and theatrical spectacle even while enjoying the prestige that came from rejecting them. By focusing on moments when reigning aesthetic oppositions and hierarchies threatened to collapse, this study offers a powerful model for recovering shades of grey in the traditionally black-and-white historiographies of twentieth-century music.Trade Review“…an insightful study on the elusive concept of the middlebrow in the critical reception of Benjamin Britten’s stage works. … Importantly, Chowrimootoo confronts the ambiguities inherent in conceptions of the middlebrow, yet he does not seek to resolve them. Instead, he accepts that Britten identified as both a composer who valued accessibility and public service, and as one who advocated for the serious study and interpretation of his music.” * North American British Music Studies Association Reviews *Table of ContentsList of Illustrations Acknowledgments 1. Middlebrow Modernism 2. Sentimentality under Erasure in Peter Grimes 3. The Timely Traditions of Albert Herring 4. The Turn of the Screw, or: The Gothic Melodrama of Modernism 5. The Burning Fiery Furnace and the Redemption of Religious Kitsch 6. Death in Venice and the Aesthetics of SublimationNotes Bibliography Index

Read more less

Book Synopsis2020Alan Merriam Prize for Best Book Published in Ethnomusicology,Society for Ethnomusicology A free open access ebook is available upon publication. Learn more at www.luminosoa.org. LouderandFaster is a cultural study of the phenomenon of Asian American taiko, the thundering, athletic drumming tradition that originated in Japan. Immersed in the taiko scene for twenty years, Deborah Wong has witnessed cultural and demographic changes and the exponential growth and expansion of taiko particularly in Southern California. Through her participatory ethnographic work, she reveals a complicated story embedded in memories of Japanese American internment and legacies of imperialism, Asian American identity and politics, a desire to be seen and heard, and the intersection of culture and global capitalism. Exploring the materialities of the drums, costumes, and bodies that make sound, analyzing the relationship of these to capitalist multiculturalism, and investigating the gender politics of tTrade Review"Wong’s thick analysis of her sources has resulted in a book that effectively addresses all aspects of taiko. . . .Her exceptional skill at descriptive language and weaving together word, picture, and sound results in an engaging, entertaining, and relatable account." * California History *

Read more less

Book SynopsisWinner of the ASCAP Deems Taylor Award and Society of Music Theory's Wallace Berry Award This bold challenge to conventional notions about medieval music disputes the assumption of pure literacy and replaces it with a more complex picture of a world in which literacy and orality interacted. Asking such fundamental questions as how singers managed to memorize such an enormous amount of music and how music composed in the mind rather than in writing affected musical style, Anna Maria Busse Berger explores the impact of the art of memory on the composition and transmission of medieval music. Her fresh, innovative study shows that although writing allowed composers to work out pieces in the mind, it did not make memorization redundant but allowed for new ways to commit material to memory. Since some of the polyphonic music from the twelfth century and later was written down, scholars have long assumed that it was all composed and transmitted in written form. Our understanding of medievaTrade Review“[Berger’s] bibliography is a useful source for later scholarship, from the tenth century onwards, and with her fluent narrative and appropriate diagrams and medieval musicology, that rivals works by Mary Carruthers on medieval literature.” * Journal of the Australian Early Medieval Association *“[an] important and provocative study of medieval music.” * Early Music History *“[Berger] leads the way for others in the discipline to question long-held assumptions and query historical prejudices that may still operate today. Her uncovering of the complicated relationships between orality and literacy in music has far-ranging implications for later periods.” * H-Net Reviews *“If you are looking for intellectual stimulation of interdisciplinary nature, you will find here one of the most stimulating books of the last years." * Philomusica *“Anna Maria Busse Berger's important new book is the first sustained response to the role of memory in the learning, transmission and composition of medieval music. . . .This is an important book that will challenge perceptions and suppositions that still dominate medieval music history.” * The Musical Times *“Medieval Music and the Art of Memory is clearly an important work. Its reconsideration of entrenched assumptions in the scholarly literature will likely provoke intense discussion. . . .This book deserves the close attention of anyone interested in medieval music. It will also deepen and fortify the growing body of work on memory in other disciplines.” * Speculum: A Journal of Medieval Studies *“Groundbreaking in its scope, depth, and thoroughness.” * Journal of the American Musicological Society *Table of ContentsContentsList of IllustrationsList of TablesList of Music ExamplesAcknowledgmentsList of AbbreviationsIntroductionChapter 1. Prologue: The First Great Dead White Male ComposerPart 1. The Construction of the Memorial ArchiveChapter 2. Tonaries: A Tool for Memorizing ChantChapter 3. Basic Theory TreatisesChapter 4. The Memorization of Organum, Discant, and Counterpoint TreatisesPart 2. Compositional Process in Polyphonic MusicChapter 5. Compositional Process and the Transmission of Notre Dame PolyphonyChapter 6. Visualization and the Composition of Polyphonic MusicConclusionBibliographyIndex

