Popular music Books

Book SynopsisWoody Guthrie is the most famous and influential folk music composer and performer in the history of the United States. His most popular song, This Land is Your Land has become the country's unofficial national anthem, known to every school child since the 1960s. His influence exceeded the realm of American music, reaching American politics. Guthrieâs music became the soundtrack to the Great Depression, and iconic of the Dust Bowl migrants. Guthrie and his music came to represent those disenfranchised people who remained committed to making better lives for themselves through the promise of the American Dream.Here, in a short, accessible biography, bolstered with primary documents, including letters, autobiographical excerpts, and reflections by Pete Seeger, Cohen introduces Guthrieâs life and music influence to students of American history and culture.Trade Review"Clearly written, packed with piquant quotations, and unafraid of detailing the complexities and contradictions of this rambling life, this fine biography is not only the best short introduction to the life and music of Woody Guthrie; it is the most succinct and direct examination of Guthrie's contribution to the dream-lyric of America." - Barry Shank, Professor of Comparative Studies at Ohio State University"Ron Cohen has a knowledge and love of American folk music that can be felt on nearly every page of this wonderfully concise biography of Woody Guthrie. Cohen artfully captures Guthrie's spirit in his prose and sheds new light on familiar themes and songs. A great read!" - Bob Santelli, Executive Director of the Grammy Museum"Upon the celebration of the centennial of Woody Guthrie's birth there will be a new visitation to the bard's life and works. In spite of his global fame little is actually known by the average person about the man and his career and life. Woody Guthrie fills in the blanks. I suggest you put on some music and learn with Cohen's new book while you have your own Woody Guthrie birthday party." - Country Joe McDonald, Singer/SongwriterTable of ContentsIntroductionChapter 1: The Early Years Chapter 2: The Postwar YearsChapter 3: Woody’s Rediscovery and DeathChapter 4: Woody’s LegacyDocumentsBibliography

Read more less

Book SynopsisWoody Guthrie is the most famous and influential folk music composer and performer in the history of the United States. His most popular song, This Land is Your Land has become the country's unofficial national anthem, known to every school child since the 1960s. His influence exceeded the realm of American music, reaching American politics. Guthrieâs music became the soundtrack to the Great Depression, and iconic of the Dust Bowl migrants. Guthrie and his music came to represent those disenfranchised people who remained committed to making better lives for themselves through the promise of the American Dream.Here, in a short, accessible biography, bolstered with primary documents, including letters, autobiographical excerpts, and reflections by Pete Seeger, Cohen introduces Guthrieâs life and music influence to students of American history and culture.Trade Review"Clearly written, packed with piquant quotations, and unafraid of detailing the complexities and contradictions of this rambling life, this fine biography is not only the best short introduction to the life and music of Woody Guthrie; it is the most succinct and direct examination of Guthrie's contribution to the dream-lyric of America." - Barry Shank, Professor of Comparative Studies at Ohio State University"Ron Cohen has a knowledge and love of American folk music that can be felt on nearly every page of this wonderfully concise biography of Woody Guthrie. Cohen artfully captures Guthrie's spirit in his prose and sheds new light on familiar themes and songs. A great read!" - Bob Santelli, Executive Director of the Grammy Museum"Upon the celebration of the centennial of Woody Guthrie's birth there will be a new visitation to the bard's life and works. In spite of his global fame little is actually known by the average person about the man and his career and life. Woody Guthrie fills in the blanks. I suggest you put on some music and learn with Cohen's new book while you have your own Woody Guthrie birthday party." - Country Joe McDonald, Singer/SongwriterTable of ContentsIntroductionChapter 1: The Early Years Chapter 2: The Postwar YearsChapter 3: Woody’s Rediscovery and DeathChapter 4: Woody’s LegacyDocumentsBibliography

