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Book SynopsisIn March 1977, John Johnny Rotten Lydon of the punk band the Sex Pistols looked over the Berlin wall onto the grey, militarized landscape of East Berlin, which reminded him of home in London. Lydon went up to the wall and extended his middle finger. He didn''t know it at the time, but the Sex Pistols'' reputation had preceded his gesture, as young people in the Second World busily appropriated news reports on degenerate Western culture as punk instruction manuals. Soon after, burgeoning Polish punk impresario Henryk Gajewski brought the London punk band the Raincoats to perform at his art gallery and student club-the epicenter for Warsaw''s nascent punk scene. When the Raincoats returned to England, they found London erupting at the Rock Against Racism concert, which brought together 100,000 First World UK punks and Third World Caribbean immigrants who contributed their cultures of reggae and Rastafarianism. Punk had formed networks reaching across all three of the Cold War''s worlds.TTrade ReviewThis book makes a substantial contribution to scholarship on punk and other forms of music and popular expression within the larger contours of history ... Highly recommended. * J. G. Matthews, CHOICE *Patton has indeed forged a comparative study that traverses the Iron Curtain ... Punk Crisis offers a coherent overview ... Quite refreshingly, it presents subcultural theory as being shaped by -- rather than shaping -- the time of its analysis. * Matthew Worley, Journal of Contemporary History *Forget 'the politics of punk.' Punk is politics, even when Brygada Kryzys sang 'I don't trust politicians' in Poland in 1981. But now we know, thanks to Punk Crisis, that punk was transnational politics, too. Transnational is nothing if it isn't DIY, and Ray Patton shows us how to do it in this lively and valuable book. * Padraic Kenney, Professor of History and International Studies, Indiana University *By drawing attention to punk's place in the Cold War, Punk Crisis reminds us of the shared spirit of '77 across the globe and brings new players onto the stage for a rave-up. Patton gives both an ideal introduction for young punks and a new twist for the grizzled veterans who might not know the whole story. London calling, Warsaw calling, Kingston calling. * Jonathyne Briggs, Associate Professor of History, Indiana University Northwest, Author of Sounds French *Table of ContentsIntroduction 1. Punk Ethnoscapes: New York-London-Kingston-Berlin-Warsaw-New York 2. Prophets of Postmodern Provocation 3. Subcultural Capital 4. The Politics of Aesthetics: Punk in the East and West 5. Thatcher, Reagan, Jaruzelski 6. Punk Tiermondisme, Punk Tribalism, and the Late Cold War Roots of anti-Globalization 7. Culture Wars 1989: Conclusion and Epilogue Bibliography Index

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Book SynopsisPunk Crisis examines how transnational punk movements challenged the global order of the Cold War to usher in a new era of global neoliberalism.Trade ReviewThis book makes a substantial contribution to scholarship on punk and other forms of music and popular expression within the larger contours of history ... Highly recommended. * J. G. Matthews, CHOICE *Patton has indeed forged a comparative study that traverses the Iron Curtain ... Punk Crisis offers a coherent overview ... Quite refreshingly, it presents subcultural theory as being shaped by -- rather than shaping -- the time of its analysis. * Matthew Worley, Journal of Contemporary History *Forget 'the politics of punk.' Punk is politics, even when Brygada Kryzys sang 'I don't trust politicians' in Poland in 1981. But now we know, thanks to Punk Crisis, that punk was transnational politics, too. Transnational is nothing if it isn't DIY, and Ray Patton shows us how to do it in this lively and valuable book. * Padraic Kenney, Professor of History and International Studies, Indiana University *By drawing attention to punk's place in the Cold War, Punk Crisis Crisis reminds us of the shared spirit of '77 across the globe and brings new players onto the stage for a rave-up. Patton gives both an ideal introduction for young punks and a new twist for the grizzled veterans who might not know the whole story. London calling, Warsaw calling, Kingston calling. * onathyne Briggs, Associate Professor of History, Indiana University Northwest, Author of Sounds French *Table of ContentsIntroduction 1. Punk Ethnoscapes: New York-London-Kingston-Berlin-Warsaw-New York 2. Prophets of Postmodern Provocation 3. Subcultural Capital 4. The Politics of Aesthetics: Punk in the East and West 5. Thatcher, Reagan, Jaruzelski 6. Punk Tiermondisme, Punk Tribalism, and the Late Cold War Roots of anti-Globalization 7. Culture Wars 1989: Conclusion and Epilogue Bibliography Index

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Book SynopsisIn Hip Hop Time goes beyond popular narratives of hip hop resistance, exploring Senegalese hip hop as a musical movement deeply tied to indigenous performance practices and changing social norms in urban Africa.Trade ReviewAppert's In Hip Hop Time is a riveting and deeply revelatory exploration of Hip Hop in Senegal, bristling with theoretical insights on Hip Hop, music, and globalization. Appert grapples with Hip Hop mythologies and methodologies, while successfully navigating the tensions between ethnography and musical analysis in refreshingly honest and rigorous ways that will benefit scholars across fields; this book is a wonderful addition to the Hip Hop Studies canon! * H. Samy Alim, UCLA, David O. Sears Presidential Endowed Chair in the Social Sciences *In this fine-grained musical ethnography, Catherine Appert samples, quotes and replays insights from Senegalese rappers to construct a beautifully layered analysis about collective memory, diaspora and locality, that also contests the triumphal myth of rap's political agency by identifying its limits. Highly recommended!" * Kelly Askew, Professor of Anthropology and Afroamerican & African Studies, University of Michigan *Appert drops the beat on current ethnomusicology. Rigorously researched, and written in a prose that flows, In Hip Hop Time explores Rap Galsen's dialogic imagination, re-mixing storytelling and analysis to interrogate the myths that make ethnography and its subjects. * Ryan Skinner, Associate Pro fessor, Music and African American Studies, Ohio State University *Table of Contents1 - Sampling Myth 2 - Globalizing the Underground 3 - Remembering the Griot 4 - Voicing Galsen 5 - Gendering Voice 6 - Producing Diaspora Remix - Consuming Resistance

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Book SynopsisCharlie Parker, Composer reexamines the renowned jazz improviser as a composer in his own right, assessing 84 of his original works with a focus on their aesthetic qualities and historical context.Trade ReviewCharlie Parker, Composer is filled with many insights and much recent published research that I was not aware of until now. Its dazzling achievement makes me forget how few other Parker publications appeared during his centennial year. I will be re-reading it in the coming years, too. * Edward Komara, Association for Recorded Sound Collections Journal *In the centenary year of Bird's birth, Martin adds a welcome, solid piece of musical scholarship. Highly recommended. Upper-division undergraduates through faculty; professionals. * J. Farrington, Eastman School of Music, CHOICE *Too little has been written on Charlie Parker the composer; Henry Martin's book brilliantly fills that need. * Carl Woideck, Senior Instructor, University of Oregon School of Music and Dance *This clearly organized and well-researched book ... represents a valuable contribution to analytical studies of Parker, which to date have focused mostly on his improvised solos rather than written-out compositions. This will undoubtedly prove to be a very useful reference for jazz scholars, and it would also work well in a course on jazz analysis or jazz composition. * Nicole Biamonte, Associate Professor of Music Research, McGill University *Encyclopedic in scope, scrupulously researched and brilliantly discussed, Professor Martin's magnum opus is a perfect gift on the occasion of the 100th anniversary of Charlie Parker's birth and an invaluable resource for many admirers of his compositional art. * Dariusz Terefenko, Eastman School of Music *Table of ContentsTable 1 Table 2 List of Examples and Tables Preface and Acknowledgments Introduction: Jazz Composition and Parker as Jazz Composer Chapter 1: Music Background and Compositional Overview Chapter 2: 32-Bar Rhythm Changes Compositions Chapter 3: Other 32-Bar AABA Compositions Chapter 4: 32-Bar ABAC Compositions Chapter 5: Through-Composed Blues in C Chapter 6: Through-Composed Blues in Other Keys Chapter 7: 32-Bar Compositions with A Section or Partial A Section Chapter 8: Riff Blues Chapter 9: Improvisational Frames with Composed Sections and Non-Standard Works Chapter 10: Summary and Assessment Bibliography Index

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Book SynopsisMore than twenty years in the making, Country Music Records: A Discography, 1921-1942 documents all country music recording sessions from 1921 through to 1942. With primary research based on the files and session logs from record companies as well as the recording archives of the Country Music Foundation, this notable work will be the first compendium to accurately document every commercial country music recording, including unreleased sides. The discography includes alphabetical indexes to all song titles and musicians listed.Trade Review"This volume has turned out to be mightily impressive, beyond even what aficionados could possibly have hoped for. The American arm of Oxford University Press have served the project in the finest possible manner." * Musical Traditions *"English discographer Tony Russell's magnum opus Country Music Records is a massive discography of every pre-WWII country music recording ever made. In a work more than two decades in the making, eagerly anticipated by discographers and country music scholars, Russell and the late Bob Pinson make the first comprehensive examination of every commercial country music recording session, 1921-42...Country Music Records is a model of its kind and the most important discography of vernacular American music since Blues & Gospel Records 1890-1943." * Choice *

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Book SynopsisHermes Pan: The Man who Danced with Fred Astaire is a rags-to-riches story about a boy from Tennessee who, armed with only an 8th grade education, an inexhaustible imagination, and an innate talent for dancing, becomes the most prolific and popular choreographer of the glory days of the Hollywood musical. As luck would have it, Pan''s movie career began and ended working with Fred Astaire, the most famous dancer on film. The pair made nearly two dozen movies and television shows together and in Astaire, Pan found an artistic soul mate with whom he would develop a symbiotic relationship for the rest of his life. A devout Roman Catholic, Hermes was interested in perfecting the souls as well as the physical technique of his dancers and the book explores the profound effect he had on the lives of stars such as June Haver, Ann Miller, Rita Hayworth, Linda Darnell, Ginger Rogers, and Betty Grable. The book examines each of Pan''s eighty-nine films offering a panoramic view of Pan''s choreogrTrade ReviewI always considered Hermes Pan to be my 'other father', and though I knew much of his story, in this wonderfully informative book John Franceschina has filled the gaps. * Ava Astaire McKenzie *Table of ContentsIntroduction ; 1. Black Bottom to Broadway ; 2. Try Dancing ; 3. Fifteen Cents a Dance ; 4. The Man Who Danced with Fred Astaire ; 5. Chica Chica Boom Chic ; 6. Red Robins, Bob Whites, and Bluebirds ; 7. Wonderful Nonsense ; 8. He Could Make a Wooden Indian Dance ; 9. The Life of an Elephant ; 10. Star Turns ; 11. Seventy-Five Watusi Witch Doctors ; 12. Help Me Dream ; Acknowledgements ; Bibliography ; Index