Read more less

Book SynopsisRichard Taruskin's sweeping collection of essays distills a half century of professional experience, demonstrating an unparalleled insider awareness of relevant debates in all areas of music studies, including historiography and criticism, representation and aesthetics, musical and professional politics, and the sociology of taste. Cursed Questions, invoking a famous catchphrase from Russian intellectual history, grapples with questions that are never finally answered but never go away. The writings gathered here form an intellectual biography that showcases the characteristic wit, provocation, and erudition that readers have come to expect from Taruskin, making it an essential volume for anyone interested in music, politics, and the arts.Table of ContentsIntroduction 1. The History of What? 2. Did Somebody Say Censorship? 3. Haydn and the Enlightenment? 4. Is There a Baby in the Bathwater? On aesthetic autonomy 5. Shall We Change the Subject? A Music Historian Reflects 6. “Alte Musik” or “Early Music”? On pseudohistory 7. Nicht blutbefleckt? 8. What Else? On musical representation 9. Unanalyzable, Is It? 10. Essence or Context? On musical ontology 11. But Aren’t They All Invented? On tradition 12. Which Way Is Up? On the sociology of taste 13. A Walking Translation? On musicology east and west Index

Read more less

Book SynopsisTable of ContentsIntroduction 1. The History of What? 2. Did Somebody Say Censorship? 3. Haydn and the Enlightenment? 4. Is There a Baby in the Bathwater? On aesthetic autonomy 5. Shall We Change the Subject? A Music Historian Reflects 6. “Alte Musik” or “Early Music”? On pseudohistory 7. Nicht blutbefleckt? 8. What Else? On musical representation 9. Unanalyzable, Is It? 10. Essence or Context? On musical ontology 11. But Aren’t They All Invented? On tradition 12. Which Way Is Up? On the sociology of taste 13. A Walking Translation? On musicology east and west Index

Read more less

Book SynopsisTable of ContentsList of Illustrations Acknowledgments List of Abbreviations Note on Transliteration Introduction 1. Double Narratives or Dukelsky’s The End of St. Petersburg 2. Soviet “méchanique” or the Bolshevik Temptation 3. Neoclassicism à la russe 1 or Reclaiming the Eighteenth Century in Nabokov’s Ode 4. Neoclassicism à la russe 2 or Stravinsky’s Version of Similia similibus curentur 5. 1937 or Pushkin Divided 6. A Feast in Time of Plague 7. Epilogue or Firebird to Phoenix Notes Selected Bibliography Index

Read more less

Book SynopsisJust Beyond Listening asks how we might think about encounters with sound that complicate standard accounts of aurality. In a series of essays, Michael C. Heller considers how sound functions in dialogue with a range of sensory and affective modalities, including physical co-presence, textual interference, and spectral haunting. The text investigates sound that is experienced in other parts of the body, altered by cross-wirings of the senses, weaponized by the military, or mediated and changed by cultural practices and memory. Building on recent scholarship in sound studies and affect theory, Heller questions not only how sound propagates acoustically but how sonic presences temper our total experience of the world around us.Table of ContentsContents List of Illustrations Introduction PART I: LOUDNESS AND SILENCE 1. Between Silence and Pain: Loudness and the Affective Encounter 2. Let’s Listen to Nothing: Silence and the Anechoic Chamber 3. Silencing and Alternative Silences PART II: TEXTUAL INTERFERENCE 4. Projecting Results: Opera Supertitles and the People Who Hated Them 5. Diaries and Postcards: Archival Privilege, Empathy, and Intimacy PART III: DEATH AND DEADNESS 6. Deploying Deadness in Louis Armstrong’s House 7. Tape Death: Mourning Sounds We Never Heard Acknowledgments Notes Bibliography Index

Read more less

Book SynopsisBelle époque Paris adored dance. Whether at the music hall or in more refined theaters, audiences flocked to see the spectacles offered to them by the likes of Isadora Duncan, Diaghilev's flashy company, and an embarrassment of Salomés. After languishing in the shadow of opera for much of the nineteenth century, ballet found itself part of this lively kinetic constellation. In Kinetic Cultures, Rachana Vajjhala argues that far from being mere delectation, ballet was implicated in the larger republican project of national rehabilitation through a rehabilitation of its citizens. By tracing the various gestural complexes of the periodbodybuilding routines, appropriate physical comportment for women, choreographic vocabularies, and moreVajjhala presents a new way of understanding histories of dance and music, one that she locates in gesture and movement.