Read more less

Book SynopsisThis lively textual symposium offers a collection of formative research on the culture of global psytrance (psychedelic trance). As the first book to address the diverse transnationalism of this contemporary electronic dance music phenomenon, the collection hosts interdisciplinary research addressing psytrance as a product of intersecting local and global trajectories. Contributing to theories of globalization, postmodernism, counterculture, youth subcultures, neotribes, the carnivalesque, music scenes and technologies, dance ritual and spirituality, chapters introduce psytrance in Goa, the UK, Israel, Japan, the US, Italy, Czech Republic, Portugal and Australia. As a global occurrence indebted to 1960s psychedelia, sharing music production technologies and DJ techniques with electronic dance music scenes, and harnessing the communication capabilities of the Internet, psytrance and its cultural implications are thoroughly discussed in this first scholarly volume of its kind.Trade Review"The Local Scenes and Global Cultures of Psytrance provides a valuable insight into a world-wide movement which has had comparatively little study so far." —Rupert Till, University of Huddersfield, UK, Dancecult: Journal of Electronic Dance Music Culture"A valuable contribution to academic understandings of, and writing about, the ongoing strength of EDM cultures." —Susan Luckman, University of South Australia, Cultural Studies ReviewTable of ContentsList of Plates and Figures Psytrance: An Introduction, Graham St John Section I: Goa Trance 1: Goa is a State of Mind: On the Ephemerality of Psychedelic Social Emplacements, Luther Elliott 2: The Decline of Electronic Dance Scenes: The Case of Psytrance in Goa Anthony, D’Andrea 3: The Ghost of Goa Trance: A Retrospective, Arun Saldanha Section II: Global Psytrance 4: Infinite Noise Spirals: The Musical Cosmopolitanism of Psytrance, Hillegonda Rietveld 5: Psychedelic Trance Music Making in the UK: Rhizomatic Craftsmanship and the Global Market Place, Charles de Ledesma 6: Re-evaluating Musical Genre in UK Psytrance, Robin Lindop 7: (En)Countering the Beat: Paradox in Israeli Psytrance, Joshua I. Schmidt Section III: Liminal Culture 8: DemenCZe: Psychedelic Madhouse in the Czech Republic, Botond Vitos 9: Dionysus Returns: Contemporary Tuscan Trancers and Euripides’ The Bacchae, Chiara Baldini 10: Weaving the Underground Web: Neotribalism and Psytrance on Tribe.net, Jenny Ryan 11: Narratives in Noise: Reflexivity, Migration and Liminality in the Australian Psytrance Scene, Alex Lambert 12: Liminal Culture and Global Movement: The Transitional World of Psytrance, Graham St John Notes on Contributors Index