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Book SynopsisThe Relentless Pursuit of Tone investigates the many ways tone and timbre function in popular music. From the twang of the banjo to the thump of subwoofers on the dance floor, the authors engage with the entire history of popular music as recorded sound, from the 1930s to the present day.Trade ReviewAll in all, the contributions of this groundbreaking volume are extremely inspiring. Because of its variety of topics and historical information as well as approaches and concepts, it is likely that the book will be used as a compendium to the study of tone, timbre and sound in popular music that, at the same time, will stimulate manifold new research. * Martin Pfleiderer, Transposition *This wide-ranging and ear-opening collection explores the often rich and dynamic space between tone and timbre. Engaging diverse repertories from a variety of interpretive angles, this volume provides a wonderful survey that demonstrates how "pursuing the tone" can be crucial to understanding popular music. * John Covach, Director, University of Rochester Institute for Popular Music, Professor of Theory, Eastman School of Music *The Relentless Pursuit of Tone assembles a kaleidoscope of methods for studying timbre in popular music. Its chapters offer new approaches to the study of instruments, voices and technologies; studio production; listening practices and audience reception; music making - whether composed or improvised; performance; aesthetics; and music law. If you are interested in the relationship between sound and music, this collection is essential reading. * Jonathan Sterne, author of MP3: The Meaning of a Format and The Audible Past: Cultural Origins of Sound Reproduction *Table of ContentsIntroduction Chasing the Dragon: In Search of Tone in Popular Music Robert Fink, Zachary Wallmark, and Melinda Latour I. Genre Chapter 1 Hearing Timbre: Perceptual Learning Among Early Bay Area Ravers Cornelia Fales Chapter 2 The Twang Factor in Country Music Jocelyn R. Neal Chapter 3 The Sound of Evil: Timbre, Body, and Sacred Violence in Death Metal Zachary Wallmark Chapter 4 Below 100 Hz: Toward a Musicology of Subbass Robert Fink II. Voice Chapter 5 Timbre and Legal Likeness: The Case of Tom Waits Mark C. Samples Chapter 6 "The Triumph of Jimmy Scott": A Voice Beyond Category Nina Sun Eidsheim Chapter 7 Auto-tune, Labor, and the Pop Music Voice Catherine Provenzano III. Instrument Chapter 8 Hearing Luxe Pop: Jay Z, Isaac Hayes, and the Six Degrees of Symphonic Soul John Howland Chapter 9 Santana and the Metaphysics of Tone: Feedback Loops, Volume Knobs and the Quest for Transcendence Melinda Latour Chapter 10 Synthesizers as Social Protest in Early 1970s Funk Griffin Woodworth Chapter 11 Crossing the Electronic Divide: Guitars, Synthesizers, and the Shifting Sound Field of Fusion Steve Waksman IV. Production Chapter 12 Clash of the Timbres: Recording Authenticity in the California Rock Scene, 1966-68 Jan Butler Chapter 13 The Death Rattle of a Laughing Hyena: The Sound of Musical Democracy Albin J. Zak III Chapter 14 The Sound of Nowhere: Reverb and the Construction of Sonic Space Paul Théberge Chapter 15 The Spectromorphology of Recorded Popular Music: The Shaping of Sonic Cartoons Through Record Production Simon Zagorski-Thomas Afterword Simon Frith

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Book SynopsisLong before organized baseball or the armed forces experienced racial integration, the big band jazz and swing culture of the depression years was breaking down barriers. This book explores the fan culture and how the music served as a bridge between white American identity and a national culture.Table of ContentsList of Illustrations Preface Acknowledgments List of Abbreviations Pt. 1: From Jazz to Swing, 1929-1935 1: Just One More Chance: The Fall of the Jazz Age and the Rise of Swing, 1929-1935 Pt. 2: Now they Call it Swing, 1935-1942 2: The Crowd Goes Wild: The Youth Culture of Swing 3: Swing Is Here: Benny Goodman and the Triumph of American Music 4: News from the Great Wide World: Count Basie, Duke Ellington, and Black Swing Bands 5: Swing Left: The Politics of Race and Culture in the Swing Era 6: The City of Swing: New York and the Dance Band Business in Black and White Pt. 3: Culture Noir, 1942-1954 7: Swing Goes to War: Glenn Miller and the Popular Music of World War II 8: The War in Jazz 9: Coda and Conclusion: Red Scares and Head Scares Notes Index

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Book SynopsisDelves into concepts of musical persona, space, and energy, and in the process illuminates the complex interplay between experience, musical sound, social actors, genres, styles, and traditions.Trade Review"This book uniquely and successfully sustains a cohesive analysis of the work, career, and reception of a single artist. That the artist is Neil Young, one of the most confounding and mysterious of rock stars, is an added bonus. Finally someone will explain what's been going on all these years!" Daniel Cavicchi, author of Tramps Like Us: Music and Meaning among Springsteen FansTable of ContentsContentsAcknowledgmentsIntroduction1. Words: A Neil Young Reception Primer2. Unlock the Secrets: Waywardness and the Rock Canon3. The Liquid Rage: Noise and Improvisation4. Have You Ever Been Singled Out? Popular Music and Musical Signification5. You See Your Baby Loves to Dance: Musical Style6. Will To LoveNotesReferencesIndex

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Book SynopsisIt has been reviled, dismissed, attacked, and occasionally been the subject of Congressional hearings, but still, the genre of music known as heavy metal maintains not only its market share in the recording and downloading industry, but also as a cultural force that has united millions of young and old fans across the globe. Characterized by blaring distorted guitars, drum solos, and dramatic vibrato, the heavy metal movement headbanged its way to the popular culture landscape with bands like Led Zeppelin and Black Sabbath the 1970s. Motley Crue and Metallica made metal a music phenomenon in the 1980s. Heavy metal continues to evolve today with bands like Mastodon and Lamb of God.Providing an extensive overview of the music, fashion, films, and philosophies behind the movement, this inclusive encyclopedia chronicles the history and development of heavy metal, including sub-movements such as death metal, speed metal, grindcore, and hair metal.EssentiaTrade Review[I]nformation provided by Cogan (The Encyclopedia of Punk) and independent music scholar Phillips is enlightening and reveals the personalities driving the rise, fall, resurrection, and subsistence of profiled bands. * Library Journal *Phillips (digital technology and music culture, New York U.) and Cogan (media ecology, Molloy College) have written this encyclopedia on heavy metal to define the specific boundaries for this musical genre while being as broad and inclusive to as many performers as possible. Entries offer biographies, discographies and critical analysis of bands and solo performers as well as books, films, festivals and record labels that are considered essential to the genre. General audiences will appreciate descriptions of sub-genres such as grindcore, grunge and death metal, and artifacts of the culture such as body piercings, leather and even the video game Guitar Hero are also explained. * Reference & Research Book News *We know what you are thinking, 'Oh no, another metal encyclopedia that will be inaccurate and useless'. However, this book is first of it's kind that actually works. The authors researched, they learned the metal scene and they debated on the content before deciding on including it. This work is an incredible collection of information that will be of use to the seasoned metal fan as well as the uninitiated. Written to be a college level textbook for a music class, this book is more 'grown up' than a lot of other similar works. . . . Overall, the diversity of subject matter and the bands included paint a fairly complete picture of the world of heavy metal. The authors have lived up to their introductory statement about being authentic and they have given the metal world the first truly worthwhile work of this type. The Encyclopedia of Heavy Metal Music delves deep into the world of metal while allowing the novice to understand what they are experiencing. We can only hope that William Phillips and Brian Cogan may one day work together again and write more on the subject that is our lives, Heavy Metal. * Metal Life Magazine *More than 350 entries ranging from several paragraphs to several pages in length provide capsulated biographies of bands and their key members and include discographies. The authors also include entries for cultural topics such as fashion and metal and Moshing and metal subgenres like Death metal and Grunge. More than 50 black-and-white images of performers and metal fans supplement the text. There are other reference books on this topic, including The Guinness Book of Heavy Metal (1995) and The Rough Guide to Heavy Metal (2005), among others, making this volume a well-researched update on the genre. * Booklist *Most notable is its inclusiveness of the artists and related topics that best embody heavy metal's broad context. The introduction alone can assist scholars with understanding the music's complexities and the elements informing its practitioners. . . . Band entries conclude with complete discographies that enumerate an artist's creative output, followed by a list of compilation releases (i.e., greatest hits)--a beneficial approach for comprehending a band's body of work. Summing Up: Recommended. Lower-division undergraduates and above; general readers. * Choice *Table of ContentsList of Entries Guide to Related Topics IntroductionPreface Acknowledgments Timeline The Encyclopedia Heavy Metal Music: An Introduction Entries A-ZThe Encyclopedia Selected Bibliography Index

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Book SynopsisMusic and World-Building in the Colonial City investigates how nineteenth-century migrants to Australia used music as a resource for world-building, focusing on coalmining regions of New South Wales. It explores how music-making helped British migrants to create communities in unfamiliar country, often with little to no infrastructure. Its key themes are as follows: people's relationships to music within speci?c contexts; how music-making intersects with class, gender and ethnic background; identity through music. Situated within a wider discourse on music and identity, music and well-being and music and emotions, this is an authoritative study of historical communities and their relationship with music. It will be of particular interest to scholars and researchers working in the ?elds of sociomusicology, colonial studies and cultural studies.Trade ReviewIn this meticulously researched local study Helen English demonstrates the critically important role that popular music played in determining a sense of community and identity amongst working class immigrants in Victorian Australia. This is an exemplary case study of the complicated processes of cultural transmission in shaping a colonial Australian mentalite.Emeritus Professor Richard Waterhouse FAHA FASSASchool of Philosophical and Historical Inquiry,University of Sydney, NSW AustraliaHelen English presents a ground-breaking study of the musical activities of migrant miners in nineteenth-century Australia, showing how vitally important music was to the making of new communities, their social values and colonial identity. In this absorbing, historically informed and persuasively theorized study of Newcastle and outlying townships, the author constantly surprises the reader with examples of how people were able to recreate musical practices from Eisteddfodau and brass band concerts to blackface minstrel shows, despite their lack of infrastructure and resources.Derek B. ScottProfessor of Critical MusicologyUniversity of LeedsIn this meticulously researched local study Helen English demonstrates the critically important role that popular music played in determining a sense of community and identity amongst working class immigrants in Victorian Australia. This is an exemplary case study of the complicated processes of cultural transmission in shaping a colonial Australian mentalite.Emeritus Professor Richard Waterhouse FAHA FASSASchool of Philosophical and Historical Inquiry,University of Sydney, NSW AustraliaHelen English presents a ground-breaking study of the musical activities of migrant miners in nineteenth-century Australia, showing how vitally important music was to the making of new communities, their social values and colonial identity. In this absorbing, historically informed and persuasively theorized study of Newcastle and outlying townships, the author constantly surprises the reader with examples of how people were able to recreate musical practices from Eisteddfodau and brass band concerts to blackface minstrel shows, despite their lack of infrastructure and resources.Derek B. ScottProfessor of Critical MusicologyUniversity of LeedsTable of ContentsChapter 1 (Introduction): Music Making at the CoalfaceChapter 2: The Sights and Sounds of the Coalopolis, 1860-1880Chapter 3: Aspirations and Transposed TraditionsChapter 4: Music’s Affordances in the Settler Context: Brass Bands and the Self, Body and the Social.Case Study 1: Brass Bands as the Apotheosis of World-Building: The Miners’ Demonstration of 1874Chapter 5: Choirs Local and Global: Community makers, Vehicles of Respectability and Colonial ConnectivityChapter 6: Singing, Eisteddfodau and IdentityCase Study 2: Nostalgia: A Transnational Concert at LambtonChapter 7: The Minstrel Mask: Blackface Miners at Work and PlayChapter 8: Social Inclusion: What Township Benefit Concerts reveal about Township ValuesPostlude: Conclusions

