Popular music Books
Taylor & Francis Ltd Strategies Tips and Activities for the Effective Band Director Targeting Student Engagement and Comprehension
Book SynopsisStrategies, Tips, and Activities for the Effective Band Director: Targeting Student Engagement and Comprehension is a resourceful collection of highly effective teaching strategies, solutions, and activities for band directors. Chapters are aligned to cover common topics, presenting several practical lesson ideas for each topic. In most cases, each pedagogical suggestion is supported by excerpts from standard concert band literature. Topics covered include: score study shortcuts; curriculum development; percussion section management; group and individual intonation; effective rehearsal strategies; and much more! This collection of specific concepts, ideas, and reproducible pedagogical methodsnot unlike short lesson planscan be used easily and immediately. Ideal for band directors of students at all levels, Strategies, Tips, and Activities for the Effective Band Director is the product of more than three dTable of ContentsChapter 1. Introduction: The "Why" of This Book / Chapter 2. Score Study / Chapter 3. Warm-Ups and More / Chapter 4. On the Sound: Tone Quality, Blend, Dynamics, Ensemble Balance, and Articulations / Chapter 5. Intonation and Tuning / Chapter 6. Rhythm, Meter, and Tempo / Chapter 7. Percussion / Chapter 8. In the Rehearsal / Chapter 9. The "Intangibles" / Chapter 10. Wrap-Up / Chapter 11. The School Marching Band Program (Christian Carichner) / Chapter 12. Conducting the School Jazz Ensemble (Daniel Fabricius)
£135.00
Taylor & Francis Ltd Strategies Tips and Activities for the Effective Band Director Targeting Student Engagement and Comprehension
Book SynopsisStrategies, Tips, and Activities for the Effective Band Director: Targeting Student Engagement and Comprehension is a resourceful collection of highly effective teaching strategies, solutions, and activities for band directors. Chapters are aligned to cover common topics, presenting several practical lesson ideas for each topic. In most cases, each pedagogical suggestion is supported by excerpts from standard concert band literature. Topics covered include: score study shortcuts; curriculum development; percussion section management; group and individual intonation; effective rehearsal strategies; and much more! This collection of specific concepts, ideas, and reproducible pedagogical methodsnot unlike short lesson planscan be used easily and immediately. Ideal for band directors of students at all levels, Strategies, Tips, and Activities for the Effective Band Director is the product of more than three dTable of ContentsChapter 1. Introduction: The "Why" of This Book / Chapter 2. Score Study / Chapter 3. Warm-Ups and More / Chapter 4. On the Sound: Tone Quality, Blend, Dynamics, Ensemble Balance, and Articulations / Chapter 5. Intonation and Tuning / Chapter 6. Rhythm, Meter, and Tempo / Chapter 7. Percussion / Chapter 8. In the Rehearsal / Chapter 9. The "Intangibles" / Chapter 10. Wrap-Up / Chapter 11. The School Marching Band Program (Christian Carichner) / Chapter 12. Conducting the School Jazz Ensemble (Daniel Fabricius)
£45.99
Taylor & Francis Anthology to accompany GATEWAYS TO UNDERSTANDING MUSIC
Book SynopsisThis anthology to accompany Gateways to Understanding Music is comprised of musical texts. These broadly defined textsâprimarily musical scoresâfacilitate the integration of score study and music theory into the ethno/musicology curriculum, a necessary focus in the training of the professional musician. As posed by the textbook, the last question in each modular gateway is Where do I go from here? This resource provides one more opportunity to go beyond the textbook to examine music scores and texts in even greater depth. This anthology is a combination of primary sources for study: musical scores and music transcriptions, along with a few primary source documents and musical exercises.Trade ReviewPraise for GATEWAYS TO UNDERSTANDING MUSIC:"At last! An innovative, practical, and inclusive approach to studying music of Europe, North America, and beyond that puts popular and world music, American jazz, and European classical music into conversation with one another by looking at their origins and interrelationships through the lens of World history." —Anne K. Rasmussen, Professor, The College of William and Mary"Gateways to Understanding Music provides a profoundly new and refreshingly original approach to examining the music of the world’s cultures in cohesive, comparable, and contrasting ways that illuminate the power and meaning of all of the musics." —Tayloe Harding, Dean, School of Music, University of South CarolinaPraise for GATEWAYS TO UNDERSTANDING MUSIC:"At last! An innovative, practical, and inclusive approach to studying music of Europe, North America, and beyond that puts popular and world music, American jazz, and European classical music into conversation with one another by looking at their origins and interrelationships through the lens of World history." Anne K. Rasmussen, Professor, The College of William and Mary"Gateways to Understanding Music provides a profoundly new and refreshingly original approach to examining the music of the world’s cultures in cohesive, comparable, and contrasting ways that illuminate the power and meaning of all of the musics." Tayloe Harding, Dean, School of Music, University of South CarolinaTable of ContentsPART I: MUSIC HISTORY TO 1500 CE / Gateway 1: Music of Foragers / Gateway 2: Music of Nomadic Pastoralists / Gateway 3: Music of Horticultural Societies / Gateway 4: Buddhist Music / Gateway 5: Christian Chant / Gateway 6: Qur’anic Chant / Gateway 7: Early European Polyphonic Music / Gateway 8: Music of China / Gateway 9: Music of the Middle East / Gateway 10: African Music / Gateway 11: European Village Music / PART II: MUSIC HISTORY FROM 1500 TO 1900 / Gateway 12: Renaissance Sacred Vocal Music / Gateway 13: Renaissance Secular Vocal Music / Gateway 14: Renaissance Dance Music / Gateway 15: Renaissance Lute Music / Gateway 16: North Indian Classical Music / Gateway 17: Baroque Opera / Gateway 18: Baroque Orchestral Music / Gateway 19: Baroque Sacred Music / Gateway 20: Baroque Keyboard Music / Gateway 21: Javanese Court Music / Gateway 22: Classical-period Chamber Music / Gateway 23: Classical-period Symphonies / Gateway 24: Classical-period Opera / Gateway 25: Classical-period Piano Music / Gateway 26: Music of the Atlantic Slave Trade / Gateway 27: Beethoven’s Symphonies / Gateway 28: Programmatic Orchestra Works / Gateway 29: Romantic-period Piano Music / Gateway 30: Early American Popular Music / Gateway 31: Nineteenth-century Opera / Gateway 32: European Musical Nationalism / Gateway 33: Classical Music at Century’s End / Gateway 34: African American Religious Music / PART III: MUSIC HISTORY DURING THE LONG TWENTIETH CENTURY / Gateway 35: The Blues / Gateway 36: American Band Music / Gateway 37: Ragtime / Gateway 38: Music of Early European Modernists / Gateway 39: Balinese Gamelan / Gateway 40: Early Jazz / Gateway 41: Swing / Gateway 42: American Popular Song / Gateway 43: American Symphonic Nationalism / Gateway 44: Mexican and Mexican American Mariachi Music / Gateway 45: Country Music / Gateway 46: Bebop / Gateway 47: Classical Music and World War II / Gateway 48: Trinidadian Steel Pan Music / Gateway 49: Rock / Gateway 50: New Directions in Jazz / Gateway 51: The Classical Avant-garde / Gateway 52: Salsa / Gateway 53: Rap and Hip-Hop / Gateway 54: Neo-traditional Jazz / Gateway 55: Postmodern Classical Music / Gateway 56: Reggae / Gateway 57: American Popular Music Today / Gateway 59: Classical Music Today / Gateway 60: World Music Today
£135.00
Taylor & Francis Anthology to accompany GATEWAYS TO UNDERSTANDING MUSIC
Book SynopsisThis anthology to accompany Gateways to Understanding Music is comprised of musical texts. These broadly defined textsâprimarily musical scoresâfacilitate the integration of score study and music theory into the ethno/musicology curriculum, a necessary focus in the training of the professional musician. As posed by the textbook, the last question in each modular gateway is Where do I go from here? This resource provides one more opportunity to go beyond the textbook to examine music scores and texts in even greater depth. This anthology is a combination of primary sources for study: musical scores and music transcriptions, along with a few primary source documents and musical exercises.Trade ReviewPraise for GATEWAYS TO UNDERSTANDING MUSIC:"At last! An innovative, practical, and inclusive approach to studying music of Europe, North America, and beyond that puts popular and world music, American jazz, and European classical music into conversation with one another by looking at their origins and interrelationships through the lens of World history." —Anne K. Rasmussen, Professor, The College of William and Mary"Gateways to Understanding Music provides a profoundly new and refreshingly original approach to examining the music of the world’s cultures in cohesive, comparable, and contrasting ways that illuminate the power and meaning of all of the musics." —Tayloe Harding, Dean, School of Music, University of South CarolinaPraise for GATEWAYS TO UNDERSTANDING MUSIC:"At last! An innovative, practical, and inclusive approach to studying music of Europe, North America, and beyond that puts popular and world music, American jazz, and European classical music into conversation with one another by looking at their origins and interrelationships through the lens of World history." Anne K. Rasmussen, Professor, The College of William and Mary"Gateways to Understanding Music provides a profoundly new and refreshingly original approach to examining the music of the world’s cultures in cohesive, comparable, and contrasting ways that illuminate the power and meaning of all of the musics." Tayloe Harding, Dean, School of Music, University of South CarolinaTable of ContentsPART I: MUSIC HISTORY TO 1500 CE / Gateway 1: Music of Foragers / Gateway 2: Music of Nomadic Pastoralists / Gateway 3: Music of Horticultural Societies / Gateway 4: Buddhist Music / Gateway 5: Christian Chant / Gateway 6: Qur’anic Chant / Gateway 7: Early European Polyphonic Music / Gateway 8: Music of China / Gateway 9: Music of the Middle East / Gateway 10: African Music / Gateway 11: European Village Music / PART II: MUSIC HISTORY FROM 1500 TO 1900 / Gateway 12: Renaissance Sacred Vocal Music / Gateway 13: Renaissance Secular Vocal Music / Gateway 14: Renaissance Dance Music / Gateway 15: Renaissance Lute Music / Gateway 16: North Indian Classical Music / Gateway 17: Baroque Opera / Gateway 18: Baroque Orchestral Music / Gateway 19: Baroque Sacred Music / Gateway 20: Baroque Keyboard Music / Gateway 21: Javanese Court Music / Gateway 22: Classical-period Chamber Music / Gateway 23: Classical-period Symphonies / Gateway 24: Classical-period Opera / Gateway 25: Classical-period Piano Music / Gateway 26: Music of the Atlantic Slave Trade / Gateway 27: Beethoven’s Symphonies / Gateway 28: Programmatic Orchestra Works / Gateway 29: Romantic-period Piano Music / Gateway 30: Early American Popular Music / Gateway 31: Nineteenth-century Opera / Gateway 32: European Musical Nationalism / Gateway 33: Classical Music at Century’s End / Gateway 34: African American Religious Music / PART III: MUSIC HISTORY DURING THE LONG TWENTIETH CENTURY / Gateway 35: The Blues / Gateway 36: American Band Music / Gateway 37: Ragtime / Gateway 38: Music of Early European Modernists / Gateway 39: Balinese Gamelan / Gateway 40: Early Jazz / Gateway 41: Swing / Gateway 42: American Popular Song / Gateway 43: American Symphonic Nationalism / Gateway 44: Mexican and Mexican American Mariachi Music / Gateway 45: Country Music / Gateway 46: Bebop / Gateway 47: Classical Music and World War II / Gateway 48: Trinidadian Steel Pan Music / Gateway 49: Rock / Gateway 50: New Directions in Jazz / Gateway 51: The Classical Avant-garde / Gateway 52: Salsa / Gateway 53: Rap and Hip-Hop / Gateway 54: Neo-traditional Jazz / Gateway 55: Postmodern Classical Music / Gateway 56: Reggae / Gateway 57: American Popular Music Today / Gateway 59: Classical Music Today / Gateway 60: World Music Today
£61.99
Taylor & Francis Ltd Earshot