Read more less

Book SynopsisA history of black communities in America, which focuses on musical traditions from early jazz to hip-hop. The author also considers the social forces and organisations which countered these artistic movements, including the FBI and the Nixon administration.Trade Review"...validates Neal's intellectual and practical contribution to the fields of popular culture and Black cultural studies." -- Deborah Elizabeth Whaley, AmericanStudies"...carves out a well-defined intellectual and theoretical space for the post-soul generation--the soul babies of history." -- Deborah Elizabeth Whaley, American Studies"Neal's cogent, coherent, and comprehensive What the MusicSaid is arguably the definitive study of the relationship between 20th-century black American music and black American society as a whole." -- Bill Piekarski, LibraryJournal"Neal's grasp of the sociology of urban development is impressive, as is his familiarity with African-American studies scholarship and his knowledge of black popular music. Neal has undertaken to achieve a grand synthesis of popular culture and social research about the post-World War II black diaspora. Neal possesses encyclopedic knowledge of the music he surveys, while his pronouncements about its significance are incisive and insightful. [S]cholars interested in music, urban sociology, African-American studies, and cultural history will find What the Music Said to be wide-ranging in scope and penetrating in analysis. Indeed, since. Neal. undertake[s] to explore the ability of popular music to define community values, critique injustice, and inspire individuals to struggle for a more just society, perhaps [his book] should be considered appropriate reading for us all." -- History of Education Quarterly"What the Music Said is a passionately written book. It provides expert analysis for those interested in the history of black arts, music and culture...What the MusicSaid hammers home the point that black music is the spiritual and political connection to our communal souls." -- Trent Fitzgerald, QBR"Neal's book chronicles the development of various forms of black music from bebop to hip-hop with the meticulous care of a critic-historian and the zeal of a fan..In addition, What the Music Said does an excellent job of giving the reader a clear understanding of how music industry politics and current technology such as sampling help to shape the sound and texture of black popular music, particularly rap and R&B. The book is an impressive work of cultural criticism, one that both scholars and fans of popular music will learn from or argue with for decades to come." -- Washington DC Post"In this deftly written study, Neal persuasively demonstrates that, from the spiritiuals sung by slaves to 20th-century blues, jazz, be-bop and soul, music has provided important 'aural space' in which African-American communities have been able to share and evaluate their collective experiences." -- Publisher'sWeekly"Neal's book chronicles the development of various forms of black music from bebop to hip-hop with the meticulous care of a critic-historian and the zeal of a fan...The book is an impressive work of cultural criticism, one that both scholars and fans of popular music will learn from or argue with for decades to come." -- ChicagoHerald"Neal manages to keep it real, while breaking off a little something for the homies in the academy." -- Todd Boyd, author of Am I Black Enough For You?"Neal considers how structural transformations within the black community changed black music genres. The list of factors that Neal considers in tracing these structural changes and their musical consequences is ambtiously thorough, namely "migration patterns, dearth or abundance of public venues, national and local polotical movements, black religious institutions, black youth cutlure, the corporate annexation of black popular culture, crack cocaine, class stratification within the black community, gender relations, police brutality, and the structural and economic transformation of urban spaces." Neal's grasp of the sociology of urban development is impressive, as is his familiarity with African-American studies scholarship and his knowledge of black popular music." -- Goeffrey G. Tegnell, History of EducationQuarterly"Neal has undertaken to achieve a grand synthesis of popular culture and social research about the post-World-War II black diaspora. Neal possesses encyclopedic knowledge of the music he surveys. While his pronouncements about its significance are incisive and insightful. Nevertheless, scholars interested in music, urban sociology, African-American studies, and cultural history will find What the Music Said to be wide-ranging in scope and penetrating in analysis. [This book] chould be considered appropriate reading for us all." -- Geoffrey G. Tegnell, History of Education QuarterlyTable of ContentsIntroduction; Chapter 1 Legislating Freedom, Commodifying Struggle; Chapter 2 From Protest to Climax; Chapter 3 Soul for Sale; Chapter 4 Soul for Real; Chapter 5 Postindustrial Soul; Chapter 6 Postindustrial Postscript;

Read more less

Book SynopsisIn 1949, immigrant recording engineer Moses Asch embarked on a lifelong project: documenting the world of sound produced by mankind, via a small record label called Folkways Records. By the time of his death in 1986, he had amassed an archive of over 2,200 LPs and thousands of hours of tapes; so valuable was this collection that it was purchased by the Smithsonian Institute. FolkwaysRecords is an account of how he built this business, working against all odds, to create a landmark in the history of American music.Table of ContentsAcknowledgments Preface, Michael Asch Introduction 1. Early Influences: 1870s to 1930s The Phonograph and Sound Recording Youth and Family Influences 2. Beginnings: Asch Records The Deal with Stinson First Recordings by Lead Belly, Pete Seeger, and Woody Guthrie 3. Broadening the Mandate: DISC Records of America New Products and Directions Bankruptcy 4. The Birth of Folkways Records The Business Model Overview of Asch's Businesses Building the Catalog 5. The Business of Making Records Manufacture Domestic Distribution Foreign Distribution Marketing and Sales Exploiting the Catalog: Licensing and Contracts 6. Finances Folkways Pioneer Record Sales Moe's Money 7. Easing the Burden: Folkways in the 1960s Reaching the Educational Market Reaching the Pop Market The Folk Revival and New Opportunities: RBF, Broadside, and the revival of DISC Records Return to Normal Operations 8 The Sale of Folkways Conclusion Notes Bibliography Index