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Book SynopsisFrom the mid-1950s to the late 1970s, jazz was harnessed as Americaâs sonic weapon to promote an image to the world of a free and democratic America. Dizzy Gillespie, Dave Brubeck, Duke Ellington and other well-known jazz musicians were sent around the world â including to an array of Communist countries â as jazz ambassadors in order to mitigate the negative image associated with domestic racial problems. While many non-Americans embraced the Americanism behind this jazz diplomacy without question, others criticized American domestic and foreign policies while still appreciating jazz â thus jazz, despite its popularity, also became a medium for expressing anti-Americanism. This book examines the development of jazz outside America, including across diverse historical periods and geographies â shedding light on the effectiveness of jazz as an instrument of state power within a global political context.Saito examines jazz across a wide range of regions, including America, EuroTable of ContentsAcknowledgementsAbbreviationsIntroduction1 The genealogy of “American music”2 The scene changes in postwar jazz politics3 Jazz ambassadors revisited4 The politics behind the selection process5 Anti-Americanism in the Western jazz discourse6 Containing the Soviet jazz scene7 Contesting discourses in East European jazz scenes8 Making jazz great againConclusionBibliographyIndex

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Book SynopsisChristians and Christianity have been central to Hip Hop since its inception. This book explores the intersection of Christians and Hip Hop and the multiple outcomes of this intersection. It lays out the ways in which Christians and Hip Hop overlap and diverge. The intersection of Christians and Hip Hop brings together African diasporic cultures, lives, memories and worldviews. Moving beyond the focus on rappers and so-called Christian Hip Hop, each chapter explores three major themes of the book: identifying Hip Hop, irreconcilable Christianity, and boundaries.There is a self-identified Christian Hip Hop (CHH) community that has received some scholarly attention. At the same time, scholars have analyzed Christianity and Hip Hop without focusing on the self-identified community. This book brings these various conversations together and show, through these three themes, the complexities of the intersection of Christians and Hip Hop. Hip Hop is more than rap music, it isTable of ContentsList of Figures; Acknowledgements; Introduction Erika Gault and Travis Harris; 1 A History of Christians and Hip Hop-Travis Harris; Section I: Identifying Hip Hop; 2 Blendzville Global: A Conversation with Andrea "M$. Blendz" Castleberry-Travis Harris; 3 If My Faith Had a YouTube: Digitizing Christianity and Hip Hop, an Interview with Beleaf Melanin-Erika Gault; Section II: Irreconcilable Christianity; 4 Black White Supremacists: An Interrogation into ‘Christian Hip Hop’s Relationship with the White Man’s Religion- Daniel White Hodge and Travis Harris; 5 From ‘Gospel’ to Global: A Talk with Anthony "DJ AA1K" Amos Travis Harris;6 "The Prince of Peace Ain't Down with Police Brutality": Gospel Gangstaz Confronting White Supremacy Post-LA Uprising of 1992 -Matthew Linder;7 Skipp Coon: Race, Religion, and Black Radical History in Hip Hop-Phillip Luke Sinitiere;Section III: Boundaries; 8 The Ruptures and Reconfigurations of Identity through Christian Hip Hop in Southern Africa-Ibrahim Abraham and Tuomas Järvenpää; 9 Latinx Innovators in the Emergence of Los Angeles Hip Hop: Expanding the Intersections of Christianity and Hip Hop-Jonathan Calvillo;10 ‘We Gon’ Be Alright’: Kendrick Lamar and the Theology of Affirmation-Darrius D. Hills; 11 The Gospel According to ‘Ye; Kanye West, the Life of Pablo, and Authentic-ChristianityTimothy Welbeck; 12 ‘How You Gon’ See ‘Em If You Live in the Fog’: Theodicy in the lyrics of DMX-Trudy Mercadal; Contributors; Appendix; Index

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Book SynopsisThe Tragic Odes of Jerry Garcia and the Grateful Dead is a multifaceted study of tragedy in the group's live performances showing how Garcia brought about catharsis through dance by leading songs of grief, mortality, and ironic fate in a collective theatrical context.This musical, literary, and historical analysis of thirty-five songs with tragic dimensions performed by Garcia in concert with the Grateful Dead illustrates the syncretic approach and acute editorial ear he applied in adapting songs of Robert Hunter, Bob Dylan, and folk tradition. Tragically ironic situations in which Garcia found himself when performing these songs are revealed, including those related to his opiate addiction and final decline. This book examines Garcia's musical craftsmanship and the Grateful Dead's collective art in terms of the mystery-rites of ancient Greece, Friedrich Nietzsche's Dionysus, 20th century American music rooted in New Orleans, Hermann Hesse's Magic Theater, and the GrTrade ReviewFor decades, scholars have found the Grateful Dead's work and example to be rich and rewarding interdisciplinary topics. Brent Wood's thoughtful exploration of the band's tragic odes and their intersection with Jerry Garcia and the Dead's complex history marks a welcome addition to the discourse, offering provocative readings of seminal songs and creative connections to a range of writers, ideas, and theories in philosophy, literary history, and cultural studies. Nicholas Meriwether, Center for Counterculture StudiesThis is a valuable book, masterfully balancing diverse topics such as the Dionysian rituals of ancient Greece, Nietzsche, the Cold War, LSD, Frankenstein, shamanism, and more in its reappraisal of Jerry Garcia’s songs as “tragic odes." The Dead’s story has been told many times, but this book goes beyond the usual discourse of band history and fan culture to probe into a web of fascinating intertextual and historical reference points that account for the unique catalytic power of this much beloved band. Brent Wood’s writing casts the Grateful Dead’s “long, strange trip” in a new light.Kevin Holm-Hudson, University of Kentucky School of MusicTable of ContentsIntroduction: Mystery Dances in the Magic Theater 1 "Morning Dew" and the Greek Theatre 2 "Death Don’t Have No Mercy": Catharsis and Redemption Death Don’t Have No Mercy * He Was a Friend of Mine Cryptical Envelopment * Brokedown Palace * Bird Song * He’s Gone 3 Befriending Chaos: "Dark Star," Dionysus and Psychedelics 4 Dancing to Fateful Folk Tales Reuben and Cherise * Fennario * Dire Wolf * Sugaree Dupree’s Diamond Blues * Stagger Lee * Casey Jones5 Meditations on Mortality, from Uncle John to Stella Blue Uncle John’s Band * New Speedway Boogie * Black Peter * LoserWharf Rat * China Doll * It Must Have Been the Roses * Stella Blue 6 Chasing the Dragon and Escaping the Netherworld Fire on the Mountain * Comes a Time * Althea Black Muddy River * Standing on the Moon7 Knockin’ on Heaven’s Door: Dylan and Garcia It’s All Over Now, Baby Blue * She Belongs to Me * The Mighty Quinn Knockin’ on Heaven’s Door * Visions of Johanna 8 Is it the End or Beginning? So Many Roads * Days Between * Mason’s Children 9 The Rebirth of Tragedy

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Book SynopsisBlending the insights of musicians and psychologists from D.W. Winnicott to Gregory Bateson to Ornette Coleman, Jazz and Psychotherapy is a groundbreaking exploration of improvisation that reveals its potential to transform our experience of ourselves and the challenges we face as a species.Table of ContentsJazz and Psychotherapy: Perspectives on the Complexity of ImprovisationPrefaceAcknowledgmentsIntroduction1 — Improvisation, Culture, and Play2 — Infancy, Childhood, and Transitional Phenomena3 — Intersubjectivity and the Unconscious4 — Discovering Voice5 — Free Association and Improvisational Space6 — Complexity, Spontaneity, and Authenticity 7 — Musical Dynamics of Early Development8 — Symbolization and Metaphor9 — Loops and Spirals10 — Order and Disorder 11 — Shifting Paradigms12 — The Self in an Evolving World References BibliographyIndex

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Book SynopsisMichel Gondryâs directorial work buzzes with playfulness and invention: in a body of work that includes feature films such as Eternal Sunshine of the Spotless Mind and The Science of Sleep, to music videos, commercials, television episodes, and documentaries, he has experimented with blending animation and live action, complex narrative structures, and philosophical subject matter. Central to that experimentation is Gondryâs use of music and sound, which this book addresses in a new detailed study. Kate McQuiston examines the hybrid nature of Gondryâs work, his process of collaboration, how he uses sound and music to create a highly stylized reinforcement of often-elusive subjects such as psychology, dreams, the loss of memory, and the fraught relationship between humans and the environment. This concise volume provides new insight into Gondryâs richly creative multimedia productions, and their distinctive use of the soundtrack.Table of Contents1 The Heart and the Brain2 Superchannels and Other Sound Strategies3 Dreaming up "The Concert I Always Wanted to Go To": Mosaics in Dave Chappelle’s Block Party 4 Music Video and Advertising5 Muse-en-scène: Jon Brion Hears the Hidden City in Mia Doi Todd’s "Open Your Heart"6 Original Music, Pre-existing Music, and Palettes7 The Time-Play of Playlists and Original Score in Be Kind, Rewind and Mood Indigo

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Book SynopsisMade in Hong Kong: Studies in Popular Music serves as a comprehensive and thorough introduction to the history, sociology, and musicology of twentieth- and twenty-first century popular music in Hong Kong. The volume consists of essays by leading scholars in the field, and it covers the major figures, styles, and social contexts of popular music in Hong Kong. Each essay provides adequate context to allow readers to understand why the figure or genre under discussion is of lasting significance. The book is organized into four thematic sections: Cantopop, History and Legacy; Genres, Format, and Identity; Significant Artists; and Contemporary Cantopop.Table of ContentsIntroduction Mainstreaming Hong Kong Popular MusicANTHONY FUNG & ALICE CHIKPART I: CANTOPOP, HISTORY, AND LEGACY Mapping sociopolitical and cultural changes through "The Daughters of Hong Kong:" From Anita Mui to Denise Ho VICKY HO & MIRANDA MA Once upon a time in Hong Kong Cantopop: 1984 YIU-WAI CHU Pax Musica & Mnets: Cantopop–Kpop convergences and inter-Asia cultural mobilities KAI KHIUN LIEW & MEICHENG SUN Voices shaped by the people and for the people: Cantopop and political crisis from the colonial to postcolonial era STELLA LAU & IVY MAN PART II: GENRES, FORMAT, AND IDENTITY The symbolism sound of Cantopop: Relistening to "The Fatal Irony" (1974) TING YIU WONG Rethinking Chineseness in the Cantopop of Sam Hui BRENDA CHAN Alternative music, language, and "Hong Kong" identity: The use of metaphor in English lyrics of Hong Kong independent music LOK MING ERIC CHEUNG Covers and "One Melody, Two Lyrics" Songs JOHNSON LEOW PART III: SIGNIFICANT ARTISTS Love songs from an island with blurred boundaries: Teresa Teng’s anchoring and wandering in Hong Kong CHEN-CHING CHENG Remembering Hong Kong as a queer metaphor: Leslie Cheung’s queer performativity and posthumous networked fandom HONG-CHI SHIAU Hong Kong is (no longer) my home: From Sam Hui to My Little Airport MILAN ISMANGIL MC Yan and his Cantonese conscious rap ANGEL M. Y. LIN PART IV: CONTEMPORARY CANTOPOP Snapshots of multilingualism in Hong Kong popular music PHIL BENSON & ALICE CHIK Our Little Twins Stars: Conglomerate-catalyzed cross-media stardom in the new millennium KLAVIER J. WANG & STEPHANIE NG Performing the political: Reflections on Tatming meeting George Orwell in 2017 YIU FAI CHOW, JEROEN de KLOET & LEONIE SCHMIDT The politicization of music through nostalgic mediation: The memory in "Boundless Oceans, Vast Skies" JESSICA KONG & ANTHONY FUNG CODA The globo-regional and the local in Hong Kong popular music C. J. W.-L. WEEAfterwordCantopop is always hybrid: A conversation with Serina Ha