Book SynopsisEarshot: Perspectives on Sound awakens an understanding of the decisive role that sound has played in history and culture. Although beginning with reference to antiquity, the primary focus is the changing status of sound and hearing in Western culture over the last six hundred years, covering the transition from the medieval period to the contemporary world. Since mythic times, sound has been an essential element in the formation of belief systems, personal and community identities and the negotiations between them. The varied case studies included in the book cover major reference points in the changing politics of sound, particularly in relation to the status of the other major conduit of social transactions, vision. Earshot is not a work of cultural theory but is anchored in social practices and material culture and is therefore a valuable resource for conveying sound to both undergraduate students as well as the general reader.Table of Contents1. Acoustemology: Listening to Cultural History 2. Sound in Cultural History 3. From Hearing to Seeing 4. The Pulpit and the Playhouse 5. Hamlet - The world is out of joint 6. Print triumphant 7. The Aural Renaissance 8. The Aural Renaissance and Cultural Change 9. Sound in the contemporary world 10. The modern soundscape, social welfare and policy
£35.99
Taylor & Francis Ltd Earshot
Book SynopsisEarshot: Perspectives on Sound awakens an understanding of the decisive role that sound has played in history and culture. Although beginning with reference to antiquity, the primary focus is the changing status of sound and hearing in Western culture over the last six hundred years, covering the transition from the medieval period to the contemporary world. Since mythic times, sound has been an essential element in the formation of belief systems, personal and community identities and the negotiations between them. The varied case studies included in the book cover major reference points in the changing politics of sound, particularly in relation to the status of the other major conduit of social transactions, vision. Earshot is not a work of cultural theory but is anchored in social practices and material culture and is therefore a valuable resource for conveying sound to both undergraduate students as well as the general reader.Table of Contents1. Acoustemology: Listening to Cultural History 2. Sound in Cultural History 3. From Hearing to Seeing 4. The Pulpit and the Playhouse 5. Hamlet - The world is out of joint 6. Print triumphant 7. The Aural Renaissance 8. The Aural Renaissance and Cultural Change 9. Sound in the contemporary world 10. The modern soundscape, social welfare and policy
£152.56
Taylor & Francis Ltd Transcultural Jazz
Book SynopsisTranscultural Jazz: Israeli Musicians and Multi-Local Music Making studies jazz performance and composition through the examination of the transcultural practices of Israeli jazz musicians and their impact globally.An impressive number of Israeli jazz performers have received widespread exposure and worldwide acclaim, creating music that melds aspects of American jazz with an array of Israeli, Jewish and Middle Eastern influences and other non-Western musical traditions. While each musician is developing their own approach to musical transculturation, common threads connect them all. Unraveling and analyzing these entangled sounds and related discourses lies at the center of this study. This book provides broad insight into the nature, role and politics of transcultural music making in contemporary jazz practice. Focusing on a particular group of Israeli musicians to enhance knowledge of modern Israeli society, culture, discourses and practices, the research andTable of Contents1. Introduction 2. "Israeli Jazz": History and Overview 3. "Israeli Jazz": Blending Blends and Threads of Influence 4. The Sand and the Sea: Transcultural Jazz Arrangements of Israeli and Jewish Repertoirs 5. Falafel Jazz? The Politics of Genre and Culture 6. Profiles of Multi-local Musicians: Amos Hoffman, Anat Cohen and Omer Klein 7. Conclusion
£135.00
Taylor & Francis Ltd Transcultural Jazz
Book SynopsisTranscultural Jazz: Israeli Musicians and Multi-Local Music Making studies jazz performance and composition through the examination of the transcultural practices of Israeli jazz musicians and their impact globally.An impressive number of Israeli jazz performers have received widespread exposure and worldwide acclaim, creating music that melds aspects of American jazz with an array of Israeli, Jewish and Middle Eastern influences and other non-Western musical traditions. While each musician is developing their own approach to musical transculturation, common threads connect them all. Unraveling and analyzing these entangled sounds and related discourses lies at the center of this study. This book provides broad insight into the nature, role and politics of transcultural music making in contemporary jazz practice. Focusing on a particular group of Israeli musicians to enhance knowledge of modern Israeli society, culture, discourses and practices, the research and analyses presented in this book are based on extensive fieldwork in multiple sites in the United States and Israel, and interviews with musicians, educators, journalists, producers and scholars.Transcultural Jazz is an engaging read for students and scholars from diverse fields such as: jazz studies, ethnomusicology, Jewish studies, Israel studies and transnational studies.Table of Contents1. Introduction 2. "Israeli Jazz": History and Overview 3. "Israeli Jazz": Blending Blends and Threads of Influence 4. The Sand and the Sea: Transcultural Jazz Arrangements of Israeli and Jewish Repertoirs 5. Falafel Jazz? The Politics of Genre and Culture 6. Profiles of Multi-local Musicians: Amos Hoffman, Anat Cohen and Omer Klein 7. Conclusion
£36.99
Taylor & Francis Ltd Encounters with Jazz on Television in Cold War Era Portugal
Book SynopsisEncounters with Jazz on Television in Cold War Era Portugal: 19541974 explores the relationship between jazz and television by investigating the experiences of performers and producers in one of the last European colonial states (Portugal) during a period of political and social repression and global isolation. This new model of systemic analysis reveals a paradoxical interrelationship between state-controlled television and international media industries, highlighting the space where these two forces collide and locating television jazz production within an important cultural milieu with a lasting impact on Portuguese society.From the days of the first feasibility studies for a proposed public television service in 1954, to the military coup that overthrew the far-right Estado Novo regime in 1974, this book maps the institutionalization of jazz in Portugal as a social and musical practice, one that played a significant role in fostering cultural diversity.Table of ContentsIntroduction / Part I: Jazz Culture and Television in Portugal / 1. Laying the Groundwork: The Early History of Jazz in Portugal / 2. The Medium: The Emergence of Television in Portugal / Part II: Encountering Jazz on Portuguese Television / 3. Jazz on Early Television / 4. "Live! Live on Air": Jazz in the Studios / 5. Under US Influence: Manuel Jorge Veloso and the Newport Jazz Festival TV Series / Part III: The "Jazz Subversive": Manuel Jorge Veloso and the TV JAZZ Series / 6. "In the World of Jazz": The Birth of TV JAZZ / 7. The TV JAZZ Series and the Arrival of European Jazz / Coda: The International Cascais Jazz Festival (1971–1973) / Conclusion
£135.00
Taylor & Francis Race and Gender in the Western Music History Survey
Book SynopsisRace and Gender in the Western Music History Survey: A Teacherâs Guide provides concrete information and approaches that will help instructors include women and people of color in the typical music history survey course and the foundational music theory classes. This book provides a reconceptualization of the principles that shape the decisions instructors should make when crafting the syllabus. It offers new perspectives on canonical composers and pieces that take into account musical, cultural, and social contexts where women and people of color are present. Secondly, it suggests new topics of study and pieces by composers whose work fits into a more inclusive narrative of music history. A thematic approach parallels the traditional chronological sequencing in Western music history classes. Three themes include people and communities that suffer from various kinds of exclusion: Locales & Locations; Forms & Factions; Responses & Reception. Each theme is designed to uncoverTable of ContentsList of ScoresList of FiguresAcknowledgementsIntroduction Western Classical Music until 1600 Introduction Vittoria Aleotti, "Hor che la vaga Aurora" The Cantigas de Santa Maria and the Arabic Influence on Western Art Music Bibliography Score/Recording Selected Secondary Sources Music Between 1600 and 1750 Introduction Manuel de Sumaya, Miserere The Network of Women around J.S. Bach Bibliography Score/Recording Selected Secondary Sources Music Between 1750 and 1815 Introduction Marianna Martines, Sonata in E Major Sonata in E-Flat Major, H. XVI: 52 by Joseph Haydn: A Study in Private and Public/Masculine and Feminine Bibliography Score/Recording Selected Secondary Sources Music Between 1815 and 1915 Introduction Harry T. Burleigh, "Through Moanin’ Pines," in From the Southland African American Critical Response to Antonin Dvořák and the Problem of American Music Bibliography Score/Recording Selected Secondary Sources Music after 1915 IntroductionChou Wen-Chung, Suite for Harp and Wind QuintetAmerican Nationalism: Florence Price in Counterpoint with Aaron CoplandBibliographyScore/RecordingSelected Secondary SourcesIndex
£62.58
Taylor & Francis Ltd Music and WorldBuilding in the Colonial City
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
£51.99
Taylor & Francis Ltd Symbolic Mental Representations in Arts and Mystical Experiences
Book SynopsisSymbolic Mental Representations in Arts and Mystical Experiences explains how the individual's conceptualization of reality is dependent on the development of their brain, body structure, and the experiences that are physiologically confronted, acted, or observed via learning and/or simulation, occurring in family or community settings.The book offers support for Jean Knox's reinterpretation of Jung''s archetypal hypothesis, exposing the fundamentality of the body in its neurophysiological development, bodily-felt sensations, non-verbal interactions, affects, emotions, and actions in the process of meaning-making. Using information from disciplines such as Affective Neuroscience, Embodied Cognition, Attachment Theory, and Cognitive Linguistics, it clarifies how the most refined experiences of symbolic imagination are rooted in somatopsychic patterns.This book will be of great interest for academics and researchers in the fields of Analytical PsTable of Contents1. Introduction to the understanding of archetypal constellations through the lens of Primordial Mental Activity. Part I How discussing the structure, affective charging, and functioning of the body within the occurrence of archetypal constellations can support the developmental view of archetypes. 2. Exploring the origins of symbolic thinking: the intelligibility of the sensing and feeling brain. 3. PMA (Primordial Mental Activity): The affective-somatic unconscious. 4. Archetypal imagery as mainly channelled by mental representations that mediate the here-now from partial simulations of the past, awakening or reliving the affectivity that marked it, and the background cognitive capacity that (by then) targeted its metabolisation. 5. Affects, sounds, images, and actions: addressing the developmental formation and activation of archetypes through the consideration of image-schemas and PMA. 6. The comparison of PMA to the fantasy-thinking mind. Conclusion to Part I. Part II – Impressions and expressions of the body’s mind in mystical experiences and Arts. 7. Proximities and distances between mental illness and mysticism. 8. Mystical experiences of the Ayahuasca consumption – the Brazilian Santo Daime doctrine and European neo-shamanism. 9. Witnessing PMA operations: the activation of archetypes in [neo]shamanic practices. 10. Arts and psychosis: Comprehending PMA expressions in their association. 11. Interpreting PMA in artistic creations: primary metaphors on canvases. Conclusion to Part II. Part III – Affects, image schematic compounds, and patterns of behaviour – Links between body, concept, and culture. 12. Conclusions: Understanding affective, non-verbal matrices of the making of meaning. 13. Further research.