Read more less

Book SynopsisIn 1949, immigrant recording engineer Moses Asch embarked on a lifelong project: documenting the world of sound produced by mankind, via a small record label called Folkways Records. By the time of his death in 1986, he had amassed an archive of over 2,200 LPs and thousands of hours of tapes; so valuable was this collection that it was purchased by the Smithsonian Institute. FolkwaysRecords is an account of how he built this business, working against all odds, to create a landmark in the history of American music.Table of ContentsAcknowledgments Preface, Michael Asch Introduction 1. Early Influences: 1870s to 1930s The Phonograph and Sound Recording Youth and Family Influences 2. Beginnings: Asch Records The Deal with Stinson First Recordings by Lead Belly, Pete Seeger, and Woody Guthrie 3. Broadening the Mandate: DISC Records of America New Products and Directions Bankruptcy 4. The Birth of Folkways Records The Business Model Overview of Asch's Businesses Building the Catalog 5. The Business of Making Records Manufacture Domestic Distribution Foreign Distribution Marketing and Sales Exploiting the Catalog: Licensing and Contracts 6. Finances Folkways Pioneer Record Sales Moe's Money 7. Easing the Burden: Folkways in the 1960s Reaching the Educational Market Reaching the Pop Market The Folk Revival and New Opportunities: RBF, Broadside, and the revival of DISC Records Return to Normal Operations 8 The Sale of Folkways Conclusion Notes Bibliography Index

Read more less

Book SynopsisWhenever you hear the prevalent wailing blues harmonica in commercials, film soundtracks or at a blues club, you are experiencing the legacy of the master harmonica player, Little Walter. Immensely popular in his lifetime, Little Walter had fourteen Top 10 hits on the R&B charts, and he was also the first Chicago blues musician to play at the Apollo. Ray Charles and B.B. King, great blues artists in their own right, were honored to sit in with his band. However, at the age of 37, he lay in a pauper's grave in Chicago. This book will tell the story of a man whose music, life and struggles continue to resonate to this day.Trade Review"Maybe the best book I've ever read concerning music or any music personality." -- Blues Notes"Indispensable." -- The Times (London)"Noted blues scholars...paint a picture of Walter as a fiery, independent soul." -- --Library Journal"The story of this ultimately deeply-troubled genius progenitor of contemporary blues harmonica is unfolded in an enthralling manner by a triumverate of authors notably well-qualified for the task." -- Juke Blues"This is undoubtably the book that Walter's status merits and is recommended unreservedly." -- Juke Blues"Given his standing in the world of blues, it's amazing that it has taken so long for an in-depth book on Marion Walter Jacobs to appear, but be in no doubt that the wait has been well worth it. Reading like a novel, but one which even Walter Mosley might have struggled to plot with credibility, the story of the ultimately deeply-troubled genius progenitor of contemporary blues harmonica is unfolded in an enthralling manner by a triumvirate of authors notably well-qualified for the task." -- Bill Moodie, Juke Blues (UK)Table of ContentsAcknowledgments Permissions Preface 1. Night Train: Louisiana 1920-43 2. Good Evenin' Everybody: New Orleans/Helena, Arkansas: 1943-44 3. Wonder Harmonica King: St Louis/Point South/ Chicago: Summer 1943-46 4. I Just Keep Loving Her: Chicago/Helena/Mississippi/Chicago: c. 1946-48 5. Ebony Boogie: Chicago/Helena/Mississippi/ Chicago: September 1948-Fall 6. Juke: Chicago Blues Takes a Corner: Winter 1951-52 7. Diamonds and Cadillac Cars: Chicago/East and West Coasts/Southern states: January 1953-February 1954 8. You Gonna Miss Me When I'm Gone: Chicago/The South and East: February-Fall 1954 9. Roller Coaster: Chicago/Alexandria, Louisiana/Chicago: Fall 1954-Fall 1995 10. I've Had My Fun: Chicago/The South/Chicago: December 1954-December 1957 11. Crazy Mixed Up World: Chicago and On the Road: January 1958-Autumn 1959 12. I Ain't Broke, I'm Badly Bent: Chicago: Fall 1959-February 1963 13. Back in the Alley: Chicago/London/San Francisco/Boston: Winter 1963-Fall 1966 14. Mean Old World: Chicago-Europe/UK-Chicago: Fall 1966-February 1968 Epilogue: 1968-Present Chronological Recordings Notes Index