Read more less

Book SynopsisVirginia Woolf famously claimed that, around December 1910, human character changed. Aesthetic Technologies addresses how music (especially opera), the phonograph, and film served as cultural agents facilitating the many extraordinary social, artistic, and cultural shifts that characterized the new century and much of what followed long thereafter, even to the present. Three tropes are central: the tensions and traumascultural, social, and personalassociated with modernity; changes in human subjectivity and its engagement and representation in music and film; and the more general societal impact of modern media, sound recording (the development of the phonograph in particular), and the critical role played by early-century opera recording. A principal focus of the book is the conflicted relationship in Western modernity to nature, particularly as nature is perceived in opposition to culture and articulated through music, film, and sound as agents of fundamental, sometimes shocking tranTrade Review"Richard Leppert’s book is a tour de force that marries the cultural history of opera and film with the technological history of modern media and sound technology in order to tackle fundamental questions about art in the age of modernity and our relationship to it." * Music & Letters *Table of ContentsList of IllustrationsList of Musical ExamplesAcknowledgmentsIntroductionPART I. MODERNITY AND OPERA; NATURE AND REDEMPTION1. The Civilizing Process: Music and the Aesthetics of Time-Space Relations in The Girl of the Golden West2. Opera, Aesthetic Violence, and the Imposition of Modernity: FitzcarraldoPART II. VOICING SUBJECTIVITYEXCURSUS: OPERA, MONUMENTALITY, AND LOOKING AT LOOKING3. Caruso, Phonography, and Operatic Fidelities: Regimes of Musical Listening, 1904–19294. Aesthetic Meanderings of the Sonic Psyche: Three Operas, Two Notes, and One Ending at the Boundary of the Great DividePART III. MODERNITY, NATURE, AND DYSTOPIAEXCURSUS: NATURAL BEAUTY / ART BEAUTY5. Sound, Subjectivity, and Death: Days of Heaven (promesse du bonheur)Conclusion: Acoustic Invocations of Crisis and HopeAppendix: Chapter 5 TablesNotesBibliographyIndex

Read more less

Book SynopsisHow did voice become a metaphor for selfhood in the Western imagination? The Lyric Myth of Voice situates the emergence of an ideological connection between voice and subjectivity in late eighteenth-century Italy, where long-standing political anxieties and new notions of cultural enlightenment collided in the mythical figure of the lyric poet-singer. Ultimately, music and literature together shaped the singing voice into a tool for civilizing modern Italian subjects. Drawing on a range of approaches and frameworks from historical musicology to gender studies, disability studies, anthropology, and literary theory, Jessica Gabriel Peritz shows how this ancient yet modern myth of voice attained interpretable form, flesh, and sound. The publisher gratefully acknowledges the generous support of the AMS 75 PAYS Fund of the American Musicological Society, supported in part by the National Endowment for the Humanities and the Andrew W. Mellon Foundation.Table of ContentsContents List of Illustrations and Tables Editorial Principles Introduction 1 • The Poet Sings 2 • The Orfeo Act 3 • Civilizing Song 4 • Domesticating the Tenth Muse 5 • Sublime Suffering and the Good Mother Epilogue Acknowledgments Notes Bibliography Index