£38.99
Taylor & Francis Ltd The Routledge Companion to Jazz and Gender
Book SynopsisThe Routledge Companion to Jazz and Gender identifies, defines, and interrogates the construct of gender in all forms of jazz, jazz culture, and education, shaping and transforming the conversation in response to changing cultural and societal norms across the globe. Such interrogation requires consideration of gender from multiple viewpoints, from scholars and artists at various points in their careers. This edited collection of 38 essays gathers the diverse perspectives of contributors from four continents, exploring the nuanced (and at times controversial) construct of gender as it relates to jazz music, in the past and present, in four parts: Historical Perspectives Identity and Culture Society and Education Policy and Advocacy Acknowledging the art form's troubled relationship with gender, contributors seek to define the construct to include all possible definitionsnot only female and malewithout binary limitations, contexTable of ContentsPart I: Historical Perspectives / 1. "The Frivolous, Scantily Clad ‘Jazzing Flapper,’ Irresponsible and Undisciplined": Jazz as a Feminine Domain (Bruce Johnson) / 2. "I’ve Got the Haitian Blues": Mamie Desdunes and the Gendered Inflections of the Common Wind (Ben Barson) / 3. Lil Hardin Armstrong and Helen Joyner: The Forgotten Patrons of Jazz (Jeremy Brown) / 4. Queer Aesthetics and the Performing Subject in Jazz in the 1920s (Magdalena Fürnkranz) / 5. Black Against the Stave: Black Modern Girls in British Interwar Jazz (Jessica Chow) / 6. Trumpet Men: Performances of Masculinity in Jazz (Aaron J. Johnson) / 7. Hard Bop Cool Pose: Bebop, the Blues, and Masculinity in the Music of Lee Morgan (Keith Karns) / 8. Toward a Feminist Understanding of Jazz Curatorship (Kara Attrep) / 9. The Girl in the Other Room: Generating New Open Knowledge for the Women of Jazz (M. Cristina Pattuelli and Karen Li-Lun Hwang) / 10. The Rise of Queermisia in Jazz: Medicalization, Legislation, and Its Effects (Chloe Resler) / 11. Constructing a Diverse and Inclusive Jazz Tradition: A Uchronic Narrative (Michael Kahr) / Part II: Identity and Culture / 12. Playing the Part: A Social-Psychological Perspective on Being a Girl in Jazz (Erin L. Wehr) / 13. Gender, Sexuality, and Jazz Saxophone Performance (Yoko Suzuki) / 14. A Clash of Identities: How Aspects of Gender and Identity in Jazz Influence Both the Music and Its Perception (Wolfram Knauer) / 15. "I’m Just One of Them": Gender in Jazz Competitions (Matthias Heyman) / 16. Gendered Interventions in European Jazz Festival Programming: Keychanges, Stars, and Alternative Networks (Kristin McGee) / 17. Resurrecting Masculinity: Gender, Jazz Timbre, and the Afterlife of Dennis Irwin’s Bass (ken tianyuan Ge) / 18. Jazz Dance, Gender, and the Commodification of the Moving Body: Examining Patriarchal and White Supremacist Structures in Social and Commercial Jazz Dance Forms (Brandi Coleman) / 19. Women’s Access to Professional Jazz: From Limiting Processes to Levers for Transgression (Marie Buscatto) / 20. "It Ain’t Who You Are": Authenticity, Sexuality, and Masculinity in Jazz (Ann Cotterrell) / Part III: Society and Education / 21. Oppression and Hope: Students’ Perceptions of Gender and Stereotypes in Jazz Appreciation and History (James Reddan) / 22. Picturing Women in Jazz: An Analysis of Three Jazz History Textbooks (Ramsey Castaneda and Amanda Quinlan) / 23. Degendering Jazz Guitar: Reimagining the Past - Realigning the Future (Tom Williams) / 24. "Music Saved My Live": Jennifer Leitham on Life, Music, and Gender (Joshua Palkki, Carl Oser, and Jennifer Leitham) / 25. Can E-Flat Be Sexist? Canonical Keys as Marginalizing Practice in Jazz (Wendy Hargreaves and Melissa Forbes) / 26. Inclusive Jazz History Pedagogy (Sonya R. Lawson) / 27. Negotiating Hegemonic Masculinity in Australian Tertiary Jazz Education (Robert Burke and Clare Hall) / 28. Jazzwomen in Higher Education: Experiences, Attitudes, and Personality Traits (Natalie Boeyink) / 29. The Gender Imperative in Jazz: The Role of Intercultural Maturity in Jazz Curricula (Lenora Helm Hammonds) / 30. In Her Own Words: Documenting the Current Realities of Women-in-Jazz (Kiernan Steiner and Alexandra Manfredo) / 31. Call and (Her) Response: Improvisation and the Myth of Absence (Dana Reason) / Part IV: Policy and Advocacy / 32. Victims No More: How Women and Non-Binary Musicians are Collaborating for Gender Justice in Jazz(Beatriz Nunes and Leonor Arnaut) / 33. Women in Jazz: A Failed Brand (Rebecca Zola) / 34. Accessing Jazz’s Gendered Places and Spaces (Sarah Caissie Provost) / 35. Breaking Down Barriers: Female Jazz Musicians in Spain (Rebeca Muñoz-Garcia) / 36. The Pale Image of the Jazz Female Instrumentalists in Southeastern Europe (Jasna Jovićević) / 37. Addressing Gender Imbalance through Mentorship and Advocacy (Ellen Rowe) / 38. Sheroes – The Role of All-Women Groups (Monika Herzig)
£215.00
Taylor & Francis Ltd Musical Gentrification
Book SynopsisMusical Gentrification is an exploration of the role of popular music in processes of socio-cultural inclusion and exclusion in a variety of contexts. Twelve chapters by international scholars reveal how cultural objects of relatively lower status, in this case popular musics, are made objects of acquisition by subjects or institutions of higher social status, thereby playing an important role in social elevation, mobility and distinction. The phenomenon of musical gentrification is approached from a variety of angles: theoretically, methodologically and with reference to a number of key issues in popular music, from class, gender and ethnicity to cultural consumption, activism, hegemony and musical agency. Drawing on a wide range of case studies, empirical examples and ethnographic data, this is a valuable study for scholars and researchers of Music Education, Ethnomusicology, Cultural Studies and Cultural Sociology.The Open Access version of this book, available atTable of ContentsChapter 1: Musical Gentrification and Socio-Cultural Diversities: An Analytical Approach Towards Popular Music Expansion in Egalitarian SocietiesPetter Dyndahl, Sidsel Karlsen and Ruth WrightChapter 2: Musical Gentrification: Strategy for Social Positioning in Late Modern Culture Petter DyndahlChapter 3: Exploring the Phenomenon of Musical Gentrification: Methods and MethodologiesSidsel Karlsen, Mariko Hara, Stian Vestby, Petter Dyndahl, Siw Graabræk Nielsen and Odd SkårbergChapter 4: Musical Gentrification and the (Un)Democratisation of Culture: Symbolic Violence in Country Music DiscourseStian VestbyChapter 5: Musical Gentrification, Parenting and Children’s Media MusicIngeborg Lunde Vestad and Petter DyndahlChapter 6: Gentrification, Hegemony, Activism and Anarchy: How These Concepts May Inform the Field of Higher Popular Music EducationRuth WrightChapter 7: Changing Rhythms, Ideas and Status in Jazz: The Case of the Norwegian Jazz Forum in the 1960sOdd Skårberg and Sidsel KarlsenChapter 8: Musical Gentrification and ‘Genderfication’ in Higher Music Education Siw Graabræk NielsenChapter 9: Musical Agency Meets Musical Gentrification: Exploring the Workings of Hegemonic Power in (Popular) Music AcademisationSidsel KarlsenChapter 10: Enclosure and Abjection in American School MusicVincent C. BatesChapter 11: Musical Pathways: Connecting, Re-Connecting and Dis-ConnectingMariko HaraAfterword: Taste and Distinction After BourdieuNick Prior
£39.99
Taylor & Francis Analyzing Recorded Music
Book SynopsisAnalyzing Recorded Music: Collected Perspectives on Popular Music Tracks is a collection of essays dedicated to the study of recorded popular music, with the aim of exploring how the record shapes the song (Moylan, Recording Analysis, 2020) from a variety of perspectives. Introduced with a Foreword by Paul Théberge, the distinguished editorial team has brought together a group of reputable international contributors to write about a rich collection of recordings.Examining a diverse set of songs from a range of genres and points in history (spanning the years 19362020), the authors herein illuminate unique attributes of the selected tracks and reveal how the recording develops the expressive content of song performance.Analyzing Recorded Music will interest all those who study popular music, cultural studies, and the musicology of record production, as well as popular music listeners.Trade Review2023 Winner of the Society for Music Theory Award for Outstanding Multi-Author Collection'Moylan’s analytical framework provides a flexible yet coherent structure for this wonderfully eclectic and useful collection. Analyses of the recorded ‘texts’ of popular music are woven together with the ethnography of practice and cultural theory to provide an excellent range of case studies which, when combined, also provide a unifying methodology for future work.'Simon Zagorski-Thomas, University of West London'This essential collection beautifully illustrates how close sonic analysis can feed interpretations that skillfully enlighten how music impacts, and is in constant dialogue with, cultural, social, aesthetic, historical, technological, and other fundamental aspects of our lives. It makes us better understand why we love music so much.'Serge Lacasse, Laval University'In this expansive edited volume, Moylan, Burns & Alleyne invite a broad range of engineers, historians, theorists, and analysts to apply Moylan’s listening approach (2020) to a specific track within the history of recorded popular music. Analyzing Recorded Music provides a rich and diverse addition to any musical bookshelf for readers who seek to understand the interconnected elements and conditions that contribute to the creation of a recording.'Paul Thompson, Leeds Beckett University'We have thankfully arrived at a moment in the history of serious musical scholarship when the implements and artistry of the recording studio are understood to be as central to the creation of music as are the traditional considerations of pitches, harmonies, rhythms, song forms and "traditional" musical instruments. Mike Alleyne, Lori Burns and William Moylan have assembled an excellent collection of essays that will force and inspire music scholars across genres to come to terms with the ways our soundscape has been not only mediated, but shaped, by the creativity and ingenuity of the recording studio. The essays here span the analog and digital eras, brilliantly summarizing the interplay of studio technologies, aesthetics, histories and identities at the end of the twentieth century and into the twenty-first.'Michael Veal, Yale UniversityTable of ContentsSection I: Musical Genre, Culture, and Technology 1. "I Been Studying Rain": What Do We Hear When We Listen to the Blues of Robert Johnson? ("Preachin’ Blues," 1936) 2. Analyzing Hip-Hop Hacktivism and Automobility in Injury Reserve’s (2019) "Jailbreak the Tesla" (feat. Aminé) Section II: Track Revelations and Aural Mirrors 3. Hearing through the Grapevine: Marvin Gaye, Norman Whitfield and the Long Journey of Motown’s Biggest Hit (1967) 4. "Let the Music Play" (1975): Hearing the Disco Mainstream in Barry White 5. Reaching for Stardom: Live and Studio Sound in Prince’s "Purple Rain" (1984) Section III: Layers Make the Record 6. "In a Sky Full of People": Spatial and Cinematic Staging in Seal’s "Crazy" (1990) 7. Come Together: Feeling the Distemper of Murk and Elation with the Beatles (1969) and with Sheila E. and Ringo Starr (2017 and 2020) 8. "A Tsunami of Voices": 10cc’s "I’m Not in Love" (1975) 9. Counterpoint and Expression in the Music of U2: "Gloria" (1981) Section IV: Sonic Journeys 10. On the Structure of Feeling in Bob Dylan’s "I’ve Made Up My Mind to Give Myself to You" (2020) 11. "You Never Give Me Your Money": The Abbey Road Medley (1969) 12. Listening Beyond the Recording: The Judds’ "John Deere Tractor" (1984) Section V: Sampling and Reframing 13. Sonic Materiality and Boom-Bap Embodiment in Conway’s "Biscotti Biscuit" (2018): An Autoethnography of Recording Analysis 14. "It Ain’t But One Kind of Blues": Kid Koala’s Bluesy Embrace of the Fragmented (2012) 15. "Three and a Half Minutes of Attitude": Vocal Delivery, Groove, and Production in Azealia Banks’ "212" (2014) Section VI: Deconstructing the Mix and Production Process 16. Can You Hear the Thunder? The Tech-Processual Construction of Environmental and Emotional Situ in Ghost’s "Cirice" (2015) 17. Three-Dimensional Doom: My Dying Bride’s "Your Broken Shore" (2020) 18. Transforming A Pop Song: The Journey of the Extended Club Remix (Taz Vegas’ "Am I Dreaming," 2019) Section VII: Voicing Identity through Genre 19. Framing the Female Voice in Doom Metal: Compositional and Sonic Elements in The Gathering’s "Strange Machines" (Mandylion, 1995) 20. Masking: Queer Aesthetics and Production Tricks in Orville Peck’s "Hope to Die" (2019) 21. "What Are You Gonna Tell Her?" (2020): Mickey Guyton’s Advocacy and Protest for Equality in Country Music 22. Form, Genre, and Vocal Performance in Nicki Minaj’s "Stupid Hoe" (2011) 23. Tracks and Transformations in The Wailers’ "Concrete Jungle" (1973)
£45.99
Taylor & Francis Analyzing Recorded Music