Read more less

Book SynopsisWhenever you hear the prevalent wailing blues harmonica in commercials, film soundtracks or at a blues club, you are experiencing the legacy of the master harmonica player, Little Walter. Immensely popular in his lifetime, Little Walter had fourteen Top 10 hits on the R&B charts, and he was also the first Chicago blues musician to play at the Apollo. Ray Charles and B.B. King, great blues artists in their own right, were honored to sit in with his band. However, at the age of 37, he lay in a pauper's grave in Chicago. This book will tell the story of a man whose music, life and struggles continue to resonate to this day.Trade Review"Maybe the best book I've ever read concerning music or any music personality." -- Blues Notes"Indispensable." -- The Times (London)"Noted blues scholars...paint a picture of Walter as a fiery, independent soul." -- --Library Journal"The story of this ultimately deeply-troubled genius progenitor of contemporary blues harmonica is unfolded in an enthralling manner by a triumverate of authors notably well-qualified for the task." -- Juke Blues"This is undoubtably the book that Walter's status merits and is recommended unreservedly." -- Juke Blues"Given his standing in the world of blues, it's amazing that it has taken so long for an in-depth book on Marion Walter Jacobs to appear, but be in no doubt that the wait has been well worth it. Reading like a novel, but one which even Walter Mosley might have struggled to plot with credibility, the story of the ultimately deeply-troubled genius progenitor of contemporary blues harmonica is unfolded in an enthralling manner by a triumvirate of authors notably well-qualified for the task." -- Bill Moodie, Juke Blues (UK)Table of ContentsAcknowledgments Permissions Preface 1. Night Train: Louisiana 1920-43 2. Good Evenin' Everybody: New Orleans/Helena, Arkansas: 1943-44 3. Wonder Harmonica King: St Louis/Point South/ Chicago: Summer 1943-46 4. I Just Keep Loving Her: Chicago/Helena/Mississippi/Chicago: c. 1946-48 5. Ebony Boogie: Chicago/Helena/Mississippi/ Chicago: September 1948-Fall 6. Juke: Chicago Blues Takes a Corner: Winter 1951-52 7. Diamonds and Cadillac Cars: Chicago/East and West Coasts/Southern states: January 1953-February 1954 8. You Gonna Miss Me When I'm Gone: Chicago/The South and East: February-Fall 1954 9. Roller Coaster: Chicago/Alexandria, Louisiana/Chicago: Fall 1954-Fall 1995 10. I've Had My Fun: Chicago/The South/Chicago: December 1954-December 1957 11. Crazy Mixed Up World: Chicago and On the Road: January 1958-Autumn 1959 12. I Ain't Broke, I'm Badly Bent: Chicago: Fall 1959-February 1963 13. Back in the Alley: Chicago/London/San Francisco/Boston: Winter 1963-Fall 1966 14. Mean Old World: Chicago-Europe/UK-Chicago: Fall 1966-February 1968 Epilogue: 1968-Present Chronological Recordings Notes Index

Read more less

Book SynopsisThe story of Alice May, a touring prima donna in the 19th century who travelled from England to Australia, New Zealand, India and the US, taking part in pioneering performances of the popular light operas of the day, including the first production of Gilbert and Sullivan's "The Sorcerer" and the first authorized American production of "The Mikado".Trade Review"This biography of a forgotten performer is doubly welcome as a reminder of the many other singers like her who have devoted their lives to pursuing the phantom of fame while bringing pleasure to their audiences." -- Joe K. Law, TheOpen QuarterlyTable of ContentsChapter One THE MYSTERIOUS MISS MAY Chapter Two GREEN GIRL IN A GOLDEN LAND Chapter Three NEW DIRECTIONS, NEW ROLES Chapter Four TOAST OF THE ANTIPODES Chapter Five INDIAN ADVENTURE Chapter six CROWNED WITH SUCCESS Chapter Seven WORKING FOR D’OYLY CARTE Chapter Eight ALLY PALLY TO THE ALHAMBRA Chapter Nine PRIMA DONNA IN THE PROVINCES Chapter Ten STARTING AFRESH IN AMERICA Chapter Eleven PLAYING THE CASINO Chapter Twelve “A PERFECT KATISHA” Chapter Thirteen DOWNWARD SPIRAL