Read more less

Book SynopsisA revisionist history of minimalism's transformative rise, through the voices of the musicians who created it. When composers like Philip Glass and Steve Reich began creating hypnotically repetitive music in the 1960s, it upended the world of American composition. But minimalism was more than a classical phenomenonminimalism changed everything. Its static harmonies and groovy pulses swept through the broader avant-garde landscape, informing the work of Yoko Ono and Brian Eno, John and Alice Coltrane, Pauline Oliveros and Julius Eastman, and many others. On Minimalism moves from the style's beginnings in psychedelic counterculture through its present-day influences on ambient jazz, doom metal, and electronic music. The editors look beyond the major figures to highlight crucial and diverse voicesespecially women, people of color, and LGBTQ+ musiciansthat have shaped the genre. Featuring more than a hundred rare historical sources, On Minimalism curates this history anew, documenting one of the most important musical movements of our time.Trade Review"A gust of fresh air blowing across a stage. . . . As a compilation of source texts, On Minimalism is unparalleled, containing prescient, critical writings from many commentators and participants. . . . Organized in 21 accessible chunks (not only the expected ones, but also others covering spirituality, multimedia and altered states), each headed by an introduction that synthesizes the coming information, this is a breeze to navigate and, for all its scholarly chops, relaxed in its learning." * The Wire *"An array of voices and perspectives kept from being bewildering by the editors’ clear and sensible organization. . . . . On Minimalism, with its contradictory array of opinions, assertions and recollections shows us how musicians, critics, the listening public and the larger cultural machine experienced, thought about and grappled with one of the more unlikely success stories in the American avant-garde." * Spectrum Culture *Table of ContentsContents Foreword by Joan La Barbara Introduction PART ONE 1. Improvisation and Experimentation 2. Dream Music 3. Loops and Process 4. Altered States 5. Gurus and Teachers 6. Cultural Fusion 7. Across the Arts 8. Ensembles PART TWO 9. 1976 10. The New Downtown 11. Instruments and Environments 12. Ambient and New Age 13. Canons 14. Backlash 15. Politics, Identity, and Expression 16. Postminimalists 17. Spiritual Minimalism 18. Popular Culture PART THREE 19. Histories 20. Silences 21. Futures Acknowledgments Listening Guide Notes Bibliography Index

Read more less

Book SynopsisWho are the folk in folk music? This book traces the musical culture of these elusive figures in Britain and the US during a crucial period of industrialization from 1870 to 1930, and beyond to the contemporary alt-right. Drawing on a broad, interdisciplinary range of scholarship, The Folk examines the political dimensions of a recurrent longing for folk culture and how it was called upon for radical and reactionary ends at the apex of empire. It follows an insistent set of disputes surrounding the practice of collecting, ideas of racial belonging, nationality, the poetics of nostalgia, and the pre-history of European fascism. Deeply researched and beautifully written, Ross Cole provides us with a biography of a people who exist only as a symptom of the modern imagination, and the archaeology of a landscape directing flows of global populism to this day.Trade Review"This is not a book about music, song, or performers. It is intellectual history of a rarefied kind. This needs to be understood if we are to appreciate Cole’s work for what it is: a quite brilliant deconstruction of the entire historiography of ‘folk’. His thesis is compelling, deceptively simple, and ultimately irrefutable. Cole’s great leap is to see, in this process, coherence, where others have seen only mess, hypocrisy, and contradiction. . . [He has produced] a convincing and definitive deconstruction of the myth of the folk, its antecedents, intentions, methods, and consequences. If there were such a thing as justice, no one would ever again speak on the subject of ‘folk music’ without having first digested this book." * Music & Letters *"Cole’s argument is something of a wake-up call. If a previous generation of song collectors and musicologists stand implicated in a process that lends itself all too easily to fascism, then contemporary ethnomusicologists would be right to infer some challenge to the ways in which we shape and exercise interpretative frames and critical practices in our own work. . . . This book, then, should fuel an important debate. Cole is a formidable wordsmith, and this very elegantly written volume will be instructive reading for musicians and musicologists who want to better understand the political context and undercurrents of the folk revival, and how its dynamics might play out today." * Ethnomusicology Forum *"Impressively wide-ranging. . . . There really are so many strands and stories to this richly informed investigation. It is the critical tension between the believers and non-believers that makes this particular study of the folk phenomenon so fascinating." * Twentieth-Century Music *Table of ContentsList of Illustrations Preface Introduction Lost Voices 1. Collecting Culture Science, Technology, & Reification 2. A Geography of the Forgotten Vernacular Music & Modernity's Discontents 3. Utopian Community Nostalgia from Marx to Morris 4. Difference and Belonging On the Songs of Black Folk 5. Soul through the Soil Cecil Sharp & the Specter of Fascism Coda Blood Sings: A Soundtrack for the Alt-Right Notes Bibliography Index