Book SynopsisAnalyzing Recorded Music: Collected Perspectives on Popular Music Tracks is a collection of essays dedicated to the study of recorded popular music, with the aim of exploring how the record shapes the song (Moylan, Recording Analysis, 2020) from a variety of perspectives. Introduced with a Foreword by Paul ThÃberge, the distinguished editorial team has brought together a group of reputable international contributors to write about a rich collection of recordings.Examining a diverse set of songs from a range of genres and points in history (spanning the years 1936â2020), the authors herein illuminate unique attributes of the selected tracks and reveal how the recording develops the expressive content of song performance.Analyzing Recorded Music will interest all those who study popular music, cultural studies, and the musicology of record production, as well as popular music listeners.Trade Review2023 Winner of the Society for Music Theory Award for Outstanding Multi-Author Collection'Moylan’s analytical framework provides a flexible yet coherent structure for this wonderfully eclectic and useful collection. Analyses of the recorded ‘texts’ of popular music are woven together with the ethnography of practice and cultural theory to provide an excellent range of case studies which, when combined, also provide a unifying methodology for future work.'Simon Zagorski-Thomas, University of West London'This essential collection beautifully illustrates how close sonic analysis can feed interpretations that skillfully enlighten how music impacts, and is in constant dialogue with, cultural, social, aesthetic, historical, technological, and other fundamental aspects of our lives. It makes us better understand why we love music so much.'Serge Lacasse, Laval University'In this expansive edited volume, Moylan, Burns & Alleyne invite a broad range of engineers, historians, theorists, and analysts to apply Moylan’s listening approach (2020) to a specific track within the history of recorded popular music. Analyzing Recorded Music provides a rich and diverse addition to any musical bookshelf for readers who seek to understand the interconnected elements and conditions that contribute to the creation of a recording.'Paul Thompson, Leeds Beckett University'We have thankfully arrived at a moment in the history of serious musical scholarship when the implements and artistry of the recording studio are understood to be as central to the creation of music as are the traditional considerations of pitches, harmonies, rhythms, song forms and "traditional" musical instruments. Mike Alleyne, Lori Burns and William Moylan have assembled an excellent collection of essays that will force and inspire music scholars across genres to come to terms with the ways our soundscape has been not only mediated, but shaped, by the creativity and ingenuity of the recording studio. The essays here span the analog and digital eras, brilliantly summarizing the interplay of studio technologies, aesthetics, histories and identities at the end of the twentieth century and into the twenty-first.'Michael Veal, Yale UniversityTable of ContentsSection I: Musical Genre, Culture, and Technology 1. "I Been Studying Rain": What Do We Hear When We Listen to the Blues of Robert Johnson? ("Preachin’ Blues," 1936) 2. Analyzing Hip-Hop Hacktivism and Automobility in Injury Reserve’s (2019) "Jailbreak the Tesla" (feat. Aminé) Section II: Track Revelations and Aural Mirrors 3. Hearing through the Grapevine: Marvin Gaye, Norman Whitfield and the Long Journey of Motown’s Biggest Hit (1967) 4. "Let the Music Play" (1975): Hearing the Disco Mainstream in Barry White 5. Reaching for Stardom: Live and Studio Sound in Prince’s "Purple Rain" (1984) Section III: Layers Make the Record 6. "In a Sky Full of People": Spatial and Cinematic Staging in Seal’s "Crazy" (1990) 7. Come Together: Feeling the Distemper of Murk and Elation with the Beatles (1969) and with Sheila E. and Ringo Starr (2017 and 2020) 8. "A Tsunami of Voices": 10cc’s "I’m Not in Love" (1975) 9. Counterpoint and Expression in the Music of U2: "Gloria" (1981) Section IV: Sonic Journeys 10. On the Structure of Feeling in Bob Dylan’s "I’ve Made Up My Mind to Give Myself to You" (2020) 11. "You Never Give Me Your Money": The Abbey Road Medley (1969) 12. Listening Beyond the Recording: The Judds’ "John Deere Tractor" (1984) Section V: Sampling and Reframing 13. Sonic Materiality and Boom-Bap Embodiment in Conway’s "Biscotti Biscuit" (2018): An Autoethnography of Recording Analysis 14. "It Ain’t But One Kind of Blues": Kid Koala’s Bluesy Embrace of the Fragmented (2012) 15. "Three and a Half Minutes of Attitude": Vocal Delivery, Groove, and Production in Azealia Banks’ "212" (2014) Section VI: Deconstructing the Mix and Production Process 16. Can You Hear the Thunder? The Tech-Processual Construction of Environmental and Emotional Situ in Ghost’s "Cirice" (2015) 17. Three-Dimensional Doom: My Dying Bride’s "Your Broken Shore" (2020) 18. Transforming A Pop Song: The Journey of the Extended Club Remix (Taz Vegas’ "Am I Dreaming," 2019) Section VII: Voicing Identity through Genre 19. Framing the Female Voice in Doom Metal: Compositional and Sonic Elements in The Gathering’s "Strange Machines" (Mandylion, 1995) 20. Masking: Queer Aesthetics and Production Tricks in Orville Peck’s "Hope to Die" (2019) 21. "What Are You Gonna Tell Her?" (2020): Mickey Guyton’s Advocacy and Protest for Equality in Country Music 22. Form, Genre, and Vocal Performance in Nicki Minaj’s "Stupid Hoe" (2011) 23. Tracks and Transformations in The Wailers’ "Concrete Jungle" (1973)
£152.56
Taylor & Francis Ltd Peak Music Experiences
Book SynopsisPeak music experiences are a recurring feature of popular music journalism, biography and fan culture, where they are often credited as pivotal in people's relationships with music and in their lives more generally. Ben Green investigates the phenomenon from a social and cultural perspective, including discussions of peak music experiences as sources of inspiration and influence; as a core motivation for ongoing musical and social activity; the significance of live music experiences; and the key role of peak music experiences in defining and perpetuating music scenes. The book draws from both global media analysis and situated ethnographic research in the dance, hip hop, indie and rock n' roll music scenes of Brisbane, Australia, including participant observation and in-depth interviews. These case studies demonstrate the methodological value of peak music experiences as a lens through which to understand individual and collective musical life. The theoretical analysis is interwoven wiTrade ReviewGreen's book makes a major contribution to the sociology of popular music. Through introducing the term 'peak music experience' Green brings compelling new insights regarding the everyday meaning of popular music and its resonance with memory and emotion. Of equal importance is Green's consideration of how technological developments since the early 2000s also critically inform the way that people (re)experience music in their daily lives. Drawing on ethnographic research conducted in the city of Brisbane, the state capital of Queensland, Australia, Green also brings fresh perspectives to our understanding of the connections between local, trans-local and global scenes. This book will be essential reading for popular music scholars interested in music's significance as an everyday resource.Andy Bennett (Griffith University)Green's book makes a major contribution to the sociology of popular music. Through introducing the term 'peak music experience' Green brings compelling new insights regarding the everyday meaning of popular music and its resonance with memory and emotion. Of equal importance is Green's consideration of how technological developments since the early 2000s also critically inform the way that people (re)experience music in their daily lives. Drawing on ethnographic research conducted in the city of Brisbane, the state capital of Queensland, Australia, Green also brings fresh perspectives to our understanding of the connections between local, trans-local and global scenes. This book will be essential reading for popular music scholars interested in music's significance as an everyday resource.Andy Bennett (Griffith University)Table of ContentsChapter 1: Introducing peak music experiencesChapter 2: Theorising peak music experiencesChapter 3: Histories of listening: First encounters, gateways and conversion experiencesChapter 4: Life-changing moments: Experiences of inspiration and influenceChapter 5: Why music? Peak music experiences as motivationChapter 6: Listening together: Peak music experiences and interpersonal relationshipsChapter 7: Live music experiences: Presence and affective spaceChapter 8: Ideal experiences: Scenes, aesthetics and belongingChapter 9: Themes and conclusions: Peak music experiences and new perspectivesAppendix 1: Interview participantsReferences
£135.00
Taylor & Francis Ltd Peak Music Experiences
Book SynopsisPeak music experiences are a recurring feature of popular music journalism, biography and fan culture, where they are often credited as pivotal in people's relationships with music and in their lives more generally. Ben Green investigates the phenomenon from a social and cultural perspective, including discussions of peak music experiences as sources of inspiration and influence; as a core motivation for ongoing musical and social activity; the significance of live music experiences; and the key role of peak music experiences in defining and perpetuating music scenes. The book draws from both global media analysis and situated ethnographic research in the dance, hip hop, indie and rock n' roll music scenes of Brisbane, Australia, including participant observation and in-depth interviews. These case studies demonstrate the methodological value of peak music experiences as a lens through which to understand individual and collective musical life. The theoretical analysis is interwoven wiTrade ReviewGreen's book makes a major contribution to the sociology of popular music. Through introducing the term 'peak music experience' Green brings compelling new insights regarding the everyday meaning of popular music and its resonance with memory and emotion. Of equal importance is Green's consideration of how technological developments since the early 2000s also critically inform the way that people (re)experience music in their daily lives. Drawing on ethnographic research conducted in the city of Brisbane, the state capital of Queensland, Australia, Green also brings fresh perspectives to our understanding of the connections between local, trans-local and global scenes. This book will be essential reading for popular music scholars interested in music's significance as an everyday resource.Andy Bennett (Griffith University)Green's book makes a major contribution to the sociology of popular music. Through introducing the term 'peak music experience' Green brings compelling new insights regarding the everyday meaning of popular music and its resonance with memory and emotion. Of equal importance is Green's consideration of how technological developments since the early 2000s also critically inform the way that people (re)experience music in their daily lives. Drawing on ethnographic research conducted in the city of Brisbane, the state capital of Queensland, Australia, Green also brings fresh perspectives to our understanding of the connections between local, trans-local and global scenes. This book will be essential reading for popular music scholars interested in music's significance as an everyday resource.Andy Bennett (Griffith University)Table of ContentsChapter 1: Introducing peak music experiencesChapter 2: Theorising peak music experiencesChapter 3: Histories of listening: First encounters, gateways and conversion experiencesChapter 4: Life-changing moments: Experiences of inspiration and influenceChapter 5: Why music? Peak music experiences as motivationChapter 6: Listening together: Peak music experiences and interpersonal relationshipsChapter 7: Live music experiences: Presence and affective spaceChapter 8: Ideal experiences: Scenes, aesthetics and belongingChapter 9: Themes and conclusions: Peak music experiences and new perspectivesAppendix 1: Interview participantsReferences
£39.99
Taylor & Francis Ltd All Along Bob Dylan
Book SynopsisAll Along Bob Dylan: America and the World offers an important contribution to thinking about the artist and his work. Adding European and non-English speaking contexts to the vibrant field of Dylan studies, the volume covers a wide range of topics and methodologies while dealing with the inherently complex and varied material produced or associated with the iconic artist. The chapters, organized around three broad thematic sections (Geographies, Receptions and Perspectives), address the notions of audience, performance and identity, allowing to map out the structure of feeling and authenticity, both, in the case of the artist and his audience. Taking its cue from the collapse of the so-called high-/ low culture split following from the Nobel Prize, the book explores the argument that Dylan (and all popular music) can be interpreted as literature and offers discussions in the context of literary traditions, or visual culture and music. This contributes to a nuanced andTable of ContentsINTRODUCTIONThe ‘Thing’ About Bob Dylan Tymon Adamczewski GEOGRAPHIES Bob Dylan’s Minnesota Roots David PichaskeAt the Origins of the New Folk Star: Bob Dylan’s New York period (1961-1963)Marek Jeziński Dylan on Nostalgia: Idealising the Past and Paralysing the PresentStephen Dewsbury RECEPTIONSBob Dylan and the Invasion of MexicoTadeusz Rachwał Conspiring to be Unknown; or, Is a Bob Dylan There?Agnieszka Pantuchowicz Bob Dylan – The Unwilling Icon of the Counterculture Jerzy Jarniewicz The Polish Internet Discourse on DylanMarcin Michalak PERSPECTIVESThe Dylanesque Confluence of the Multitude: From Bob Dylan Inspired to Bob Dylan the InspirerDariusz Pestka Dylan and Springsteen: Master and Follower Look at AmericaBohdan SzklarskiBob Dylan's Character(s) on ScreenMarlena HetmanThe Geometry of Love and Lies: Re-Shaping Italian Literature through Dylan’s LyricsGiulio Carlo Pantalei
£39.99
Taylor & Francis The Routledge Companion to the Study of Local Musicking
Book SynopsisWINNER OF THE 2019 SOCIETY OF ETHNOMUSICLOGY ELLEN KOSKOFF PRIZE FOR EDITED COLLECTIONSThe Routledge Companion to the Study of Local Musicking provides a reference to how, cross-culturally, musicking constructs locality and how locality is constructed by the musicking that takes place within it, that is, how people engage with ideas of community and place through music. The term musicking has gained currency in music studies, and refers to the diverse ways in which people engage with music, regardless of the nature of this engagement. By linking musicking to the local, this book highlights the ways in which musical practices and discourses interact with peopleâs everyday experiences and understandings of their immediate environment, their connections and commitment to that locality, and the people who exist within it. It explores what makes local musicking local. By viewing musicking from the perspective of where it takes place, the contributi
£49.99
Taylor & Francis The Routledge Companion to Popular Music Analysis
Book SynopsisThe Routledge Companion to Popular Music Analysis: Expanding Approaches widens the scope of analytical approaches for popular music by incorporating methods developed for analyzing contemporary art music. This study endeavors to create a new analytical paradigm for examining popular music from the perspective of developments in contemporary art music.Expanded approaches for popular music analysis is broadly defined as as exploring the pitch-class structures, form, timbre, rhythm, or aesthetics of various forms of popular music in a conceptual space not limited to the domain of common practice tonality but broadened to include any applicable compositional, analytical, or theoretical concept that illuminates the music. The essays in this collection investigate a variety of analytical, theoretical, historical, and aesthetic commonalities popular music shares with 20th and 21st century art music. From rock and pop to hip hop and rap, dance and electronica, from tTable of ContentsPart 1: Establishing and Expanding Analytical Frameworks / 1. Some Practical Issues in the Aesthetic Analysis of Popular Music (Christopher Doll) / 2. Style as Analysis (Phil Ford) / 3. Thank You for the Music (Giles Hooper) / 4. Listening to the Sound Music Makes (Allan F. Moore) / 5. Analyse This: Types and Tactics of Self-Referential Songs (Bethany Lowe with Freya Jarman) / 6. A-ha’s "Take on Me": Melody, Vocal Compulsion and Rotoscoping (Stan Hawkins and Jon Mikkel Broch Ålvik) / 7. Interpreting Transmedia and Multimodal Narratives: Steven Wilson’s ‘The Raven That Refused to Sing’ (Lori Burns) / Part 2: Technology and Timbre / 8. Analysing the Product of Recorded Musical Activity (Simon Zagorski-Thomas) / 9. The Production of Timbre: Analyzing the Sonic Signatures of Tool’s Ænima (1996) (Kevin Osborn and Brad Osborn) / 10. "What Music Isn’t Ambient in the 21st Century?": A Design-Oriented Approach to Analyzing and Interpreting Ambient Music Recordings (Victor Szabo) / 11. Electronically-Modified Voices as Expressing the (Post)Human Condition in Daft Punk’s Random Access Memories (2013) (Jane Piper Clendinning) / Part 3: Rhythm, Pitch, and Harmony / 12. Pulse as Dynamic Attending: Analysing Beat Bin Metre in Neo Soul Grooves (Anne Danielsen) / 13. Rhythmic Functions in Pop-Rock Music (Nicole Biamonte) / 14. The Aesthetics of Drone (Jonathan W. Bernard) / 15. A Tonal Axis to Grind: The Central Dyad in Sonic Youth’s Divergent Textures (David Heetderks) / 16. Chromatic Linear Progressions in Popular Music (Neil Newton) / 17. System 7 (Ciro Scotto) / 18. Emerson, Lake and Palmer's "Toccata" and the Cyborg Essence of Alberto Gianastera (Kevin Holm-Hudson) / Part 4: Form and Structure / 19. Yes, the Psychedelic-Symphonic Cover, and "Every Little Thing (John Covach) / 20. ‘Silence in the Studio!’ Collage as Retransition in Pink Floyd’s ‘Atom Heart Mother Suite’ (Shaugn O’Donnell) / 21. "Weed Crumbles into Glitter": Representing a Marijuana High in Frank Ocean’s Blonde (John Brackett) / 22. Form and Time in Trout Mask Replica (Peter Silberman) / Part 5: Critical Frameworks: Analytical, Formal, Structural, and Political / 23. New Music in a Borderless World (Marianna Ritchey) / 24. Here Lies Love and the Politics of Disco-Opera (Áine Mangaoang) / 25. The Love Detective: Cybernetic Cycles and the Mysteries of Desire in Arab Strap (Stephen Overy and Kenneth Smith) / 26. Unending Eruptions: White-Collar Metal Appropriations of Classical Complexity, Experimentation, Elitism, and Cultural Legitimization (Eric Smialek and Méi-Ra St-Laurent) / 27. Hearing Postmemory: Anne Frank in Neutral Milk Hotel’s In the Aeroplane over the Sea (Michael Spitzer) / 28. "Poet-Composers": Art and Legitimacy in the Singer-Songwriter Movement (Christa Bentley)