Read more less

Book SynopsisBrown Eyed Handsome Man: The Life and Hard Times of ChuckBerry draws on dozens of interviews done by the author himself and voluminous public records to paint a complete picture of this complicated figure. This biography uncovers the real Berry and provides us with a stirring, unvarnished portrait of both the man and the artist. Berry has long been one of pop music's most enigmatic personalities. Growing up in a middle-class, black neighborhood in St. Louis, his first major hit song, Maybellene, was an adaptation of a white country song, wedded to a black-influenced beat. Thereafter came a string of brilliant songs celebrating teenage life in the '50s, including School Day, Johnny B. Goode, and Sweet Little Sixteen. Berry's career rise was meteoric; but his fall came equally quickly, when his relations with an underage girl led to his conviction. It was not his first (nor his last) run in with the law. He scored his biggest hit in the early '70s with the comical (aTrade Review"Pegg's scholarship is tidy, his writing is clear and straightforward." -- The Los Angeles TimesTable of ContentsAcknowledgements, Prologue: Grand Avenue, 1. The Ville, 2. De Sun Do Move, 3. Maybellene, 4. Breaking White, 5. Deliver Me from the Days of Old, 6. Windermere Place, 7. Club Bandstand, 8. The Mask, 9. St. Louis Blues, 10. Never Saw a Man So Changed, 11. Mercury Falling, 12. Back Home, 13. The Whole World Knows the Music, Nobody Knows the Man, 14. Wentzville and St. Charles, 15. Johnson vs Berry, Epilogue: Blueberry Hill, Discography, Notes, Works Cited, Index

Read more less

Book SynopsisBrown Eyed Handsome Man: The Life and Hard Times of ChuckBerry draws on dozens of interviews done by the author himself and voluminous public records to paint a complete picture of this complicated figure. This biography uncovers the real Berry and provides us with a stirring, unvarnished portrait of both the man and the artist. Berry has long been one of pop music's most enigmatic personalities. Growing up in a middle-class, black neighborhood in St. Louis, his first major hit song, Maybellene, was an adaptation of a white country song, wedded to a black-influenced beat. Thereafter came a string of brilliant songs celebrating teenage life in the '50s, including School Day, Johnny B. Goode, and Sweet Little Sixteen. Berry's career rise was meteoric; but his fall came equally quickly, when his relations with an underage girl led to his conviction. It was not his first (nor his last) run in with the law. He scored his biggest hit in the early '70s with the comical (and some would say decidedly lightweight) song My Ding-a-Ling. The following decades brought hundreds of nights of tours, with little attention from the recording industry. Bruce Pegg offers the definitive, though not always pretty, portrait of one of the greatest stars of rock and roll, a story that will appeal to all fans of American popular music.Trade Review"Pegg's scholarship is tidy, his writing is clear and straightforward." -- The Los Angeles TimesTable of ContentsAcknowledgements, Prologue: Grand Avenue, 1. The Ville, 2. De Sun Do Move, 3. Maybellene, 4. Breaking White, 5. Deliver Me from the Days of Old, 6. Windermere Place, 7. Club Bandstand, 8. The Mask, 9. St. Louis Blues, 10. Never Saw a Man So Changed, 11. Mercury Falling, 12. Back Home, 13. The Whole World Knows the Music, Nobody Knows the Man, 14. Wentzville and St. Charles, 15. Johnson vs Berry, Epilogue: Blueberry Hill, Discography, Notes, Works Cited, Index

Read more less

Book SynopsisDavid Braham (1834-1905) was the musical director for the famous vaudeville team of Harrigan and Hart, writing music for many of their comic songs, including The Mulligan Guards, Paddie Duffy's Cart, and many more. His long career as a theatrical composer in New York helped establish a new style of Broadway musical. He came from a family well-entrenched in the music and theater worlds, and his story touches upon nearly all aspects of the history of American musical theater of this era.Table of ContentsContents Acknowledgments Series Introduction: Sic transit gloria spectaculi : Some Famous but Forgotten Figures of the Musical Theater, Kurt Gänzl 1. Overture: My Bother's Violin 2. Act One: Leader of the Orchestra 3. Olio: W.H. Lingard 4. Act Two: Variety Virtuosos 5. Act Three: Josh Hart and the Theatre Comique 6. Intermezzo: Olios at the Eagle 7. Act Four: Harrigan, Hart, and Braham 8. Entr'Acte: The New Comique 9. Act Five: Triumphs at the Park 10. Act Six: Harrigan's Theatre 11. Grand Finale: I have had my share of it Appendix A: Songs by David Braham Appendix B: Songs by the Braham Family Appendix C: Braham's Career at the Grand Opera House Appendix D: Braham's Career at Wallack's Theatre Index