Read more less

Book SynopsisWho are the folk in folk music? This book traces the musical culture of these elusive figures in Britain and the US during a crucial period of industrialization from 1870 to 1930, and beyond to the contemporary alt-right. Drawing on a broad, interdisciplinary range of scholarship, The Folk examines the political dimensions of a recurrent longing for folk culture and how it was called upon for radical and reactionary ends at the apex of empire. It follows an insistent set of disputes surrounding the practice of collecting, ideas of racial belonging, nationality, the poetics of nostalgia, and the pre-history of European fascism. Deeply researched and beautifully written, Ross Cole provides us with a biography of a people who exist only as a symptom of the modern imagination, and the archaeology of a landscape directing flows of global populism to this day.Trade Review"This is not a book about music, song, or performers. It is intellectual history of a rarefied kind. This needs to be understood if we are to appreciate Cole’s work for what it is: a quite brilliant deconstruction of the entire historiography of ‘folk’. His thesis is compelling, deceptively simple, and ultimately irrefutable. Cole’s great leap is to see, in this process, coherence, where others have seen only mess, hypocrisy, and contradiction. . . [He has produced] a convincing and definitive deconstruction of the myth of the folk, its antecedents, intentions, methods, and consequences. If there were such a thing as justice, no one would ever again speak on the subject of ‘folk music’ without having first digested this book." * Music & Letters *"Cole’s argument is something of a wake-up call. If a previous generation of song collectors and musicologists stand implicated in a process that lends itself all too easily to fascism, then contemporary ethnomusicologists would be right to infer some challenge to the ways in which we shape and exercise interpretative frames and critical practices in our own work. . . . This book, then, should fuel an important debate. Cole is a formidable wordsmith, and this very elegantly written volume will be instructive reading for musicians and musicologists who want to better understand the political context and undercurrents of the folk revival, and how its dynamics might play out today." * Ethnomusicology Forum *"Impressively wide-ranging. . . . There really are so many strands and stories to this richly informed investigation. It is the critical tension between the believers and non-believers that makes this particular study of the folk phenomenon so fascinating." * Twentieth-Century Music *Table of ContentsList of Illustrations Preface Introduction Lost Voices 1. Collecting Culture Science, Technology, & Reification 2. A Geography of the Forgotten Vernacular Music & Modernity's Discontents 3. Utopian Community Nostalgia from Marx to Morris 4. Difference and Belonging On the Songs of Black Folk 5. Soul through the Soil Cecil Sharp & the Specter of Fascism Coda Blood Sings: A Soundtrack for the Alt-Right Notes Bibliography Index

Read more less

Book SynopsisA free ebook version of this title is available through Luminos, University of California Press's Open Access publishing program. Visit www.luminosoa.org to learn more. How Hip Hop Became Hit Pop examines the programming practices at commercial radio stations in the 1980s and early 1990s to uncover how the radio industry facilitated hip hop's introduction into the musical mainstream. Constructed primarily by the Top 40 radio format, the musical mainstream featured mostly white artists for mostly white audiences. With the introduction of hip hop to these programs, the radio industry was fundamentally altered, as stations struggled to incorporate the genre's diverse audience. At the same time, as artists negotiated expanding audiences and industry pressure to make songs fit within the confines of radio formats, the sound of hip hop changed. Drawing from archival research, Amy Coddington shows how the racial structuring of the radio industry influenced the way hip hop was sold to the American public, and how the genre's growing popularity transformed ideas about who constitutes the mainstream. The author gratefully acknowledges the AMS 75 PAYS Fund of the American Musicological Society, supported in part by the National Endowment for the Humanities and the Andrew W. Mellon Foundation.