£49.99
Taylor & Francis The Routledge Research Companion to Popular Music Education
Book SynopsisPopular music is a growing presence in education, formal and otherwise, from primary school to postgraduate study. Programmes, courses and modules in popular music studies, popular music performance, songwriting and areas of music technology are becoming commonplace across higher education. Additionally, specialist pop/rock/jazz graded exam syllabi, such as RockSchool and Trinity Rock and Pop, have emerged in recent years, meaning that it is now possible for school leavers in some countries to meet university entry requirements having studied only popular music. In the context of teacher education, classroom teachers and music-specialists alike are becoming increasingly empowered to introduce popular music into their classrooms. At present, research in Popular Music Education lies at the fringes of the fields of music education, ethnomusicology, community music, cultural studies and popular music studies. The Ashgate Research Companion to Popular Music Education is the first book-lengt
£39.99
Taylor & Francis Ltd Music at the Maison royale de SaintLouis at SaintCyr
Book SynopsisThe history of music at the Maison royale de Saint-Louis at Saint-Cyr the famous convent school founded by Madame de Maintenon and established by Louis XIV in 1686 as a royal foundation is both rich and intriguing; its large repertory of music was composed expressly for young female voices by important composers working within significant contemporary musical genres: liturgical chant, sacred motets, theatrical music, and cantiques spirituels. While these genres reflect contemporary styles and trends, at the same time the works themselves were made to conform to the sensibilities and abilities of their intended performers. Even as Jean-Baptiste Moreau''s music for Jean Racine's biblical tragedies Esther and Athalie shows a number of similarities to contemporary tragédies lyriques, it departs from that more public genre in its brevity, generally simpler solo writing, and the integral use of the chorus. The musical style of the choral numbers closely parallels thTrade Review"Because so much of the religious music of France was destroyed in the ravages of the dechristianization movement, the sources that survive from Saint-Cyr, including its music library and many documents related to its history and its musical activity, are treasures that take on greater significance, one that must be viewed in context due to the exceptional nature of the Maison Royale. Deborah Kauffman’s thorough and inquiring study offers much that will be of relevance to historians with interest in women’s studies, the education of women, French history, society in the seventeenth and eighteenth centuries, and the musicological understanding of the old regime."—John Hajdu Heyer, Journal of Seventeenth-Century MusicTable of Contents1. The Maison royale de Saint-Louis at Saint-Cyr 2. The Maison royale as an Educational Institution for Women 3. The Musical Lives of the Dames and Demoiselles at Saint-Cyr 4. Saint-Cyr’s Composers and Music Masters 5. Cantiques spirituels in the Life of the Institution 6. Music for a Théatre des Desmoiselles 7. Chanter les louanges de Dieu: Liturgical Chant at Saint-Cyr 8. Petit motets: Composers and Styles
£39.99
Taylor & Francis Ltd The MidTwentiethCentury Concert Pianist An English Experience
Book SynopsisIn this book, Julian Hellaby presents a detailed study of English piano playing and career management as it was in the middle years of the twentieth century. Making regular comparisons with early twenty-first-century practice, the author examines career-launching mechanisms, such as auditions and competitions, and investigates available means of career sustenance, including artist management, publicity outlets, recital and concerto work, broadcasts, recordings and media reviews. Additionally, Hellaby considers whether a mid-twentieth-century school of English piano playing may be identified and, if so, whether it has lasted into the early decades of the twenty-first century. The author concludes with an appraisal of the state of English pianism in recent years and raises questions about its future. Drawing on extensive research from a wide variety of primary and secondary sources, this book is structured around case-studies of six pianists who were commencing and then developing theTrade Review"The Mid-Twentieth-Century Concert Pianist is a very informative, well-written book, accessible and engaging to anyone interested in music and piano, as well as an excellent guide to someone wanting to become a concert pianist or looking to sustain a successful career as such."Margarida Mota-Bull, MusicWeb"This book is a detailed study of English piano playing in the mid-twentieth century based around six case studies of six English pianists at the beginning and development of their performing careers...I would fully recommend this book to anyone with the curiosity to delve into the worlds of six very celebrated English pianists and the significant pianistic era in which they were active."Melvyn Cooper, Piano Professional"Julian Hellaby's book is a fascinating study which explores the period c19ll5-70 and the careers of six leading performers: Malcolm Binns, Peter Katin, Moura Lympany, Denis Matthews ValerieTyron and David Wilde. ln addition to examining the ways in which this magnificent half dozen developed their careers through recitals, concertos, broadcasts and commercial recordings, Hellaby does pioneering research that convincingly manages to find an authentic 'English voice', an approach to music-making that separates English players from their contemporaries in mainland Europe and America."Murray McLachlan, International PianoTable of ContentsPart One – Introduction And Background 1. Introduction 2. Musical Life In Mid-Twentieth-Century England Part Two – Career Development And Sustenance 3. Getting Started In The Profession 4. Sustaining A Career (1) – Management And Promotion 5. Sustaining A Career (2) – The Working Pianist Part Three – Performance Practice 6. Pedagogical Influences 7. In Search Of An English School Of Pianism 8. Closing Thoughts
£39.99
Taylor & Francis Language Media and Globalization in the Periphery
Book SynopsisThe title seeks to show how people are embedded culturally, socially and linguistically in a certain peripheral geographical location, yet are also able to roam widely in their use and takeup of a variety of linguistic and cultural resources. Drawing on data examples obtained from ethnographic fieldwork trips in Mongolia, a country located geographically, politically and economically on the Asian periphery, this book presents an example of how peripheral contexts should be seen as crucial sites for understanding the current sociolinguistics of globalization. Dovchin brings together several themes of wide contemporary interest, including sociolinguistic diversity in the context of popular culture and media in a globalized world (with a particular focus on popular music), and transnational flows of linguistic and cultural resources, to argue that the role of English and other languages in the local language practices of young musicians in Mongolia should be understood as linguascapTrade Review"In this absorbing book, Sender Dovchin shows us how young Mongolians make ‘Heltei bol hultei’ (If you have language, you have legs) a reality as they engage with diverse forms of language and popular music. Through a range of fascinating examples of Mongolian musical linguascapes, she vividly demonstrates the diverse symbolic and political effects of artists’ creative language use. A key book for understanding language, culture and the periphery." - Alastair Pennycook, Distinguished Professor at University of Technology, Sydney, and author of Posthumanist Applied Linguistics (Routledge, 2018). "Inviting the reader into the little known world of Mongolian popular music, Sender Dovchin makes a powerful argument for the theoretical relevance of "linguascapes" to contemporary applied linguistics. "Language, Media, and Globalization in the Periphery" is a compelling and highly readable text from an exciting new scholar whose innovative work will resonate with both teachers and researchers across global sites. What’s next?" - Bonny Norton, FRSC. Professor and Distinguished University Scholar, University of British Columbia"Dovchin has opened up a whole new world to us with a gripping narrative of the dynamic linguascapes of popular music in Mongolia. The linguistic, cultural and political complexities presented in this account show that what is periphery in geographical terms should be central in sociolinguistics research. The book is an important contribution to the growing literature on language, media and globalization." - Li Wei, Professor and Chair of Applied Linguistics, University College London, UKTable of Contents1. Language, Media and Globalization in the Periphery2. Globalization as World of Scapes3. A Theory of Linguascapes4. Linguistics (N)ethnography5. Derivative Linguascapes6. Symbolic Linguascapes7. Relocalized Linguascapes8. Bi/Multilingualism, Linguascapes and Language Education
£39.99
Taylor & Francis Ltd Rethinking Difference in Gender Sexuality and Popular Music
Book SynopsisIn studies of gender and sexuality in popular music, the concept of difference is often a crucial analytic used to detect social agency; however, the alternative analytic of ambiguity has never been systematically examined. While difference from heterosexual norms is taken to be the multivalent sign of resistance, oppression, and self-invention, it can lead to inflated claims of the degree and power of difference. This book offers critically-oriented case studies that examine the theory and politics of ambiguity. Ambiguity means that there are both positive and negative implications in any gender and sexuality practices, both sameness and difference from heteronormativity, and unfixed possibility in the diverse nature of discourse and practice (rather than just difference among fixed multiplicities). Contributors present a diverse array of approaches through music, sound, psyche, body, dance, performance, race, ethnicity, power, discourse, and history. ATable of Contents1. Introduction: from difference to ambiguity Gavin Lee 2. When the bearded lady sings: ambiguity aesthetics, queer identity, and the gendering of the presentational voice Mario Rey 3. Détournement and female punk bands of the 1970s Helen L. Reddington 4. Ambiguities of S/M and goth cultures’ sex/gender identity politics Carol Siegel 5. Flower in the mirror and moon in the water: the ambiguity of gender, genre, and politics of Li Yugang Qian Wang 6. What counts as "queer" in an historical context?: cross dressing in nineteenth-century theatre Gillian M. Rodger 7. Funny girls and nowhere boys: reversing the gaze in the popular music biopic Matthew Bannister 8. "I’ma school that bitch": gay rappers defying binaries and expressing fierceness Kirsten Zemke and Jared Mackley-Crump 9. Queer desire is not gay, gender is a fantasy: ways of loving Britney Gavin Lee 10. "Blackness in a white void": dissonance and ambiguity in Isaac Julien’s multi-screen film installations Ellie M. Hisama Afterword: the world only spins forward Paul Attinello
£39.99
Taylor & Francis Ltd Music Festivals and the Politics of Participation Ashgate Popular and Folk Music
Book SynopsisThe spread of UK music festivals has exploded since 2000. In this major contribution to cultural studies, the lid is lifted on the contemporary festival scene. Gone are the days of a handful of formulaic, large events dominating the market place. Across the country, hundreds of 'boutique' gatherings have popped up, drawing hundreds of thousands of festival-goers into the fields. Why has this happened? What has led to this change? In her richly detailed study, industry insider Dr Roxy Robinson uncovers the dynamics that have led to the formation and evolution of the modern festival scene. Tracing the history of the culture as far back as the fifties, this book examines the tensions between authenticity and commerce as festivals grew into a widespread, professionalized industry. Setting the scene as a fragmented, yet highly competitive market, Music Festivals and the Politics of Participation examines the emergence of key trends with a focus on surrealist production and popular theatricaTable of ContentsMusic Festivals and the Politics of Participation
£45.99
Taylor & Francis Media Materiality and Memory
Book SynopsisMedia, Materiality and Memory: Grounding the Groove examines the entwinement of material music objects, technology and memory in relation to a range of independent record labels, including Sarah Records, Ghost Box and Finders Keepers. Moving from Edison's phonograph to digital music files, from record collections to online archives, Roy argues that materiality plays a crucial role in constructing and understanding the territory of recorded sound. How do musical objects write' cultural narratives? How can we unearth and reactivate past histories by looking at yesterday's media formats? What is the nature, and fate, of the physical archive in an increasingly dematerialized world? In what ways do physical and digital musical objects coexist and intersect? With its innovative theoretical approach, the book explores the implications of materialization in the fashioning of a musical world and its cultural transmission. A substantial contribution to the field of music and material cuTable of ContentsContents: Introduction: music, material culture and archaeologies; Sarah Records (1987-1995) and the everyday; Ghost Box Records (2004-): materiality, technological mediation and the birth of ghosts; From collecting to curating and reissuing the recorded past: Finders Keepers (2004-) and reissue record labels; YouTube archivists, e-collectors and digital flâneurs: the internet and the future of phonography; Conclusion: the afterlife of music objects; Select bibliography; Index.