Read more less

Book SynopsisThis book examines the roles, functions, and interpretations of rock music as part of the initial push towards exploring national and personal identities in a newly independent Belarus. It also includes a summary of rock concert activity in Belarus.Table of ContentsList Of Illustrations -- Notes to Accompanying CD -- The Transliteration of the Belarusan Language -- Acknowledgments -- Preface -- 1."2yvie Bielarus!”: Nationalism, Critiques, and Cultural Responses -- Identity and Nation -- Explanations of Identity Construction: Eastern Europe in the Western Press -- 2.Terminology, Controversy, and the Interpretation of History -- Steps Towards Independence -- Terminology -- National Origins and the "Golden Era" -- Aggressive Colonization -- Rebellion -- The Twentieth Century -- 3."Stand in the doorway": Entrances and Exits in Urban Belarus -- Singular Visions and Multiple Directions in Urban Belarus -- The Public and the Private -- Expectations for Change in Belarus -- "And what please, is a please . . . ?" -- Popular Culture Without a Marketplace: Perfume, Lipstick, and the Soaps -- Red Wine and Radiation: Chernobyl in Everyday Life -- Conclusion -- 4.From Legislation to the Renaissance: Belarusan Rock and Urban Folklore -- Generalities and Specifics of the Soviet Rock Scene -- The Piesniary [Songsters]: From VIA to "Piesniarok" -- Defining the Elements of "Good?" Belarusan Rock -- 5.Of Mermaids and Rock Singers: Ethnography and Shifting Authority in Palac's "Rusalki" -- Culture Contact and the Expedition -- "Young girls, our sisters . . ." -- 6.Ulis: "America is Where I am" -- Group Dynamics and the Practice Space -- Defining Ulis and Belarusan Rock -- 7.From Bard to Rock Star: Kasia Kamockaja -- Gender and Belarusan Rock -- Novaje Nieba's Kasia Kamockaja: from Bard to Rock Star -- Image, Belonging, and Association -- 8.National Republic of Mroja [Dream]: Quotation and the Kangaroo -- 9.Rock and Revolution: Performance and the Mediation of Rock -- Rock and Revolution: Performance and the Mediation of Rock -- Bibliography -- Discography -- Index.

Read more less

Book SynopsisMaracatu Atômico is the first academic work to investigate the mangue movement, one of Brazil''s most vital pop culture trends of the last thirty years, and the related new music scene of Northeast Brazil. Contending with the widespread poverty and social problems, mangue places a renewed value on the local environment and its myriad folk traditions while embracing modern, global pop influences and technology. The book provides historical and ethnographic accounts of the movement, analyzes salient examples of folk and pop fusion music, and enters recent debates about postmodernity, globalization, and world music in an attempt to understand better how local musicians in one Third World region interact within a more global cultural system.Table of ContentsAcknowledgments Preface Chapter 1. Introduction My Introduction to Mangue and the "New Music Scene" of Recife The Objective, Scope, and Basic Findings of The Research A Review of Literature on Brazilian Popular Music Theoretical Orientation Research Methods and Fieldwork Synopsis Organization of the Dissertation Some Background on Recife Chapter 2. "Da Lama Ao Caos" (From Mud to Chaos): A History of the Mangue Movement and "New Music Scene" of Recife Introduction Setting the Scene: Recife in the 1980s The Emergence of Chico Science and Nação Zumbi Mundo Livre S/A (Free World Ltd.) Fred Zero Quatro and Chico Science Meet: the Making Of Mangue The Beginnings of a"New Music Scene" The Manifesto Mangue The Consolidation of Recife's "New Music Scene" Mangue to the World The Recife Scene Loses Its "Greatest Exponent" Chapter 3. Mangue In The Context Of Brazilian Pop Music History: A Comparison With Other Movements Introduction Tropicália Pernambucan Precedents to Mangue Rock Brasil: The 1980s Boom in Brazilian Rock Chapter 4. "É Do Caralho Ser Pernambucano, Pôrra!" ("It's Damn Cool To Be Pernambucan!"): An Ethnography of the Recife Music Scene