Read more less

Book SynopsisIs The Marriage of Figaro just about Figaro? Is Don Giovanni's story the only oneor even the most interesting onein the opera that bears his name? For generations of critics, historians, and directors, it's Mozart's men who have mattered most. Too often, the female characters have been understood from the male protagonist's point of view or simply reduced on stage (and in print) to paper cutouts from the age of the powdered wig and the tightly cinched corset. It's time to give Mozart's womenand Mozart's multi-dimensional portrayals of feminine charactertheir due. In this lively book, Kristi Brown-Montesano offers a detailed exploration of the female roles in Mozart's four most frequently performed operas, Le nozze di Figaro, Don Giovanni, Così fan tutte, and Die Zauberflöte. Each chapter takes a close look at the music, libretto text, literary sources, and historical factors that give shape to a character, re-evaluating common assumptions and proposing fresh interpretations. Brown-Montesano views each character as the subject of a story, not merely the object of a hero's narrative or the stock figure of convention. From amiable Zerlina, to the awesome Queen of the Night, to calculating Despina, all of Mozart's women have something unique to say. These readings also tackle provocative social, political, and cultural issues, which are used in the operas to define positive and negative images of femininity: revenge, power, seduction, resistance, autonomy, sacrifice, faithfulness, class, maternity, and sisterhood. Keenly aware of the historical gap between the origins of these works and contemporary culture, Brown-Montesano discusses how attitudes about such conceptspast and currentinfluence our appreciation of these fascinating representations of women.Trade Review“An interesting, unique, well-written study.” * CHOICE *“Brown-Montesano has set out to write something that will be of value to directors and singers in search of a character and general opera lovers who simply want to understand more about Mozart. This lively, perceptive study succeeds brilliantly on all counts.” * Classical Music Magazine *Table of ContentsContentsAcknowledgmentsOvertureAct One: (Anti-)Heroines and Women on the Edge1. Feminine Vengeance I: The Assailed/AssailantDonna Anna2. Sisterhood and Seduction I: Abandonment and RescueDonna Elvira3. Class SurvivalZerlina4. Feminine Vengeance II: (Over)Powered PoliticsThe Queen of the Night5. Good Daughter, Good WifePamina6. Woman’s Identity I: Sacred and ProfaneThe Three Ladies and PapagenaAct Two: Sisterly Alliances and Sisters Subverted7. Sisterhood and Seduction II: Friendship and ClassCountess Almaviva and Susanna8. Woman’s Identity II: Loss and LegitimacyMarcellina and Barbarina9. Sisterhood and Seduction III: Intimacy and InfluenceFiordiligi and Dorabella10. Survival ClassDespinaNotesWorks CitedIndex

Read more less

Book SynopsisAn Eternal Pitch examines the homiletic life and afterlife of Bishop G.E. Patterson, the dynamic spiritual leader of the Church of God in Christ from 2000 to 2007. Although Patterson died in 2007, his voice remains a staple of radio and television broadcast, and his sermons have taken on a life of their own online, where myriad YouTube, Facebook, Instagram, and TikTok users enact innovative forms of religious broadcasting. Their preoccupation with Patterson's Afterliveness punctuates the significance of Patterson's preoccupation with musical repetition: across the decades of Patterson's ministry, a set of musical gestures recur as sonic channels, bringing an individual sermon into contact with scripture's eternal transmission.Table of ContentsContents List of Illustrations Author’s Note on Media Files Acknowledgments Prologue Introduction 1. Broadcast Religion 2. Broadcast Medium 3. Broadcast Grammar 4. Broadcast Frequency, or The Politics of Key 5. Broadcast Ensemble: The Logic of the Prayer Cloth Eternal Life: An Epilogue Notes Bibliography Index

Read more less

Book SynopsisAn Eternal Pitch examines the homiletic life and afterlife of Bishop G.E. Patterson, the dynamic spiritual leader of the Church of God in Christ from 2000 to 2007. Although Patterson died in 2007, his voice remains a staple of radio and television broadcast, and his sermons have taken on a life of their own online, where myriad YouTube, Facebook, Instagram, and TikTok users enact innovative forms of religious broadcasting. Their preoccupation with Patterson's Afterliveness punctuates the significance of Patterson's preoccupation with musical repetition: across the decades of Patterson's ministry, a set of musical gestures recur as sonic channels, bringing an individual sermon into contact with scripture's eternal transmission.Table of ContentsContents List of Illustrations Author’s Note on Media Files Acknowledgments Prologue Introduction 1. Broadcast Religion 2. Broadcast Medium 3. Broadcast Grammar 4. Broadcast Frequency, or The Politics of Key 5. Broadcast Ensemble: The Logic of the Prayer Cloth Eternal Life: An Epilogue Notes Bibliography Index