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Book SynopsisMade in Finland: Studies in Popular Music serves as a comprehensive and thorough introduction to the history, culture, and musicology of twentieth and twenty-first century popular music in Finland. The volume consists of essays by leading scholars in the field, and covers the major figures, styles, and social contexts of popular music in Finland. Each essay provides adequate context so readers understand why the figure or genre under discussion is of lasting significance. The book is organized into five thematic sections: Emerging Foundations of Popular Music in Finland; Environments, Borderlines, Minorities; Transnationalisms; Sounds from the Underground; and Redefining Finnishness.Table of Contents Introduction: Between East and West, Local and Global TONI-MATTI KARJALAINEN AND KIMI KÄRKI PART 1: Emerging Foundations of Popular Music in Finland 2.Reincarnations of Emma: Categorizing Finnish Mainstream Music OLLI HEIKKINEN 3. The Emergence of Suomirock in the 1970s and 1980s TERHI SKANIAKOS 4. And so, Finland Became a Heavy Metal Nation TONI-MATTI KARJALAINEN PART 2: Environments, Borderlines, Minorities 5. Karelian Music PEKKA SUUTARI 6. Negotiating Major and Minor Structures: Popular Music and the Swedish-speaking Minority of Finland JOHANNES BRUSILA PART 3: Transnationalisms 7. Mary Hopkin Impersonators and Finnish Mods: The Adoption of British Invasion-era Pop Music in Finland KARI KALLIONIEMI 8. Workers of the World Awaken! The Songs of Finnish North Americans as Social and Ideological Mediators at the Turn of the 20th Century SAIJALEENA RANTANEN PART 4: Sounds From the Underground 9. The Hunters of New Sounds: Early Electronic Music Instruments and the Dawn of DIY Culture PETRI KULJUNTAUSTA 10. From Underground to the Spotlight: Finnish Minimal Techno in the 1990s PERTTI GRÖNHOLM 11. Underground Over the Net: Three Cases of Underground Music in Finland in the Age of Platforms JUHO KAITAJÄRVI-TIEKSO AND JUHO HÄNNINEN PART 5: Redefining Finnishness 12. Music, Ice Hockey Lions, and the Construction of a National Community KAJ AHLSVED 13. Alternative Femininities, Voices, and Queer Body Politics in Alma’s "Dye My Hair" HANNA-MARI RIIHIMÄKI AND ANNA-ELENA PÄÄKKÖLÄ 14. Performing National Identities KIMI KÄRKI Coda TONI-MATTI KARJALAINEN Afterword – From a Campfire to the Global Stage: A Conversation with Tuomas Holopainen of Nightwish TONI-MATTI KARJALAINEN

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Book SynopsisThe Singer-Songwriter in Europe is the first book to explore and compare the multifaceted discourses and practices of this figure within and across linguistic spaces in Europe and in dialogue with spaces beyond continental borders. The concept of the singer-songwriter is significant and much-debated for a variety of reasons. Many such musicians possess large and zealous followings, their output often esteemed politically and usually held up as the nearest popular music gets to high art, such facets often yielding sizeable economic benefits. Yet this figure, per se, has been the object of scant critical discussion, with individual practitioners celebrated for their isolated achievements instead. In response to this lack of critical knowledge, this volume identifies and interrogates the musical, linguistic, social and ideological elements that configure the singer-songwriter and its various equivalents in Europe, such as the French auteur-compositeur-interprÃte and the Italian cantautoreTable of ContentsList of FiguresList of TablesContributorsAcknowledgementsIntroduction: More than Words: Theorising the Singer-Songwriter - Stuart Green and Isabelle MarcPART 1: PARADIGMS‘The songs I’d write would be like that’: transnational influences between poets, composers, singer-songwriters’ - Franco FabbriPolitique des chant-auteurs: French auteur theory and Italian canzone d’autore compared - Jacopo Conti‘Words take the place of meaning’: sound, sense and politics in the music of Robert Wyatt - Richard ElliottThinking the canzone d’autore - Rachel HaworthRediscovered Sisters: women (and) singer-songwriters in Italy - Jacopo TomatisPART 2: POLITICS‘I write the songs. He’s the eye candy’: the female singer-songwriter, the woman artist-producer and the British broadsheet press - Paula WolfeIn Germany after the war: broadening the discourse on the Liedermacher - Dietmar ElfleinJudges, guitars, freedom and the mainstream: problematizing the early cantautor in Spain - Sílvia MartínezStarting over: singer-songwriters and the rhythm of historical time in post-revolutionary Portugal - Luís TrindadePART 3: PLACEThe re-invention of the French singer-songwriter in the Liberation years: Léo Ferré and the French poetic heritage in popular song - Peter HawkinsWhen Jake Met Georges: the chanson across the channel - Mark GoodallTransitions of the cantautor: aesthetics, politics and authenticity in Spanish popular music from the late Franco dictatorship to the present day - Fernán del Val and Stuart GreenA place for us? Building the sense of place in the ʻGenoese School’ of Cantautori - Alessandro Bratus and Giuseppa VultaggioWorks CitedIndex

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Book SynopsisWhile attention has been paid to various aspects of music education in China, to date no single publication has systematically addressed the complex interplay of sociopolitical transformations underlying the development of popular music and music education in the multilevel culture of China. Before the implementation of the new curriculum reforms in China at the beginning of the twenty-first century, there was neither Chinese nor Western popular music in textbook materials. Popular culture had long been prohibited in school music education by China's strong revolutionary orientation, which feared spiritual pollution' by Western cultures. However, since the early twenty-first century, education reform has attempted to help students deal with experiences in their daily lives and has officially included learning the canon of popular music in the music curriculum. In relation to this topic, this book analyses how social transformation and cultural politics have affected community relatiTable of Contents Introduction: Cultural Politics, Music, and Social Change in Education The Power of Popular Songs in the Development of Nationalism, Communism, and Globalization Popular Music and Music Education in the City of Beijing Popular Music and Music Education: East Meets West in Shanghai Popular Music and Music Education in Changsha City Dynamics and Dilemmas of Introducing Popular Music into China’s School Music Education Conclusions and Implications: School Music Education, Values, and Cultural Politics

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Book SynopsisCultural Histories of Noise, Sound and Listening in Europe, 1300-1918 presents a range of historical case studies on the sounding worlds of the European past. The chapters in this volume explore ways of thinking about sound historically, and seek to understand how people have understood and negotiated their relationships with the sounding world in Europe from the Middle Ages through to the early twentieth century. They consider, in particular: sound and music in the later Middle Ages; the politics of sound in the early modern period; the history of the body and perception during the Ancien RÃgime; and the sounds of the city in the nineteenth century and sound and colonial rule at the fin de siÃcle.The case studies also range in geographical orientation to include considerations not only of Britain and France, the countries most considered in European historical sound studies in English-language scholarship to date, but also Bosnia-Herzegovina, BritiTrade Review"The volume as a whole shows the significance of sonic experience in the history ofembodied perception and of religious identity." -- Aimée Boutin, Florida State University, H-France Review"The editors enable generous and individualized tours through the volume, mapping an open blueprint for sound studies and cultural history in the process." -- Andrea F. Bohlman, University of North Carolina at Chapel Hill, EuropeNowTable of ContentsGeneral Introduction Ian Biddle and Kirsten GibsonPart 1: Historicizing Aurality Introduction Ian Biddle and Kirsten Gibson1.‘Sowndys and melodiis’: Perceptions of Sound and Music in Late Medieval England Lisa Colton2. The Physiologist at the Opera – Claude Perrault’s Du bruit (1680) and the Politics of Pleasure in the Ancien Régime Veit Erlmann3. Georges Kastner’s Les Voix de Paris (1857): A Study in Musical Flânerie Emily Laurance4. Refashioning Rhythm: Hearing, Acting and Reacting to Metronomic Sound in Experimental Psychology and Beyond, c.1875–1920 Alexander BonusPart 2: Sound PoliticsIntroduction Ian Biddle and Kirsten Gibson5. Orphée at the Forains: Silencing and Silences in Old Regime France Hedy Law6. Sound as Promise and Threat: Drumming, Collective Violence and Colonial Law in British Ceylon Jim Sykes7. Cannons, Church Bells and Colonial Policies: The Soundscape in Habsburg Bosnia-Herzegovina Risto Pekka PennanenPart 3: Urban Soundscapes of EuropeIntroduction Ian Biddle and Kirsten Gibson8. City Life and Music for Secular Entertainment in the Empire of Maximilian I Helen Coffey9. Sonic Afterworld: Mapping the Soundscape of Heaven and Hell in Early Modern Cities Daniele V. Filippi 10. The Sounds of the City, 1598: Everard Guilpin’s London in Skialetheia Adam Hansen 11. The Soundscape of the City in the Nineteenth Century Olivier Balaÿ12. Porosity and Modernity: Lisbon’s Soundscape from 1864–1908 Joao Silva.BibliographyIndex

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Book SynopsisThis book explores the highly-valued, and often highly-charged, ideal of authenticity in hip-hop what it is, why it is important, and how it affects the day-to-day life of rap artists. By analyzing the practices, identities, and struggles that shape the lives of rappers in the London scene, the study exposes the strategies and tactics that hip-hop practitioners engage in to negotiate authenticity on an everyday basis. In-depth interviews and fieldwork provide insight into the nature of authenticity in global hip-hop, and the dynamics of cultural appropriation, globalization, marketization, and digitization through a combined set of ethnographic, theoretical, and cultural analysis. Despite growing attention to authenticity in popular music, this book is the first to offer a comprehensive theoretical model explaining the reflexive approaches hip-hop artists adopt to live out' authenticity in everyday life. This model will act as a blueprint for new studies in global hip-hop anTable of ContentsIntroduction1. Keepin’ it Real: Authenticity Debates and Global Hip-Hop2. Setting the Scene: The Changing Context of the London Hip-Hop Scene3. Negotiating Struggle in Everyday Life 4. Strategies and Tactics: Living Out Authenticity 5. Towards a New Conceptualization of Authenticity