£39.99
Taylor & Francis PJ Harvey and Music Video Performance
Book SynopsisPJ Harveyâs performances are premised on the core contention that she is somehow causing âtroubleâ. Just how this trouble can be theorised within the context of the music video and what it means for a development of the ways we might conceptualise âdisruptionâ and think about music video lies at the heart of this book. Abigail Gardner mixes feminist theory and critical models from film and video scholarship as a rich means of interrogating Harveyâs work and redefining her disruptive strategies. The book presents a rethinking of the masquerade that allies it to cultural memory, precipitated by Gardnerâs claim that Harveyâs performances are conversations with the past, specifically with visualised memories of archetypes of femininity. Harveyâs masquerades emerge from her conversations and renegotiations with both national and transatlantic musical, visual and lyrical heritages. It is the first academic book to present analysis of Harveyâs music videos and opens up fresh avenues into exploring what is at stake in the video work of one of Britainâs premier singer-songwriters. It extends the discussion on music video to consider how to make sense of the rapidly developing digital environment in which it now sits. The interdisciplinary nature of the book should attract readers from a range of subject areas including popular music studies, cultural studies, media and communication studies, and gender studies.Trade Review"PJ Harvey and Music Video Performance is an essential book because it is the first full academic work that is exclusively dedicated to her and her music video. Gardner’s writing is very clear and well-documented, and her reconfigurations of the theories are indeed necessary to account for Harvey’s performances. In addition, she adds a voice to the relatively new study of music video as a genre, a domain that is bound to gain importance with time."- Ariane Gruet-Pelchat, Université Laval, Canada"Readers do not have to be Harvey fans in order to be attracted by the interdisciplinarily designed study, that offers an impressive insight into popular music. (...) one of the main strengths of the book – apart from the fact that it is the first academic book to present a detailed critical analysis of Harvey’s confrontational video work – is the extension of established concepts from feminist theory and models from film and video scholarship."- Dr. Fabienne Amlinger, Interdisziplinäres Zentrum für Geschlechterforschung, GermanyTable of ContentsPJ Harvey and Music Video Performance
£39.99
Taylor & Francis From the chanson francaise to the canzone dautore in the 1960s and 1970s
Book SynopsisThe similarities between the chanson franÃaise and the canzone d''autore have been often noted but never fully explored. Both genres are national forms which involve the figure of the singer-songwriter, both experienced their golden age of production in the post-World War II period and both are enduringly popular, still accounting for a large proportion of record sales in their respective countries. Rachel Haworth looks beyond these superficial similarities, and investigates the nature of the relationship between the two genres. Taking a multidisciplinary approach, encompassing textual analysis of song lyrics, cultural history and popular music studies, Haworth considers the different ways in which French and Italian song is thought about, written about and constructed. Through an in-depth study of the discourse surrounding chanson and the canzone d''autore, the volume analyses the development of the genres'' rules and rhetoric, identifying the key themes of Authority, Authenticity andTrade Review"The book offers an overview of the rhetoric and ideological rules governing canzone d’autore and chanson, of their rarely investigated connections, and of their shifting but persisting popularity today, thus signalling a growing anglophone interest in French popular music and a new emerging attention to Italian canzone."- Vincenzo Perna in VOLUME! Table of ContentsContents: Preface; Introduction; Thinking the chanson française and the canzone d’autore; Writing about chanson in the 1950s and 1960s; Brassens, Brel and Ferré as paradigms of chanson; Brassens, Brel and Ferré in their own words; Italian popular music prior to 1960: the Sanremo Festival and the Cantacronache; Italian popular music discourse in the 1960s and 1970s; Relationships and influences between the cantautore and the auteur-compositeur-interprète: Fabrizio De André and Georges Brassens; Relationships and influences between the cantautore and the auteur-compositeur-interprète: Giorgio Gaber and Jacques Brel; Contemporary perceptions of the chanson française and the canzone d’autore; Conclusion: authenticity, authority and influence in the context of the chanson française and the canzone d’autore; Bibliography; Index.
£39.99
Taylor & Francis This is the Sound of Irony Music Politics and Popular Culture
Book SynopsisThe use of irony in music is just beginning to be defined and critiqued, although it has been used, implied and decried by composers, performers, listeners and critics for centuries. Irony in popular music is especially worthy of study because it is pervasive, even fundamental to the music, the business of making music and the politics of messaging. Contributors to this collection address a variety of musical ironies found in the ânotes themselves,â in the text or subtext, and through performance, reception and criticism. The chapters explore the linkages between irony and the comic, the tragic, the remembered, the forgotten, the co-opted, and the resistant. From the nineteenth to twenty-first centuries, through America, Europe and Asia, this provocative range of ironies course through issues of race, religion, class, the political left and right, country, punk, hip hop, folk, rock, easy listening, opera and the technologies that make possible our pop music experience. This interdisciplinary volume creates new methodologies and applies existing theories of irony to musical works that have made a cultural or political impact through the use of this most multifaceted of devices.Trade Review"It is certainly required reading for any who are interested in the ways irony can be used and understood in popular music."- Melvin Backstrom, Department of Music Research, McGill UniversityTable of ContentsThis is the Sound of Irony: Music, Politics and Popular Culture
£39.99
Taylor & Francis Damnable Practises Witches Dangerous Women and Music in SeventeenthCentury English Broadside Ballads
Book SynopsisBroadside ballads-folio-sized publications containing verse, a tune indication, and woodcut imagery-related cautionary tales, current events, and simplified myth and history to a wide range of social classes across seventeenth century England. Ballads straddled, and destabilized, the categories of public and private performance spaces, the material and the ephemeral, music and text, and oral and written traditions. Sung by balladmongers in the streets and referenced in theatrical works, they were also pasted to the walls of local taverns and domestic spaces. They titillated and entertained, but also educated audiences on morality and gender hierarchies. Although contemporaneous writers published volumes on the early modern controversy over women and the English witch craze, broadside ballads were perhaps more instrumental in disseminating information about dangerous women and their acoustic qualities. Recent scholarship has explored the representations of witchcraft and malfeasance inTrade Review"Damnable Practises mines its wide variety of sources well, and makes convincing and valuable arguments about music in broadside ballads." - Megan E. Palmer, University of California, Santa Barbara, USA"...there is plenty of food for thought in Williams’s book, which with its emphasis on music’s communicative powers in particular does indeed fill a lacuna in ballad scholarship."- Penelope Gouk, University of Manchester"Williams’s expertise in music history brings a new and fruitful dimension to the field of gender and performance studies and opens some interesting areas for further investigation." -- Judith Bonzol, The University of Sydney, ParergonTable of ContentsDamnable Practises: Witches, Dangerous Women, and Music in Seventeenth-Century English Broadside Ballads
£39.99
Taylor & Francis Ltd The Festivalization of Culture
Book SynopsisThe Festivalization of Culture explores the links between various local and global cultures, communities, identities and lifestyle narratives as they are both constructed and experienced in the festival context. Drawing on a wide range of case studies from Australia and Europe, festivals are examined as sites for the performance and critique of lifestyle, identity and cultural politics; as vehicles for the mobilization and cementation of local and global communities; and as spatio-temporal events that inspire and determine meaning in people''s lives. Investigating the manner in which festivals are no longer merely periodic, cultural, religious or historical events within communities, but rather a popular means through which citizens consume and experience culture, this book also sheds light on the increasing diversity of contemporary societies and the role played by festivals as sites of cohesion, cultural critique and social mobility. As such, this book will be of interest to those woTrade Review'This is a fascinating collection of chapters exploring and illuminating the multifaceted contemporary festivalscape. The essays are theoretically informed, empirically grounded and offer new insights that clearly demonstrate the importance of festival attendees to the development of socio-cultural and political meanings and experiences of festival events. Recommended for anyone with an interest in music and arts festival research.' Chris Anderton, Southampton Solent University, UKTable of ContentsThe Festivalization of Culture
£39.99
Taylor & Francis Ltd Urban Space Identity and Postmodernity in 1980s Spain
Book SynopsisThis book encourages a rethink of the urban youth movement that came to be known as la movida through a close analysis of the monthly arts magazine La Luna de Madrid (1983-1988). It analyses La Luna''s urban reimaginings and its destabilization of fixed identity categories.Table of Contents1. Introduction: La Luna de Madrid and la movida madrileña 2. La Luna de Madrid and the City of Madrid: Reimagining and Reclaiming Urban Space 3. La Luna de Madrid's Destabilization of Identity: Gender, Nationality, and the Individual 4. Modernity and Postmodernity in and of La Luna de Madrid 5. Conclusion: Towards a New Critical Approach to la movida
£35.09
Taylor & Francis EcoLiterate Music Pedagogy
Book SynopsisEco-Literate Music Pedagogy examines the capacity of musiciking to cultivate ecological literacy, approaching eco-literate music pedagogy through philosophical and autoethnographical lenses. Building on the principle that music contributes uniquely to human ecological thinking, this volume tracks the course of eco-literate music pedagogy while guiding the discussion forward: What does it mean to embrace the impulse to teach music for ecological literacy? What is it like to theorize eco-literate music pedagogy? What is learned through enacting this pedagogy? How do the impulsion, the theorizing, and the enacting relate to one another? Music education for ecological consciousness is experienced in local places, and this study explores the theory underlying eco-literate music pedagogy in juxtaposition with the authorâs personal experiences. The work arrives at a new philosophy for music education: a spiritual praxis rooted in soil communities, one informed by ecologyâs intrinsic value for non-human being and musicking. Eco-Literate Music Pedagogy adds to the emerging body of music education literature considering ecological and environmental issues. Table of ContentsPreludeChapter 1 Philosophy on SoilChapter 2 Ecological LiteracyChapter 3 EcomusicologyChapter 4 Deep EcologyChapter 5 Spiritual PraxisPostlude
£26.24
Taylor & Francis Ltd Reading Smile
Book SynopsisFirst conceived in 1966 but only completed in 2004, Brian Wilson Presents Smile has been called the best-known unreleased album in pop music history and an American Sergeant Pepper. Reading Smile offers a close analysis of the recording in its social, cultural and historical contexts.It focuses in particular on the finished work's subject matter as embodied in Van Dyke Parks' contentious yet little understood lyrics, with their low-resolution, highly allusive portrayals of western expansion's archetypes, from Plymouth Rock, Massachusetts to Diamond Head, Hawaii. Documenting their multiple references and connotations, it argues that their invocations of national self-definition are part of a carefully crafted vision of American identity, society and culture both in tune and at odds with the times. Critical of the republic's past practices but convinced that its ideals, values and myths still provided resources to redeem it, the recording is interpreTable of ContentsIntroduction1 Into the Mystic? The Undergrounding of Brian Wilson and Van Dyke Parks, 1964–19672 My Regeneration: The Salvation of "Heroes and Villains"3 Uncovering the Cornfield: "Cabin Essence" and the Revision of History4 Wonderful Land: Smile’s Child Ballads5 Wave Power: Smile’s Renewable EnergiesConclusion