Read more less

Book SynopsisLiving Genres in Late Modernityrehears the American 1970s through the workings of its musical genres. Exploring stylistic developments from the late 1960s through the early 1980s, including soul, funk, disco, pop, the nocturne, and the concerto, Charles Kronengold treats genres as unstable constellations of works, people, practices, institutions, technologies, money, conventions, forms, ideas, and multisensory experiences. What these genres share is a significant cultural moment: they arrive just after the sixties and are haunted by a sense of belatedness, loss, or doubt, even as they embrace narratives of progress or abundance. These genres give us reasonsand meansto examine our culture's self-understandings. Through close readings and large-scale mappings of cultural and stylistic patterns, the book's five linked studies reveal how genres help construct personal and cultural identities that are both partial and overlapping, that exist in tension with one another, and that we experienTable of ContentsContents List of Musical Examples Note on Musical Examples Introduction: Listening for Genres 1 1 • Unengaging Histories: The Pop Song’s “More” and Melancholy Democracy, 1968–69 2 • Space Issues: The Seventies-Soul Complex 3 • Exchange Theories: Disco, New Wave, and Album-Oriented Rock 4 • Senses: Nocturnes among the Smaller Genres 5 • Forces: The Late-Modern Concerto Afterword Acknowledgments Notes Index

Read more less

Book SynopsisA free ebook version of this title is available through Luminos, University of California Press's Open Access publishing program. Visitwww.luminosoa.orgto learn more. Everyone speaks with an accent, but what is an accent?Thinking with an Accentintroduces accent as a powerfully coded yet underexplored mode of perception that includes looking, listening, acting, reading, and thinking. This volume convenes scholars of media, literature, education, law, language, and sound to theorize accent as an object of inquiry, an interdisciplinary method, and an embodied practice. Accent does more than just denote identity: from algorithmic bias and corporate pedagogy to migratory poetics and the politics of comparison, accent mediates global economies of discrimination and desire. Accents happen between bodies and media. They negotiate power and invite attunement.These essays invite the reader tothink with an accentto practice a dialogical and multimodal inquiry that can yield transformative modalities of knowledge, action, and care.Trade Review"A guiding promise of this collection lies in its showcase of interdisciplinarity. Nourishing epistemological solidarities emerge in what the authors term ‘interdisciplinary accent studies.’ The authors prompt thinking around how future studies of global Anglophone literature, world literature, comparative literature, sound studies and accent studies are often in conversation. It is our own ‘accented’ reading and writing practices that ultimately silo accent and its disruptive potential." * ASAP/J *

Read more less

Book Synopsis

Read more less

Book SynopsisTable of ContentsContents In Lieu of Dedication: Fine Friends, Presiding Spirits—László Somfai, Lyudmila Kovnatskaya, Richard L. Crocker 1. The Many Dangers of Music LACI RESZE (LACI'S PART) 2. Liszt and Bad Taste 3. Goldmark’s Queen: On Signifiers 4. Why You Cannot Leave Bartók Out 5. Liszt’s Problems, Bartók’s Problems, My Problems 6. Kodály’s Pitiful Lament—and Mine милина часть (MILA'S PART) 7. Russian Responses to Bach 8. So Much More Than a Composer 9. Rimsky-Korsakov Catches Up 10. Prokofieff’s Problems—and Ours 11. Коле посвящается (for Kolya) 12. In from the Cold 13. Flesh and Blood Juke Box 14. Tales of Push and Pull 15. Was Shostakovich a Martyr, or Is That Just Fiction? 16. How to Win a Stalin Prize: Shostakovich and His Quintet PARS RICARDI PRIMI (RICARDUS PRIMUS'S PART) 17. Shooting a White Elephant 18. Is This a Thing? 19. Exoticism and Authenticity 20. Pathos Is Banned 21. Everybody Gotta Be Someplace: On Context 22. Alluring Failure, Exhilarating Defeat 23. Envoi: All Was Foreseen; Nothing Was Foreseen Acknowledgments Index

Read more less

Book SynopsisA free ebook version of this title is available through Luminos, University of California Press's Open Access publishing program. Visit www.luminosoa.org to learn more. Sounding the Indian Oceanis the first volume to integrate the fields of ethnomusicology and Indian Ocean studies. Drawing on historical and ethnographic approaches,the book explores what music reveals about mobility, diaspora, colonialism, religiousnetworks, media, and performance.Collectively, the chapters examine different ways the Indian Ocean might be heard outside of a reliance on colonial archives and elite textual traditions, integrating methods from music and sound studies into the history and anthropology of the region. Challenging the area studies paradigmwhich has long cast Africa, the Middle East, and Asia as separate musical culturesthe book shows how music both forms and crosses boundaries in the Indian Ocean world.

Read more less

Book Synopsis

Read more less