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Book SynopsisSince the 1980s, music videos have been everywhere, and today almost all of the most-viewed clips on YouTube are music videos. However, in academia, music videos do not currently share this popularity. Music Video After MTV gives music video its due academic credit by exploring the changing landscapes surrounding post-millennial music video. Across seven chapters, the book addresses core issues relating to the study of music videos, including the history, analysis, and audiovisual aesthetics of music videos. Moreover, the book is the first of its kind to truly address the recent changes following the digitization of music video, including its changing cycles of production, distribution and reception, the influence of music videos on other media, and the rise of new types of online music video. Approaching music videos from a composite theoretical framework, Music Video After MTV brings music video research up to speed in several areas: it offers the first account of thTable of ContentsIntroduction 1. Defining Music Video 2. Audiovisual Remediation 3. The Musicalization of Vision 4. A Polyphony of Images 5. Hybrid Spaces and Impossible Time 6. Music Video Aesthetics across Media 7. Post-Music Video Conclusion

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Book SynopsisActing in Musical Theatre remains the only complete course in approaching a role in a musical. It covers fundamental skills for novice actors, practical insights for professionals, and even tips to help veteran musical performers refine their craft. Educators will find the clear structure ideal for use with multiple courses and programs. Updates in this expanded and revised third edition include: A comprehensive revision of the bookâs companion website into a fully online Resource Guide that includes abundant teaching materials and syllabi for a range of short- and long-form courses, PowerPoint slide decks and printable handouts for every chapter. Updated examples, illustrations, and exercises from more recent musical styles and productions such as Hamilton, Waitress, and Dear Evan Hansen. Revision of rehearsal and performance guidelines to help students and teachers at all levels thriTrade Review International Praise for Acting In Musical Theatre ACTING IN MUSICAL THEATER helps me to figure out many questions that have bothered me for years about performing and teaching. It gives me not only a better understanding of musical theater, but also insights guiding my own career. In China, I have recommended this must-read book to my students, colleagues and friends in this circle, believing that this comprehensive and enlightening book would give them great help too. HE Mijiang, Instructor - Communications University of China (Beijing) Deer and Dal Vera have put forth a process where every step is connected, making the student consistently understand the emotional journey of the character. The result is more truthful, coherent and powerful scenes. The most valuable moment in this process is when the actor gains their own autonomy by understanding the character in depth. Consequently, the result is acting where the actor’s soul overflows in the scene and the art, itself. Without soul, this artform says nothing to me. Reiner Tenente, director and founder - CEFTEM (Center for Studies and Training in Musical Theater), Rio de Janeiro, Brazil You have in your hands an extraordinary tool for the vocational training of anyone, anywhere in the world, who wishes to approach American musical theatre in all its various styles. We have achieved incredible results by teaching the techniques and methods set out by Joe Deer and Rocco Dal Vera to young students of Opera, also. Marco Iacomelli, Artistic Director - Scuola del Teatro Musicale, Novara, Italy Joe Deer and Rocco Dal Vera’s Acting in Musical Theatre is a cornerstone of actor training in musical theatre, comprehensive in its scope, current in its examples, and practical at every turn. Unique among practitioner’ texts is the accessibility of the prose; both authors are great communicators, obviously joyful and caring about performance craft and artistic well-being. Dr. Zachary Dunbar - Faculty of Fine Arts and Music, The University of Melbourne (Australia) Joe Deer’s insight as a Broadway professional and his in-depth experience in higher education, alongside Rocco Dal Vera’s expertise make this a must-have book for anyone involved in musical theatre. The new edition updates content to the last five years and provides an invaluable resource for those wanting to know about how to approach musical theatre from the perspective of its place of birth. Paul Barker, composer and Professor of Music Theatre - University of London Royal Central School of Speech and Drama A highly informed work. A complete guide to musical theatre training that can be fully understood and appreciated by the foundation student at a basic level. But, for those with more experience, it could be viewed as a guide to the psychology that traces the journey of the actor. Gerry Tebbutt Head of Musical Theatre and Performance Guildford School of Acting Surrey, England Academic Praise for ACTING IN MUSICAL THEATRE: A Comprehensive Course I predict that this book will serve as the textbook for the next generation of students across the nation – perhaps as useful for the training of opera theatre students as it if for musical theatre students. The pedagogy is sound; the exercises are practical and the progression of learning systematic and no-nonsense. David Alt, DMA - Former Chairman Department of Vocal Performance Frost School of Music University of Miami, Florida USA This book successfully addresses one of the major needs in musical theatre training and is destined to be used by every serious training program in the country. Gregory Kunesh, Founding Chair and Regents’ Professor Weitzenhoffer Department of Musical Theatre University of Oklahoma, USA At last, a book that assists us in guiding our students to inhabit characters in musicals organically! A major milestone in musical theatre pedagogy. Robert Barton, Professor Emeritus Former Head of Acting University of Oregon Author of Acting: Onstage and Off Acting in Musical Theatre covers it all - acting, musical terminology, style and auditions. It is a must-have resource for all teachers and students of performing in musical theatre. Mary Jo Lodge, Professor of Theatre Lafayette College, USA With clearly delineated chapters and units, Deer and Dal Vera break down the complex terrain of musical theatre into digestible bits. Whether you are a fledgling musical theatre artist or a seasoned professional, this book offers an array of insights, suggestions, guideposts and exercises which you will find invaluable. Michael Ellison, Head of Musical Theatre Bowling Green State University, USA A great handbook for the serious student. Relevant for all stages of development. Kathleen Savage, Performer's College, Essex, UK A lively, engaging read that, as a comprehensive guide to acting in musicals, fills a heretofor empty niche. Judith A. Sebesta, University of Missouri-Columbia, USA I have found it to be a source quite unlike any other, both in its comprehensive scope and its spot-on perspective. I have no doubt that your methodology would greatly enhance the BFA training that we are doing at Missouri State. Michael Casey, Missouri State University, USA Indeed a terrific book! Mary Rawson, Point Park College, USA Professional Praise for ACTING IN MUSICAL THEATRE: A Comprehensive Course "This is the book we have all been waiting for! This book makes the textured work involved in the technique of acting in a musical more of a game and exploration than a chore. Whether for the beginner or the experienced professional, the student or the teacher, the fan or the critic, this text is a must-have and a must-read." Victoria Clark, Tony Award-winning actress, The Light In The Piazza A comprehensive and thought-provoking guideline to the study of performing on the musical stage. I found it fascinating and functional, and I am sure you will, as well. Tom Jones, Tony Award-winning author/lyricist of The Fantasticks, 110 In The Shade and I Do, I Do! I’m sure this book will be a valuable resource in nurturing the development of many actors. Lynn Ahrens, Tony & Olivier Award winning author/lyricist - Ragtime, Anastasia, Once On This Island Finally! THE method for acting in a musical has finally arrived! Beautifully articulate and no-nonsense. Deer and Dal Vera have de-mystified with articulate clarity a fully internalized, assimilated, and yet somehow flexible approach to the actual method of rehearsing, performing, and auditioning for the musical theatre. From the fundamentals of acting in musical theatre, through a sound unearthing of an easy-to-use analysis and structure for the score and libretto, all the way to how to maintain a "winning attitude" about oneself and their craft--Deer and Dal Vera have said it all (and then some) in this gift of a text for musical theatre. This book is a must have! Lara Teeter, Tony Award Nominee On Your Toes Head of Musical Theatre, Webster University, USA This book helps those of us who’ve been doing this SO long really have a comprehensive way of breaking down the ideas to share with students. In fact, it’s a wonderful tool for both the teacher and actor side of me. The numerous examples and exercises help support the ideas as they are presented, and the content is so thorough that it allows one to fully immerse themselves in our very special and complex art form. Kristy Cates, Broadway Actress – Wicked, Finding Neverland Creative Director - Professional Conservatory of Musical Theatre at NYFA (New York Film Academy), USA Critical Praise for ACTING IN MUSICAL THEATRE: A Comprehensive Course Deer and Dal Vera provide a thorough treatment of the nuts and bolts of being an actor in musical theater. The authors offer an amazing compilation of musical theater styles--from European operetta to rock musicals--including examples and research resources. … this is a great resource for musical theatre acting… E. C. Skiles, Choice Book Reviews . . . they guide the reader through their solid technique with a fun and witty approach. Any questions you may have about musical theatre--artistic or practical--are likely to be answered here. Evan Pappas American Theatre Magazine Presents innovative approaches that will inform the work of teachers and directors of musical theatre and are highly recommended for students and professional performers alike. Kate Arecchi Theatre Topics Deer and Dal Vera provide a very detailed, clearly structured programme of work, with a good range of contextual information to support the practical enterprise. Kate Napier Studies In Musical Theatre Table of Contents Introduction Part One: Fundamentals of Acting in Musical Theatre 1. Acting Basics – The Foundation 2. Acting Basics – Step-by-Step 3. Making It Matter Part Two: Score and Libretto Analysis and Structure 4. Musical Analysis – Listening for Clues 5. Working with Words – The Language of the Lyric and Libretto 6. Elements of storytelling 7. Character Analysis Part Three: The Journey of the Song 8. The Journey Begins 9. Working with Relationships 10. Intensifiers Part Four: Making it a Performance 11. Discovering Your Phrasing 12. Staging Your Song 13. Rehearsal into Performance Part Five: Style in Musical Theatre 14. What is style? 15. Style Tags 16. Style Overviews Part Six: The Profession 17. Do You Have the Stuff? 18. Auditioning 19. A Winning Attitude

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Book SynopsisThe Eurovision Song Contest is famous for its camp spectacles and political intrigues, but what about its actual music? With more than 1,500 songs in over 50 languages and a wide range of musical styles since it began in 1956, Eurovision features the most musically and linguistically diverse song repertoire in history.Listening closely to its classic fan favorites but also to songs that scored low because they were too different or too far ahead of their time, this book delves into the musical tastes and cultural values the contest engages through its international reach and popular appeal. Chapters discuss the iconic fanfare that introduces the broadcast, the supposed formulas for composing successful contest entries, how composers balance aspects of sameness and difference in their songs, and the tension between national genres of European popular music and musical trends beyond the nation's borders, especially the American influences on a show that is supposed to celeTrade Review'This thoroughly researched book provides a much-needed focus on the music presented in the Eurovision Song Contest. In his accessibly written, yet precise, in-depth analyses, the author displays keen insights into a wide range of matters of musical style and cultural significance. Mapping out the multitude of ways in which Eurovision music can articulate themes of unity, diversity, and conflict, this book provides a fascinating account conveying a rich understanding of the power of popular music and popular musicking.'Alf Björnberg, Professor in Musicology, University of Gothenburg, Sweden‘The title may be Another Song for Europe, and publications on the Eurovision Song Contest may have increased rapidly over recent years, but there is nobody writing on this subject today with more originality and insight than Ivan Raykoff. This book is an absorbing and informative read, and its thoughtful analyses are underpinned by meticulous study and research.’ Derek Scott, Professor of Critical Musicology, University of Leeds.Until now, the flourishing field of Eurovision Song Contest studies has lacked in-depth consideration of Eurovision music itself, doubtless because that music is often dismissed as formulaic, lightweight, and disposable. Ivan Raykoff’s beautifully researched, deeply readable book fills this gap, exploring Eurovision music – focusing on competing songs and including other musics such as the Eurovision anthem - from his disciplinary position as a musicologist, and bringing numerous other relevant methodological and theoretical perspectives to bear. Using the concept of musicking to understand music not as an object or abstraction but an activity, Another Song for Europe considers the way Eurovision music is created, performed, enjoyed, mocked, imitated, and mobilised by a spectrum of interested groups and individuals. In so doing, Raykoff advances knowledge around many of the complex concerns around the song contest: difference and sameness, belonging and exclusion, affect, gender identities and performances, globalisation, and commercialisation. While Another Song for Europe will be of great interest to scholars and students, aspiring Eurovision artists and television producers should also take note, given the book’s thorough engagement with the question that continues to drive the contest six and half decades after its founding: How do you write a perfect Eurovision song? Karen Fricker, Associate Professor of Dramatic Arts, Brock University, Ontario, CanadaTable of Contents1. Prelude 1a. Anthem 2. Musicking 2a. Flashmob 3. Formulas 3a. Parody 4. Sameness 4a. Europop 5. Difference 5a. Aesthetics 6. Values 6a. Coda