£37.99
Taylor & Francis Ltd Englands Folk Revival and the Problem of Identity in Traditional Music
Book SynopsisEstablishing an intersection between the fields of traditional music studies, English folk music history and the philosophy of Gilles Deleuze and Félix Guattari, this book responds to the problematic emphasis on cultural identity in the way traditional music is understood and valued. Williams locates the roots of contemporary definitions of traditional music, including UNESCO-designated intangible cultural heritage, in the theory of English folk music developed in 1907 by Cecil Sharp. Through a combination of Deleuzian philosophical analysis and historical revision of England's folk revival of the Victorian and Edwardian eras, Williams makes a compelling argument that identity is a restrictive ideology that runs counter to the material processes of traditional music's production. Williams reimagines Sharp's appropriation of Darwinian evolutionary concepts, asking what it would mean today to say that traditional music evolves', in light of recent advances in evolutionary theorTable of ContentsPart 1: The Problem of Identity in Traditional Music Chapter 1: Epistemologies of Identity in Traditional Music Chapter 2: Epistemologies of Identity in England’s Folk Revival Chapter 3: The Philosophy of Gilles Deleuze and Félix Guattari and its Value for Rethinking Traditional Music Chapter 4: The Conceptual Territory of Nationalism and the Territorialization of Traditional Music Part 2: Majoritarian Identities and Minor Musics in England’s Folk Revival Chapter 5: Nationalism, Regionalism, Globalism and the Infinite Regress of Identity in Minor Musics Chapter 6: Songs of the West: English Folk Music and the Celtic Imaginary Chapter 7: Songs of the Open Road: Gypsy, Roma and Traveller Music and the Interculturality of English Traditions Chapter 8: Music of the Waters: English Sea Chanties and the Black Atlantic Part 3: Traditional Music, Affect and the Folding of Dividual Subjectivities Chapter 9: Frank Kidson: Vital Melodies and the Intensity of History Chapter 10: Lucy Broadwood: Collecting Beautiful Mysteries Part 4: Evolutionary Thought and the Rhizomatic Production of Traditional Music Chapter 11: Lines and Lineages: Arborescent Evolutionary Theories of Traditional Music Chapter 12: From Chaos to Song: Towards a Rhizomatic Evolutionary Theory of Traditional Music
£135.00
Taylor & Francis Ltd The Music and Noise of the Stooges 196771
Book Synopsis The Stooges have come to be considered one of the most important rock bands, especially in regard to the formation of punk. By emphasizing their influence on later developments, however, critics tend to overlook the significance of the band in their own context and era. The Music and Noise of the Stooges, 1967-71 addresses such oversights. Utilizing the lenses of cultural criticism and sound studies (drawing on the thinking of Theodor Adorno, Jacques Attali, and Pierre Bourdieu, among others), as well as contemporary and archival texts, this extensively researched study analyzes the trajectory and musical output of the original Stooges. During the late 1960s and early 70s, a moment when the dissonant energy of rock'n'roll was more than ever being subsumed by the record industry, the Stooges were initially commercial failures, with the band's noisy music and singer Iggy Pop's bizarre onstage performances confusing their label, Elektra Records. As Begnal argues, thTrade Review“…[Begnal] frames the Stooges’ output and achievement in terms of cultural and literary criticism and sound studies…most interesting is Begnal’s contextual analyses of the group as products of ‘60s social and political upheaval, who as scholars of jazz and blues were heavily steeped in the racial and cultural dialogues of the time. Within this he also dissects the relationship between market forces and the avant garde, and the record industry’s role as agents of capitalism and commodification.”Mojo“…author Michael S. Begnal has dredged up some surprising and provable influences on the band’s intentions to smelt their initial psychy improvisation into tangible riffs and steadily solidified albums…this is a fresh reminder of those intriguing early days, adding smarts back into a story that is often lazily wound down into a bunch of memes about Iggy not wearing shirts…the investigation into the words and sounds of ‘Loose’ along will keep most uber-fans engrossed…there are useful [interviews] from old articles throughout that you might not ever have come across before.”Ugly Things, 64“This ain’t just any ol’ Stooges book but one which really deals with the deep down whys and wherefores of just what the group was up to during their original pre-RAW POWER romp…TONS of pertinent information, a whole load of it unknown even to me…that is presented here along with the insight and workings of what was so unique and downright special about the Stooges…Begnal put[s] it into heady but understandable terms..really, this is worth the while.”Blog to Comm (blogsite of Black to Comm)Table of ContentsIntroduction: "A Strange Type of Life"1 Becoming the Stooges2 Action, Reaction, Advance3 The Making of Fun House4 Fun House in the World5 The Third Elektra Album That Never WasConclusion: Becoming "Classic"BibliographyDiscographyFilmography
£135.00
Taylor & Francis The Routledge Companion to Popular Music History and Heritage
Book SynopsisThe Routledge Companion to Popular Music History and Heritage examines the social, cultural, political and economic value of popular music as history and heritage. Taking a cross-disciplinary approach, the volume explores the relationship between popular music and the past, and how interpretations of the changing nature of the past in post-industrial societies play out in the field of popular music.In-depth chapters cover key themes around historiography, heritage, memory and institutions, alongside case studies from around the world, including the UK, Australia, South Africa and India, exploring popular musicâs connection to culture both past and present.Wide-ranging in scope, the book is an excellent introduction for students and scholars working in musicology, ethnomusicology, popular music studies, critical heritage studies, cultural studies, memory studies and other related fields.Trade ReviewThis book thus fulfills the objective it has set for itself to make comprehensible and accessible the "fundamental and progressive" ideas which run through the studies currently flourishing in the four corners of the world concerning the history and the heritage of popular music...and the balance between theoretical and empirical contributions contributes to the relevance of the whole.Christophe Levaux for Volume!translated from the French.
£42.99
Taylor & Francis The History of Live Music in Britain Volume II 19681984
Book SynopsisTo date, there has been a significant gap in work on the social history of music in Britain from 1950 to the present day. The three volumes of Live Music in Britain address this gap and do so through a unique prismthat of live music. The key theme of the books is the changing nature of the live music industry in the UK, focused upon popular music but including all musical genres. Via this focus, the books offer new insights into a number of other areas, including the relationship between commercial and public funding of music, changing musical fashions and tastes, the impact of changing technologies, the changing balance of power within the music industries, the role of the state in regulating and promoting various musical activities within an increasingly globalised music economy, and the effects of demographic and other social changes on music culture. Drawing on new archival research, a wide range of academic and non-academic secondary sources, participant observation and a serieTable of ContentsContents:
£39.99
Taylor & Francis DIY Cultures and Underground Music Scenes
Book SynopsisThis volume examines the global influence and impact of DIY cultural practice as this informs the production, performance and consumption of underground music in different parts of the world. The book brings together a series of original studies of DIY musical activities in Europe, North and South America, Asia and Oceania. The chapters combine insights from established academic writers with the work of younger scholars, some of whom are directly engaged in contemporary underground music scenes. The book begins by revisiting and re-evaluating key themes and issues that have been used in studying the cultural meaning of alternative and underground music scenes, notably aspects of space, place and identity and the political economy of DIY cultural practice. The book then explores how the DIY cultural practices that characterize alternative and underground music scenes have been impacted and influenced by technological change, notably the emergence of digital media. FinalTable of ContentsIntroduction Part I: Underground Music Scenes between the Local and the Translocal 1. Rethinking DIY Culture in a Post-Industrial and Global Context 2. Visibility and Conviviality in Music Scenes 3. Punk Stories 4. Between Popular and Underground Culture: An Analysis of Bucharest Urban Culture 5. The DIY as a Constitutive Resource of the Specific Punk Capital in France 6. Boys in Black, Girls in Punk: Gender Performances in the Goth and Hardcore Punk Scenes in Northern Germany Part II: Music and DIY Cultures: DIY or Die! 7. Music, Protest Politics, DIY and Identity in the Basque Country 8. Home Economics: Fusing Imaginaries in the Musical Underground of Wellington, New Zealand 9. Proud Amateurs: Deterritorialized Expertise in Contemporary Finnish DIY Micro-Labels 10. Noise Records as Noise Culture: DIY Practices, Aesthetics and Trades 11. Punk Positif: The DIY Ethic and the Politics of Value in the Indonesian Hardcore Punk Scene Part III: Art, Music and Technological Change 12. So Far, Yet So Near: The Brazilian DIY Politics of Sofar Sounds – A Collaborative Network for Live Music Audiences 13. Cassette Cultures in Berlin: Resurgence, DIY Freedom or Sellout? 14. Here Today: The Role of Ephemera in Clarifying Underground Culture 15. Birth of an Underground Music Scene? Creative Networks and (Digital) DIY Technologies in a Hungarian Context Part IV: Music Scenes, Memory and Emotional Geographies 16. The Inoperative Subculture: History, Identity and Avant-Gardism in Garage Rock 17. Collectivity and Individuality in US Free Folk Musics 18. The Independent Record Label, Ideology and Longevity: Twenty Years of Chemikal Underground Records in Glasgow 19. Verbal Sound System (1997–98): Recalling a Raver’s DIY Practices in the British Free Party Counterculture 20. A Howl of the Estranged: Post-Punk and Contemporary Underground Scenes in Bulgarian Popular Music
£41.99
Taylor & Francis Legacies of Ewan MacColl
Book SynopsisEwan MacColl is widely recognized as a key figure in the English folk revival, who tried to convey traditional music to a mass audience. Dominant in the movement during the 1950s and much of the 1960s, his position has come under attack in more recent years from some scholars. While it would be arrogant to claim to 'set the record straight', this book will contribute significantly to the debate surrounding MacColl's importance. MacColl gave two extended interviews with co-editor Giovanni Vacca in 1987 and 1988, not long before his death, and these provide the impetus for a re-examination of his methods, his politics and his aesthetic aims. The book also provides critical overviews of MacColl's activities in the revival and of his practices, particularly as writer and singer. The time is ripe for such a contribution, following Peter Cox's study of the Radio Ballads, and in the context of biographies by Joan Littlewood and Frankie Armstrong. The contributions locate MacColl in his own hiTrade ReviewEngaged, opinionated, furiously creative - the controversies Ewan MacColl generated in life have scarcely lessened since his death. His legacy of writing and activism continues, but folklore scholarship has moved on, so it is particularly appropriate that a re-examination of his multi-faceted and highly individual work is undertaken now. It is welcome - and also particularly appropriate - to see international perspectives developed on MacColl and his achievements. Georgina Boyes, In Flanders Fields Museum, Ypres, Belgium This is the sort of testimony historians are always hopeful of finding yet which often simply does not survive ... This book gets us closer to MacColl’s thought than anything else easily available; in that it is greatly valuable.English Dance & SongTable of ContentsContents: Foreword, Peggy Seeger; Introduction, Allan F. Moore and Giovanni Vacca; On interviewing Ewan McColl as a young student: the interviews, Giovanni Vacca; The first interview (London, 23 June 1987); The second interview (London, August 1988): part I: what is folk music?; The second interview, part II: the ballad; Travelling people; The second interview, part III: folk culture and popular culture; The second interview, part IV: Scotland!; MacColl and the English folk revival, Dave Laing; Form and content: the irreconcilable contradiction in the song-writing of Ewan MacColl, Giovanni Vacca; MacColl singing, Allan F. Moore; MacColl in Italy, Franco Fabbri; Bibliography; Index.