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Book SynopsisUsing research, analysis and a range of historical sources, Paul Weller and Popular Music immerses the reader in the excitement of Paul Wellerâs unique creative journey, covering topics such as the artistâs position within his field; his creative processes; the contexts in which the music was made; the artist as collaborator; signifiers that mark the trajectory of the music; and formative influences. Focusing on over 40 years of recorded work from âIn the Cityâ to âFat Pop (Volume One)â, this study explores why Paul Weller's music is widely considered both timeless and of its time, and with reference to a wide range of interviews, reviews and texts, it offers an in-depth critical analysis of Paul Wellerâs music. It will be of particular interest to scholars and researchers of popular music, popular culture, performance studies and music production.Trade Review"On roughly 160 pages author Andrew West, Professor at Leeds Conservatoire, goes through a deep and scrupulous analysis of Weller’s formative influences, his times, social upheavals, experiences and unofficial spokesman for the working class that made the man and the artist... The concise biography Paul Weller and Popular Music portrays this artist as an outstanding songwriter and performer, but also as a controversial person." - Dr. A. Ebert, popcultureshelf.comTable of Contents1 Identity1.1 Modernist1.2 Londoner1.3 Activist1.4 Nonconformist2 Idiolect2.1 Curation2.2 Impetus3 Image3.1 Evolution3.2 Typology3.3 Visual

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Book SynopsisThe political has always been part of popular music, but how does that play out in today's musical and political landscape? Mixing Pop and Politics: Political Dimensions of Popular Music in the 21st Century provides an innovative exploration of the complex politics of popular music in its contemporary formations.Amid the shifting paradigms of power in the 2020s, the chapters in this book go beyond the idea of popular music as protest to explore how resistance, subversion, containment, and reconciliation all interact in the popular music realm. Covering a wide range of international artists and genres, from South African hip-hop to Polish punk, and addressing topics such as climate change and environmentalism, feminism, diasporic identity, political parties, music-making as labour, the far right, conservatism and nostalgia, and civic engagement, the contributors expand our understanding of how popular music is political.For students and scholars of music, popTable of Contents1. Navigating a neoliberal city: Experimental music making in Aotearoa/New Zealand’s ‘cultural capital’ 2. Sharing languages through contemporary song in the third space: A case study of intercultural collaboration between Indigenous Australian, Polynesian and Melanesian women 3. The Personal and the Political: African Popular Music and Diasporic Heritage in Australia 4. Resisting through music under the neoliberal authoritarian regime: Political themes in Turkish rap songs 5. Rapping about our history, imagining our future! The Great Legacy project in the Korean variety show Infinite Challenge 6. Yes, indeed: Trap and politics 7. Looping alone, together: Music, community, and environmental self-sustainability in Aotearoa/New Zealand 8. ‘Half-Moghul, half-Mowgli’: The representation of South Asian diasporas in hip hop music 9. Locating labour subjectivities in contemporary popular music texts 10. Beyond hegemony: Siksa and the politics of affect 11. ‘A message etched on broken ships’: Radical environmentalism and extreme ecometal 12. Good citizenship, telethon and benefit concert: The politics of the achievable 13. Solidarity as strategy. Anti-racism and feminism in the work of Titiyo 14. Nostalgia, anti-victim discourse, and neoliberalism in early 1990s pop: The postfeminist approach of Wilson Phillips 15. White skin, black masks: Die Antwoord, post-apartheid South Africa, and global hip hop studies 16. ‘I am the cause to all your problems’: Brand New, tattoo coverups, and (im)permanence 17. Neon-nazis: A fascist foray into vaporwave’s synaesthetic world Afterword

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Book SynopsisThe political has always been part of popular music, but how does that play out in today's musical and political landscape? Mixing Pop and Politics: Political Dimensions of Popular Music in the 21st Century provides an innovative exploration of the complex politics of popular music in its contemporary formations.Amid the shifting paradigms of power in the 2020s, the chapters in this book go beyond the idea of popular music as protest to explore how resistance, subversion, containment, and reconciliation all interact in the popular music realm. Covering a wide range of international artists and genres, from South African hip-hop to Polish punk, and addressing topics such as climate change and environmentalism, feminism, diasporic identity, political parties, music-making as labour, the far right, conservatism and nostalgia, and civic engagement, the contributors expand our understanding of how popular music is political.For students and scholars of music, popTable of Contents1. Navigating a neoliberal city: Experimental music making in Aotearoa/New Zealand’s ‘cultural capital’ 2. Sharing languages through contemporary song in the third space: A case study of intercultural collaboration between Indigenous Australian, Polynesian and Melanesian women 3. The Personal and the Political: African Popular Music and Diasporic Heritage in Australia 4. Resisting through music under the neoliberal authoritarian regime: Political themes in Turkish rap songs 5. Rapping about our history, imagining our future! The Great Legacy project in the Korean variety show Infinite Challenge 6. Yes, indeed: Trap and politics 7. Looping alone, together: Music, community, and environmental self-sustainability in Aotearoa/New Zealand 8. ‘Half-Moghul, half-Mowgli’: The representation of South Asian diasporas in hip hop music 9. Locating labour subjectivities in contemporary popular music texts 10. Beyond hegemony: Siksa and the politics of affect 11. ‘A message etched on broken ships’: Radical environmentalism and extreme ecometal 12. Good citizenship, telethon and benefit concert: The politics of the achievable 13. Solidarity as strategy. Anti-racism and feminism in the work of Titiyo 14. Nostalgia, anti-victim discourse, and neoliberalism in early 1990s pop: The postfeminist approach of Wilson Phillips 15. White skin, black masks: Die Antwoord, post-apartheid South Africa, and global hip hop studies 16. ‘I am the cause to all your problems’: Brand New, tattoo coverups, and (im)permanence 17. Neon-nazis: A fascist foray into vaporwave’s synaesthetic world Afterword

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Book SynopsisPopular Music Pedagogies: A Practical Guide for Music Teachers provides readers with a solid foundation of playing and teaching a variety of instruments and technologies, and then examines how these elements work together in a comprehensive school music program. With individual chapters designed to stand independently, instructors can adapt this guide to a range of learning abilities and teaching situations by combining the pedagogies and methodologies presented. This textbook is an ideal resource for preservice music educators enrolled in popular music education, modern band, or secondary general methods coursework and K-12 music teachers who wish to create or expand popular music programs in their schools. The website includes play-alongs, video demonstrations, printed materials, and links to useful popular music pedagogy resources.Table of ContentsChapter 1: Foundations of Popular Music Pedagogies / PART I: INSTRUMENT TECHNIQUES / Chapter 2: Introduction to Guitar, Bass, and Ukulele / Chapter 3: Guitar / Chapter 4: Electric Bass / Chapter 5: Ukulele / Chapter 6: Keyboard / Chapter 7: Drum Kit / Chapter 8: Vocals / PART II: MUSIC TECHNOLOGY / Chapter 9: Apps and Software / Chapter 10: Digital Audio Workstations / Chapter 11: Live Sound and Recording / PART III: PUTTING IT ALL TOGETHER / Chapter 12: Making the Band / Chapter 13: Songwriting, Improvisation, and Arranging / Chapter 14: Hip Hop

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Book SynopsisThe Routledge Handbook of Pink Floyd is intended for scholars and researchers of popular music, as well as music industry professionals and fans of the band. It brings together international researchers to assess, evaluate and reformulate approaches to the critical study and interpretation of one of the world's most important and successful bands. For the first time, this Handbook will tear down the wall,' examining the band's collective artistic creations and the influence of social, technological, commercial and political environments over several decades on their work. Divided into five parts, the book provides a thoroughly contextualised overview of the musical works of Pink Floyd, including coverage of performance and sound; media, reception and fandom; genre; periods of Pink Floyd's work; and aesthetics and subjectivity. Drawing on art, design, performance, culture and counterculture, emergent theoretical resources and analytical frames are evaluated and discussed froTable of ContentsIntroduction: "What Happened to the Post-War Dream?" The Story of Pink FloydCompanions to the Albums of Pink Floyd and Sources on Pink FloydChris Hart and Simon A. MorrisonPART IPerformance & Sound1 A Cartographical Companion to Listening and Understanding the Songs of Pink FloydChris Hart2 A Saucerful of Secrets: Pink Floyd, Free Improvisation and Collective CompositionJohn Encarnacao3 David Gilmour: Defining the ‘Melodic’ Guitarist Richard Perks4 Planet Floyd: The Evolution of Pink Floyd's Live Performances David Pattie 5 Back to the UFO: Pink Floyd, The Division Bell Tour (1994), and the Retrofied Aesthetics of PsychedeliaKimi KärkiPART 2Media, Reception & Fandom6 Original Soundtracks: Pink Floyd in the Movies Philippe Gonin7 ‘Us and Them’: Pink Floyd and the British Music Media Simon A. Morrison8 Visual Coverscapes: Why Pink Floyd Album Covers Don’t Have TypesCinla Seker with Chris Hart9 Pink Floyd Memories and Memorability: 'A personal essay on fandom and collecting'Bob FollenPART 3Genre10 In Search of Space (Rock): Pink Floyd and Generic Formation in Popular MusicTico Romao11 ‘On The Run’: The Birth of Electronic Dance Music? Jim J. Mason12 More Punk than Pink: Pink Floyd’s Relationship with 1970s UK PunkMartin James 13 Pink Floyd: The Musical ElementsDavid J. DetmerPART 4Periods of Pink Floyd’s Work 14 The Psychedelic Self at Play: Re-reading Whimsy in the Early Music of Pink FloydJames Barrett15 Legacy Recre/ation: Mining the Elements in the Archive of The Early Years BoxsetRob Chapman16 Cruising for a ‘bruising’: How The Dark Side Of The Moon Made Pink Floyd Successful Beyond their Wildest Dreams and Instigated their DownfallDaryl Easlea17 Pink Floyd’s ‘Shine On You Crazy Diamond’ and the Stage Theory of Grief Gilad Cohen18 ‘A certain unease in the air’: Transitional Aspects of Pink Floyd’s AnimalsEdward Macan19 Behind The Wall: A Tool for Condemning Totalitarianism Jean-Rene Larue20 Hey You! Subjectivity and the Ideological Repressive State Apparatuses in Pink Floyd’sThe Wall Tina Richardson21 Truth and Manipulation in Pink Floyd’s The Final Cut Glenn FosbraeyPART 5Aesthetics & Subjectivity 22 ‘Meadows, Relics, and Victorian Dolls’ Houses – Places, Ephemera, and the UnrealRealities of Pink Floyd’Peter Hughes Jachimiak23 The Pink Floyd Intensity: Humanity, Aesthetics and the Breathless Fan Robert Wilsmore24 The Cultural Legacy of Syd Barrett's English Pastoral Simon Gwyn Roberts25 Temporal Structuration in Pink Floyd’s The WallVesa-Matti Sarenius, Marian Tumanyan and Chris Hart 26 A Temporal Journey Through Pink Floyd’s MusicGilad Cohen

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Book SynopsisHow Music Empowers argues that empowerment is the key to unlocking the long-standing mystery of how music moves us. Drawing upon cutting-edge research in embodied cognitive science, psychology, and cultural studies, the book provides a new way of understanding how music affects listeners. The argument develops from our latest conceptions of what it is to be human, investigating experiences of listening to popular music in everyday life. Through listening, individuals have the potential to redefine themselves, gain resilience, connect with other people, and make a difference in society.Applying a groundbreaking theoretical framework to postmillennial rap and metal, the book uncovers why vast numbers of listeners engage with music typically regarded as âsocial problemsâ or dismissed as âextremeâ. In the first ever comparative analytical treatment of rap and metal music, twenty songs are analysed as case studies that reveal the empowering potential of listening. The book details how individuals interact with rap and metal communities in a self-perpetuating process which keeps these thriving music cultures â and the listeners themselves â alive and well. Can music really change the world? How Music Empowers answers: yes, because it changes us.How Music Empowers will interest scholars and researchers of popular music, ethnomusicology, music psychology, music therapy, and music education.Table of ContentsChapter 1 Introduction; Chapter 2 Listening to popular music in everyday life: an ecological-embodied approach; Chapter 3 Individual empowerment in rap and metal music listening; Chapter 4 Music as a lifeline: listening for resilience; Chapter 5 The empowerment of popular music communities; Chapter 6 Can music change the world? Empowerment, politics, and social change; Chapter 7 Conclusion

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Book SynopsisHeitor Villa-Lobos's Bachianas Brasileiras demonstrates how the composer achieved his own Brazilian neoclassical style in a group of works, nine suites in total, that is arguably one of the best examples of homage to J.S. Bach's music in the twentieth century. In this book, the corpus of Bachianas Brasileiras is contextualized and critically examined according to its structure and intertextual aspects, as well as its relationship to Bach's music, Brazilian popular music, and other works by contemporaries of Villa Lobos. A range of musical examples illustrate instances of the selected topics in the works, encompassing urban Brazilian popular music such as the choro, Brazilian northeast and afro rhythms, and citation of folkloric melodies. Dudeque's comprehensive examination of the Bachianas Brasileiras will be invaluable for scholars and researchers of music theory and analysis. Table of ContentsIntroduction 1 Bach’s music: from myth to universal inspiration2 The Homage to J. S. Bach and elements of stylization3 Intertextuality with Brazilian popular music4 Analytical Essays on Intertextuality and Intratextuality5 Final RemarksReferences

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Book SynopsisHow do musical practices move? Though technology increasingly plays a great part in establishing different degrees of spatial proximity, music making still seems to be tied to specific geographical locations, cultures or communities. The identity of musical traditions, in particular, is often demarcated by a presumed degree of uniformity amongst its practitioners.Musical Mobilities analyses how a musical tradition moves literally and metaphorically: the ways in which people, objects and information travel across geographical locations, just as practices as recognisable entities circulate along with meanings, competencies and embodied dispositions. This unique ethnography focuses on son jarocho, a musical practice originating in southeast Mexico that is currently reproduced through transnational connections, particularly in the United States. Paradoxically, the transformation of son jarocho has been a noticeable outcome of its recuperation and pTable of ContentsList of FiguresAcknowledgementsIntroduction: Music, Circulation and Performance1 The Heartbeat of Fandango2 The Historical Circulation of Son Jarocho3 Learning at Workshops4 Journeying with a Practice5 Rhythm, a Manner of Flowing6 In the Grip of FrictionConclusionAppendixReferencesGlossary of Selected TermsIndex

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Book SynopsisLate nineteenth-century France was a nation undergoing an identity crisis: the uncertain infancy of the Third Republic and shifting alliances in the wake of the Franco-Prussian War forced France to interrogate the fundamental values and characteristics at the heart of its own national identity. Music was central to this national self-scrutiny. It comes as little surprise to us that Oriental fears, desires, and anxieties should be a fundamental part of this, but what has been overlooked to date is that Britain, too, provided a thinking space in the French musical world; it was often surprisingly and paradoxically represented through many of the same racialist terms and musical tropes as the Orient. However, at the same time, its shared history with France and the explosions of colonial rivalry between the two nations introduced an ever-present tension into this musical relationship. This book sheds light on this forgotten musical sphere through a rich variety of contemporary sources.Table of ContentsIntroductionChapter OneSinging the English: At the Café-ConcertChapter TwoSinging for Salvation: Music and British Evangelism in FranceChapter ThreeSinging the Celts: British Folk Music and French IdentityChapter FourSinging in London: Dubious Music in French Travel WritingEpilogue

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Book SynopsisSwedish Jazz in the United States: Swede and Cool traces and analyzes the dissemination and reception of jazz from Sweden in the United States during the period of 1947-1963. It maps the networks through which Swedish record companies exchanged recordings with their American counterparts, establishing an American interest in Swedish jazz at a time long regarded as a predominantly American era. Exploring these Swedish-American exchangesrather than the canonized names in jazzshines a light on new perspectives in the genre, clarifying the ways in which Swedish jazz was adapted to the American market and how it was understood in an American context. The result is an opportunity to consider the challenges national borders present in a global jazz world while reflecting on the genre's expanding transnational reach during the 1950s.Table of Contents1. Swingin’ Swedes in the United States / 1.1. Jazz and Sweden After the War / 1.2. Swedish Jazz and the International Record Industry / 1.3. Claes Dahlgren / 1.4. Feather Lauds Swedish Jazz / 1.5. Jazz Around the World / 1.6. Imported from Sweden / 2. Swedish Jazz Is Swedish Modern / 2.1. Records as Mediators / 2.2. New Sounds from Sweden / 2.3. Swedish Modern / 2.4. Danny’s Dream / 2.5. Bengt Hallberg / 2.6. Smörgåsbord of Swedish Jazz / 2.7. The Audience for Swedish Jazz / 3. Of White Men from the Cool North / 3.1. Notions of Europe and Jazz as an Art Form / 3.2. Nationality and Ethnicity / 3.3. Swedish Jazz and the Question of Race / 3.4. Swedish Masculinity and Femininity / 3.5. Consuming Swedish Jazz as a Performance of American Hipness / 4. The Transnationality of Swedish Jazz / 4.1. Americans in Sweden, Swedish Recordings in the United States / 4.2. The American Meaning of Swedish Jazz / 4.3. Transnational Perspectives on Swedish Jazz in the United States

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Book SynopsisBuilding a Career in Opera from School to Stage: Operapreneurship provides early-career singers with an overview of the structure of the opera industry and tools for strategically approaching a career within it. Today's voice students leave the conservatory with better training than ever, but often face challenges to managing their own careers after graduation. This book addresses what singers need to know in order to craft a career path in the contemporary landscape of opera.Readers learn about the opera industry's structure, common pathways and entry points, non-academic training programs, researching and evaluating opportunities, crafting professional documents and media, and what it means to be a professional opera singer. Written by a singer with recent experience in the industryâand particularly the emerging phaseâthis book is a practical guide for all singers embarking on a career in opera.The author's website, www.OperaCareers.com, hosts additional resTable of ContentsSeries Editor's IntroductionList of FiguresList of TablesAcknowledgementsINTRODUCTIONPART I : The Industry from 30,000 FeetCHAPTER 1 : Opera CompaniesCHAPTER 2 : Other Performing Arts OrganizationsCHAPTER 3 : ManagementPART II : How a Young Singer PreparesCHAPTER 4 : Formal TrainingCHAPTER 5 : Non-Academic Training Programs: PTSs, YAPs, and RAPsCHAPTER 6 : Your TeamCHAPTER 7 : ResearchPART III : The Nuts and Bolts of Booking WorkCHAPTER 8 : Professional DocumentsCHAPTER 9 : Cultivating Your Online PresenceCHAPTER 10 : You, Inc. (Building Your Business)CHAPTER 11: Auditions, Rep Books, and PianistsCHAPTER 12 : Beyond #bookedandblessed: Working in an Opera HouseEPILOGUE: The Best of All Possible CareersGlossaryIndex

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Book SynopsisIn this edited volume, contributors explore an essential element of the influential television series Twin Peaks: the role of music and sound. From its debut in 1990 to its return to television in 2017, Twin Peaks has amassed a cult following, and inspired myriad scholarly studies. This collection considers how the music and sound design not only create the ambience of this ground-breaking series, but function in the narrative, encouraging multiple interpretations. With chapters that consider how music shapes the relationship of audiences and fans to the story, the importance of sound design, and the symbolism embedded in the score, this book provides a range of perspectives for scholars of music and film studies, while giving fans new insight into an iconic television show.Table of ContentsIntroduction1 Pitching the Peaks: Media Advertising for the Original SeriesJames Deaville2 "Listen to the Sounds": Fan Engagement with the Soundtrack of Twin Peaks: The Return (2017)Jessica Getman3 Where Music is Always in the Air: Voice and Nostalgia in Twin PeaksBrooke McCorkle Okazaki4 The Bang Bang Bar, Silencio, and Lynch’s Audiences: Meaning and Musical Performance in Twin Peaks: The ReturnKatherine M. Reed5 The Music is Not What It Seems: An Examination of Labor and Capital in the Music of Twin Peaks: The ReturnMartha Schulenburg6 "Singer"; "Girl Singer"; "Roadhouse Singer"; "Herself": Julee Cruise in the World of Twin PeaksDavid Sweeney7 "The Thread Will Be Torn": Sound Design as a Measure of Self-Knowledge in Twin Peaks: Fire Walk With MeAndrew Burt8 Sound Design, Music, and The Birth of Evil in Twin Peaks: The ReturnKingsley Marshall and Rupert Loydell9 "What is Gordon Cole Listening To?": The Rhetoric of Subjective Sound in Twin Peaks: The ReturnZeynep Toraman10 David Lynch’s Metaphysical Sound Design: The Acousmatic Personification of JudySteven Wilson11 Americana on the Internet: Listening to Twin PeaksWilliam Weston Bennett12 "Like Some Haunting Melody": The Laura Palmer Theme in the World of Twin PeaksAndrew Kohler13 Listen to the Skins: Drumming and Time in Twin PeaksKai West14 Chaos and Creation: Music, Redemption, and the Atomic Bomb in Twin Peaks: The Return Reba A. Wissner