£39.99
Taylor & Francis Ltd The Genesis and Structure of the Hungarian Jazz Diaspora
Book SynopsisIn Hungary, jazz was at the forefront of heated debates sparked by the racialised tensions between national music traditions and newly emerging forms of popular culture that challenged the prevailing status quo within the cultural hierarchies of different historical eras. Drawing on an extensive, four-year field research project, including ethnographic observations and 29 in-depth interviews, this book is the first to explore the hidden diasporic narrative(s) of Hungarian jazz through the system of historically formed distinctions linked to the social practices of assimilated Jews and Romani musicians. The chapters illustrate how different concepts of authenticity and conflicting definitions of jazz as the sound of Western modernity have resulted in a unique hierarchical setting. The book''s account of the fundamental opposition between US-centric mainstream jazz (bebop) and Bartók-inspired free jazz camps not only reveals the extent to which traditionalismTrade ReviewWhat a complex, brilliant little book! It’s best to read it as • a tour de force in the ethnography of performing arts, putting the field of jazz in Hungary on the map of the social sciences world-wide, • a courageous renewal of the Bourdieusian dialect of sociology, from the sidelines of European bourgeois modernity, • an ethnography of the place of ‘race’ and identity as they appear in the cosmos of the creative arts, and dance in the double bind of Dirty Whiteness and (dis)privilege, • an insider-outsider take on the whirl of radically open-ended art, • an account of creative lives that vibrate between bebop inspirations and the “burden of free idioms”, negotiating the all-important informal scripts played in the “Roma” and “assimilated Jewish” scenes, and • a sparkling allegory for semiperipheral east-central Europe, a tiny universe of its own, forever in search of a sound—finding a voice that it can regard as its own. József Böröcz, Professor of Sociology, Rutgers, The State University of New Jersey, USA Table of ContentsIntroduction Chapter 1: On the crossroads of cultural sociology and jazz studiesChapter 2: The ‘othering effect’ of jazz: cultural and racial hierarchies in Hungary’s jazz ageChapter 3: Polarisation, acceptance and in-betweenness: Jazz in state socialist HungaryChapter 4: Struggles that matter: The social constructions of bebop and free jazzChapter 5: Othering whiteness: Permanence and change in Romani musicians’ jazz habitusConclusion: Counter-discourses, jazz diasporas and the reconfiguration of the canonIndex
£135.00
Taylor & Francis Ltd The Genesis and Structure of the Hungarian Jazz Diaspora
Book SynopsisIn Hungary, jazz was at the forefront of heated debates sparked by the racialised tensions between national music traditions and newly emerging forms of popular culture that challenged the prevailing status quo within the cultural hierarchies of different historical eras. Drawing on an extensive, four-year field research project, including ethnographic observations and 29 in-depth interviews, this book is the first to explore the hidden diasporic narrative(s) of Hungarian jazz through the system of historically formed distinctions linked to the social practices of assimilated Jews and Romani musicians. The chapters illustrate how different concepts of authenticity and conflicting definitions of jazz as the sound of Western modernity have resulted in a unique hierarchical setting. The book''s account of the fundamental opposition between US-centric mainstream jazz (bebop) and Bartók-inspired free jazz camps not only reveals the extent to which traditionalismTrade ReviewWhat a complex, brilliant little book! It’s best to read it as • a tour de force in the ethnography of performing arts, putting the field of jazz in Hungary on the map of the social sciences world-wide, • a courageous renewal of the Bourdieusian dialect of sociology, from the sidelines of European bourgeois modernity, • an ethnography of the place of ‘race’ and identity as they appear in the cosmos of the creative arts, and dance in the double bind of Dirty Whiteness and (dis)privilege, • an insider-outsider take on the whirl of radically open-ended art, • an account of creative lives that vibrate between bebop inspirations and the “burden of free idioms”, negotiating the all-important informal scripts played in the “Roma” and “assimilated Jewish” scenes, and • a sparkling allegory for semiperipheral east-central Europe, a tiny universe of its own, forever in search of a sound—finding a voice that it can regard as its own. József Böröcz, Professor of Sociology, Rutgers, The State University of New Jersey, USA Table of ContentsIntroduction Chapter 1: On the crossroads of cultural sociology and jazz studiesChapter 2: The ‘othering effect’ of jazz: cultural and racial hierarchies in Hungary’s jazz ageChapter 3: Polarisation, acceptance and in-betweenness: Jazz in state socialist HungaryChapter 4: Struggles that matter: The social constructions of bebop and free jazzChapter 5: Othering whiteness: Permanence and change in Romani musicians’ jazz habitusConclusion: Counter-discourses, jazz diasporas and the reconfiguration of the canonIndex
£39.99
Taylor & Francis Crowdfunding and Independence in Film and Music
Book SynopsisThis book explores how independent film and music artists and labels use crowdfunding and where this use places crowdfunding in the contemporary system of cultural production. It complements an analysis of independence in film and music with the topic of crowdfunding as a firmly established form of financing cultural activity.In the second half of the 20th century, the concept of artistic independence was vital to classifying and distinguishing artists, their works, and labels or publishers who released them. However, during the last three decades, this term has become increasingly blurred, and some commentators argue that independence is in crisis. Can crowdfunding be the answer to this crisis? Some believe that it is, whereas others argue otherwise, seeing crowdfunding instead as just the next manifestation of this crisis. This dilemma is a starting point for the analyses of the relationships between crowdfunding and artistic independence conducted in this book, and will beTable of Contents1. Introduction; 2. Crowdfunding as a New Form of Financing Creative Activity; 3. Crowdfunding Independent Cinema; 4. Crowdfunding and Independence in Music; 5. Conclusions; References
£62.58
Taylor & Francis Ltd Global Jazz
Book SynopsisGlobal Jazz: A Research and Information Guide is an annotated bibliography that explores the global impact of jazz, detailing the evolution of the African American musical tradition as it has been absorbed, transformed, and expanded across the world's historical, political, and social landscapes. With more than 1,300 annotated entries, this vast compilation covers a broad range of subjects, people, and geographic regions as they relate to interdisciplinary research in jazz studies. The result is a vivid demonstration of how cultures from every corner of the globe have situated jazzoften regarded as America's classical musicwithin and beyond their own musical traditions, creating new artistic forms in the process. Global Jazz: A Research and Information Guide presents jazz as a common musical language in a global landscape of diverse artistic expression. Table of Contents1. North America: United States and Canada / 2. South America/Latin America and Caribbean / 3. Europe / 4. Africa and Middle East / 5. Asia / 6. Australia, New Zealand, Oceania / Index of Names / Index of Countries, Geographic Regions & Localities / Index of Subjects
£150.00
Taylor & Francis The Routledge Companion to Popular Music and Humor
Book SynopsisAn essential part of human expression, humor plays a role in all forms of art, and humorous and comedic aspects have always been part of popular music. For the first time, The Routledge Companion to Popular Music and Humor draws together scholarship exploring how the element of humor interacts with the artistic and social aspects of the musical experience. Discussing humor in popular music across eras from Tin Pan Alley to the present, and examining the role of humor in different musical genres, case studies of artists, and media forms, this volume is a groundbreaking collection that provides a go-to reference for scholars in music, popular culture, and media studies.While most scholars, when considering humor's place in popular music, tend to focus on more literate forms, the contributors in this collection seek to fill in the gaps by surveying all kinds of humor, critical theories, and popular musics. Across eight parts, the essays in thisTrade Review"Overall, The Routledge Companion to Popular Music and Humor is a refreshing assessment of the integration of humor within music and how this speaks of society on various levels. The text is creative and presents a commonly nonspecialist topic in a highly scholarly format. Summing Up: Recommended."—A. E. Handfield, Manhattan College, CHOICE"Music and humor can come together in ways obvious or hidden, silly or even serious. The Routledge Companion to Popular Music and Humor looks at their rich interplay from a great variety of perspectives. Indeed, variety stands as a key component to this volume. Over eight parts and forty-two chapters, scholars and artists from many fields tackle music from different genres and different parts of the world. The volume’s fine introduction grounds these disparate contributions for a work which stands as a coherent whole. ... The great variety of topics addressed in The Routledge Companion to Popular Music and Humor demonstrates how wide-reaching and important this volume is."—John Littlejohn, Popular Music and SocietyTable of ContentsPopular Music and Humor: An Introduction (Thomas M. Kitts & Nick Baxter-Moore) / Part 1: Historical Antecedents / 1. Humor in Early Twentieth-Century Sheet Music: Problems of Contexts and Receptions (C. Matthew Balensuela) / 2. What Might Have Been Left Behind: Popular African-American Female Singers in an Age of Liberal Reform (James Martens) / 3. Jazz Humor from a Musical Perspective (Garth Alper) / 4. Rubes, Rednecks, and Novelty Songs: The Comedic Tradition in Country Music (Don Cusic) / Part 2: Humor in Rock Music Genres / 5. Grumbly Grimblies, Frozen Dogs, and Other Boojums: Eccentricity from Chaucer to Carroll in English Psychedelia (Peter Grant) / 6. The Clown Figure in 1970s Rock Music (Andy Bennett) / 7. Humor in Metal Music (Deena Weinstein) / 8. "Anarchy in Woolworths": Punk Comedy and Humor (Russ Bestley) / 9. "Mommy’s Dead": The Gallows Humor of Hardcore Punk (Dennis D. McDaniel) / 10. Hip Hop’s Sophisticated Comedy (David Caplan) / 11. "The Earth Is Doomed": Geek Rock, Humor, and the End of the World (Victoria Willis) / Part 3: Humor in Global Music / 12. From Kaiso to Get on Bad: Humor in Trinidad’s Calypso and Soca Music (Amelia Ingram) / 13. "Call de Contracta!" Humor, Innovation, and Competition in Jamaican Music (Sonjah Stanley Niaah) / 14. Play and Irony in the Kwaito Music of Postapartheid South Africa (Tuulikki Pietilä) / 15. Humor in Ugandan Popular Music (David Pier) / 16. Absurdity and Nostalgia: Humor in K-Pop (Sarah Keith) / 17. Negotiating Blackness in French Rural Spaces: Kamini’s Hip-Hop Comedy (Mich Yonah Nyawalo) / Part 4: Selected Artists I: Humor in Popular Music / 18. The "Sly Wit" of Chuck Berry (Wayne Robins) / 19. The British Invasion of the Wild West: Country Parody in the Rolling Stones and Other British Bands (Oliver Lovesey) / 20. "I N
£47.99
Taylor & Francis Ltd Popular Viennese Electronic Music 19902015
Book SynopsisThe author presents a cultural history of popular Viennese electronic music from 1990 to 2015, from the perspectives of production, scene and national and international reception. To illustrate this history in depth, a number of case studies of the most successful and distinguished musicians are explored, such as Kruder and Dorfmeister, Patrick Pulsinger, Tosca, Electric Indigo and Sofa Surfers. The author draws on research about electronic music, the relationship between music and the urban environment, the history of Austria and Vienna, music scenes and fandom, the digital shift , stardom in popular music (especially electronic music), as well as theories of postmodernism.Chapter 4 of this book is freely available as a downloadable Open Access PDF under a Creative Commons Attribution-Non Commercial-No Derivatives 3.0 license. https://s3-us-west-2.amazonaws.com/tandfbis/rt-files/docs/Open+Access+Chapters/9781138713918_oachapter4.pdfChapter 8 oTable of ContentsIntroduction: Putting Viennese Electronic Music on the Map Part 1 1. Vienna, the City of Music: From Mozart to Conchita Wurst Part 2 2. Vienna Electronica as Scene and Industry: Between Cultivated Provincialism and Cosmopolitanism Part 3 3. Between Rock and Electronic Music, or the Pleasures of Sin(ging) 4. Kruder and Dorfmeister: The Studio(us) Remixers 5. The Cool Ambience of Tosca 6. Sofa Surfers: Surfing and Post-Rocking 7. Patrick Pulsinger: The Happy Techno Kid 8. Christian Fennesz, Peter Rehberg and the Label Mego: Between Glitch and Bécs 9. Women in a Mixed World: Electric Indigo and Sweet Susie
£39.99