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Book SynopsisA comprehensive, engaging and timely Bakhtinian examination of the ways in which the music and lyrics of Pacific reggae, aspects of performance, a record album cover and the social and political context construct social commentary, resistance and protest.Framed predominantly by the theory and philosophy of Russian literary theorist Mikhail Bakhtin, this innovative investigation of the discourse of Pacific reggae in New Zealand produces a multi-faceted analysis of the dialogic relationships that create meaning in this genre of popular music. It focuses on the award-winning EP Whatâs Be Happen? by the band Herbs, which has been recognised for its ground-breaking music and social commentary in the early 1980s. Herbsâ songs address the racism and ideology of the apartheid regime in South Africa and the relationship between sport and politics, as well as universally relevant conflicts over race relations, the experiences of migrants, and the historic and ongoing loss of iTrade Review"The book presents an argument clearly demonstrating how music has seriously impacted New Zealand on a political and social level. Dr Turner broadens the use of Bakhtin’s theory of ‘Dialogism’, originally created for literary analysis, to effectively investigate the historical and cultural significance of the music group Herbs’ first album What’s Be Happen? The Herbs are described as the 'vanguard of Pacific Reggae' by AudioCulture — the online encyclopedia of New Zealand popular music. Dr Turner’s analysis of their first album, which was highly political, draws attention to the impact the album has had on New Zealand at that time and since. It also explores the influence the band and this album has had in forming a music genre that has become internationally recognised."Keith McEwing, Secretary, Music Advisory Committee, The Lilburn Trust"The book presents an argument clearly demonstrating how music has seriously impacted New Zealand on a political and social level. Dr Turner broadens the use of Bakhtin’s theory of ‘Dialogism’, originally created for literary analysis, to effectively investigate the historical and cultural significance of the music group Herbs’ first album What’s Be Happen? The Herbs are described as the 'vanguard of Pacific Reggae' by AudioCulture — the online encyclopedia of New Zealand popular music. Dr Turner’s analysis of their first album, which was highly political, draws attention to the impact the album has had on New Zealand at that time and since. It also explores the influence the band and this album has had in forming a music genre that has become internationally recognised."Keith McEwing, Secretary, Music Advisory Committee, The Lilburn Trust"Elizabeth Turner skilfully blends an informative study of reggae in Aotearoa New Zealand with a detailed conceptual analysis drawing ​on the ideas of cultural theorist Mikhail Bakhtin. Focusing on the band, the Herbs, the book chronicles and interprets a significant era in New Zealand popular music history through an engaging critical lens."Professor Henry Johnson, University of Otago, New Zealand "Turner's scintillating reading of Aotearoa New Zealand band Herbs' 1981 reggae album What's Be Happen as staging a complex web of dialogic relations to challenge colonialism's legacy of racism, social exclusion, land loss and cultural dislocation - in Aotearoa New Zealand and elsewhere - highlights the continuing relevance of Bakhtin's work for thinking practices of resistance by marginalized communities and for affirming the transformative power of popular culture."Professor Esther Peeren, Professor of Cultural Analysis, University of Amsterdam"In terms of its treatment of Bakhtin's work alone, this book is a treasure bringing to the fore Turner's deep and erudite understanding of key Bakhtinian concepts and theories. The main, and highly significant, contribution of Turner's book is its highly compelling account of Herbs' classic 1981 album 'What's Be Happen'. Beautifully written with detailed insights concerning both the historical context and ongoing legacy of this landmark recording, The Discourse of Protest, Resistance and Social Commentary in Reggae Music will be essential reading for both popular music scholars and general readers with an interest in reggae and its trans-local evolution as a medium of protest."Professor Andy Bennett, Professor of Cultural Sociology, Griffith University, Queensland, AustraliaTable of Contents1. Constructing an encounter between Mikhail Bakhtin and the New Zealand band Herbs 2. Message music and meaning 3. Mikhail Bakhtin: dialogism, discourse and ethics 4. The social, political and cultural context 5. Politics, protest, and resistance in Herbs’ What’s Be Happen? 6. Narratives of experience and identity 7. Taking sides: Herbs’ album cover 8. Coda

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Book SynopsisMusic Saved Them, They Say: Social Impacts of Music-Making and Learning in Kinshasa (DR Congo) explores the role music-making has played in community projects run for young people in the poverty-stricken and often violent surroundings of Kinshasa, the capital city of the Democratic Republic of the Congo. The musicians described here â former gang members and so-called witch children living on the streets â believe music was vital in (re)constructing their lives. Based on fieldwork carried out over the course of three-and-a-half years of research, the study synthesizes interviews, focus group sessions, and participant observation to contextualize this complicated cultural and social environment. Inspired by those who have been saved by music, Music Saved Them, They Say seeks to understand how structured musical practice and education can influence the lives of young people in such difficult living conditions, in Kinshasa and beyond.... a tribute to the persistence, engagement and courage of the people in these projects, who can be proud that their work is now exposed to a global audience, not just of researchers but also to practitioners around the world who could learn from and be inspired by these hitherto unknown projects.âJohn Sloboda, Research Professor, Guildhall School of Music & DramaThis book is very moving but never sentimental, one of the best accounts of music's real transformative capacities that I have come across.âLucy Green, Emerita Professor of Music Education, University College London Institute of EducationTrade Review"It has been a notable feature of Pairon’s approach to his research that it has been conducted with and for his participants. Their voices are so vivid, brought to life with a plethora of detailed quotes that one can almost feel present in the room as they make and discuss their music. In this way, the book is also a tribute to the persistence, engagement and courage of the people in these projects, who can be proud that their work is now exposed to a global audience, not just of researchers but also to practitioners around the world who could learn from and be inspired by these hitherto unknown projects. Accordingly, the language of this book is accessible and non-technical to promote maximum engagement."—John Sloboda, Research Professor, Guildhall School of Music & Drama"Lukas Pairon has given us an exhilarating and incisive read, one in which he systematically dismantles the many myths that glorify music's 'magical powers' to change lives and replaces them with insightful, analytical assessments that allow the voices of the participant musicians to be heard in more ways than one. Through the process, he powerfully demonstrates how music can realistically change people's lives, in ways that are both limited but also profound. This book is very moving but never sentimental, one of the best accounts of music's real transformative capacities that I have come across."—Lucy Green, Emerita Professor of Music Education, University College London Institute of Education"It has been a notable feature of Pairon’s approach to his research that it has been conducted with and for his participants. Their voices are so vivid, brought to life with a plethora of detailed quotes that one can almost feel present in the room as they make and discuss their music. In this way, the book is also a tribute to the persistence, engagement and courage of the people in these projects, who can be proud that their work is now exposed to a global audience, not just of researchers but also to practitioners around the world who could learn from and be inspired by these hitherto unknown projects. Accordingly, the language of this book is accessible and non-technical to promote maximum engagement."—John Sloboda, Research Professor, Guildhall School of Music & Drama"Lukas Pairon has given us an exhilarating and incisive read, one in which he systematically dismantles the many myths that glorify music's 'magical powers' to change lives and replaces them with insightful, analytical assessments that allow the voices of the participant musicians to be heard in more ways than one. Through the process, he powerfully demonstrates how music can realistically change people's lives, in ways that are both limited but also profound. This book is very moving but never sentimental, one of the best accounts of music's real transformative capacities that I have come across."—Lucy Green, Emerita Professor of Music Education, University College London Institute of EducationTable of ContentsList of Figures / Foreword / Preface / Acknowledgements / Introduction / Chapter 1: The Case Studies: Espace Masolo and Beta Mbonda / Chapter 2: Practitioner Research / Chapter 3: Why Make Music at All? / Chapter 4: Artistic and Social Accompaniment: The Teaming Up of Musicians/Teachers/Mentors/Educators / Chapter 5: Behind the Wheel: The Role of Competence and Mastering / Chapter 6: Shared Ownership: The Potential of Empowerment through Participation in Internal Organization and Governance Related to Music-Making / Chapter 7: Music As an End in Itself: The Role of Enjoyment/Play / About the Author / Index

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Book SynopsisReimagining Sample-based Hip Hop: Making Records within Records presents the poetics of hip-hop record production and the significance of sample material in record making, providing analysis of key releases in hip-hop discography and interviews with experts from the world of Hip Hop and beyond.Beginning with the history of hip-hop music making, this book guides the reader through the alternative techniques deployed by beat-makers to avoid the use of copyrighted samples and concludes with a consideration of the future of Hip Hop, alongside a companion album that has been created using findings from this research. Challenging previous theoretical understandings about Hip Hop, the author focuses on deconstructing sonic phenomena using his hands-on engineering expertise and in-depth musicological knowledge about record production.With a significant emphasis on both practice and theory, Reimagining Sample-based Hip Hop will be of interest to adTrade Review"This book needed to be written. We’re lucky the job was done by such a creative soul, expert engineer, and insightful scholar. The gift we’re left with is a penetrating exposition of the poetic fabric of contemporary music recording practice and culture."Albin Zak, Professor of Music Emeritus, University at Albany"Reimagining Sample-based Hip Hop is a tour de force and the best example I have seen of theory and practice coming together in hip-hop studies to date. Not only does this book provide a useful template for practice-as-research based methods, but it is rich in theorizing sampling, remix and beatmaking cultures. Exarchos has combined a number of worlds in ways that we were all waiting for someone to do expertly."Justin A. Williams, Associate Professor of Music, University of Bristol"Reimagining Sample-based Hip Hop provides deep insight into the rich tapestry of underlying layers that embody sample-based Hip-Hop. Michail Exarchos meticulously and clearly poses alternative practices to Hip-Hop production and to beat-making, using originally constructed source material rather than previously released phonographic content. The reader will benefit from the strong coverage of authenticity and mechanical borrowing as applied to a great breadth of music and production approaches that define the style’s unique sonic signature of material ‘play’ with phonographic objects. This is a must read for anyone interested in the workings of or creation of Hip-Hop."William Moylan, Professor of Music and Sound Recording Technology, University of Massachusetts LowellTable of Contents0. Sample-based Hip Hop as metamodern phonographic practice (An autoethnography of oscillating between—and beyond—analogue nostalgia and digital futurism) Part 1: (Inter-stylistic) Composition, and Tools 1. Sonic necessity, mother of compositional invention (Making Blues for sample-based Hip Hop) 2. Boom-bap aesthetics and the machine Part 2: (Reverse) Engineering 3. Sonic pasts in Hip Hop’s future Part 3: (The magic of sample-based) Production 4. Phonographic ghosts and meta-illusions in contemporary beat-making Part 4: Mixing (records within records) 5. Manufacturing phonographic ‘otherness’ for sample-based Hip Hop Part 5: (Exponential) Re/Mastering 6. ‘Past’ masters, present beats

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