Read more less

Book SynopsisSouthwest Shuffle documents an important period in country music history. During the '30s and early '40s, hundreds of thousands of Okies, Arkies, and other rural folks from around the Southwest resettled in California, in search of work. A country music scene quickly blossomed there, with performers playing Western Swing, Cowboy, and Honky Tonk country. After World War II, these styles rocked country music, leading to the innovations of '60s performers like Buck Owens and Merle Haggard in creating the so-called Bakersfield Sound. These stories are based on original interviews and archival research by one of the most respected writers on this period of country history. Kienzle writes in a vibrant style, reflecting his long-time love for these musical styles.Trade Review"Kienzle is an encyclopedic authority on U.S. country and western music. His enthusiasms are intense and persuasive -- if you like anything at all about the genre, which is far from universal fondness. Here, in a scholarly but thoroughly readable volume, Kienzle explores the Southwest element of the genre, quite distinct -- especially before the 1950s -- from the more traditional Southeastern and Midwestern species. Even the casual fan can hear from memory the voices of Tennessee Ernie Ford, Hank Thompson and Willie Nelson, who figure strongly here. But there are a dozen other main players, and legions of lesser ones. A fine piece of cultural journalism about a powerful engine of music and poetry." -- Michael Pakenham, The Baltimore Sun"Kienzle, with the gift of a storyteller combined with the details of a professor's research, shows off our state's music roots in his book "Southwest Shuffle," a must for anyone interested in the annals of country and Western music, a link to rock 'n roll, swing and rhythm and blues styles that owe a lot to country boogie." -- DailyOklahoman"Kienzie has put together an absorbing and eminently readable account of an important period of music history that's often overlooked, filled as it is with engaging stories and personalities. Any self-respecting fan of the genre should hunt this book down." -- The AustinChronicleTable of ContentsPreface Part I A New Country Beat 1. JEKYLL AND HYDE, Spade Cooley 2. SEARS' JUBILEERS TO OCEAN'S ELEVEN, Jimmy Wyble 3. INSURGENCY IN ASCENDANCE, Hank Penny Part II Capitol Chronicles THE KID FROM CHICAGO, Lee Gillette 4. FATE JUST PUTS EVERYTHING TOGETHER, Ken Nelson THE ONE WE HAVE BEEN LOOKING FOR Smoke! Smoke! Smoke! (That Cigarette) Part III Western Swingers 5. THAT WESTERN SWING FLAVOR, Hank Thompson RHYTHM BUSTER, Luke Wills 6. WRONG ROAD HOME, Tommy Duncan MOVE THOSE THINGS OUT Bob Wills Invades the Grand Ole Opry: 1944 Part IV Hometown Heroes 7. A HAPPY HELLO, Cliffie Stone and the Hometown Jubilee 8. FLIPPIN' THE LID, Speedy West and Jimmy Bryant ADULTERY GOES MAINSTREAM, Slippin' Around 9. NEITHER FISH NOR FOWL, Roy Lanham and the Whippoorwills 10. PEA-PICKIN', Tennessee Ernie Ford Part V Against the Grain 11. I CAN'T RUN AWAY FROM MYSELF, Ray Price WALK SOFTLY, Wade Ray 12. SOMEDAY THAT'LL CHANGE, Willie Nelson Discography Notes Bibliography

Read more less

Book SynopsisSouthwest Shuffle documents an important period in country music history. During the ''30s and early ''40s, hundreds of thousands of Okies, Arkies, and other rural folks from around the Southwest resettled in California, in search of work. A country music scene quickly blossomed there, with performers playing Western Swing, Cowboy, and Honky Tonk country. After World War II, these styles rocked country music, leading to the innovations of ''60s performers like Buck Owens and Merle Haggard in creating the so-called Bakersfield Sound. These stories are based on original interviews and archival research by one of the most respected writers on this period of country history. Kienzle writes in a vibrant style, reflecting his long-time love for these musical styles.Trade Review"Kienzle is an encyclopedic authority on U.S. country and western music. His enthusiasms are intense and persuasive -- if you like anything at all about the genre, which is far from universal fondness. Here, in a scholarly but thoroughly readable volume, Kienzle explores the Southwest element of the genre, quite distinct -- especially before the 1950s -- from the more traditional Southeastern and Midwestern species. Even the casual fan can hear from memory the voices of Tennessee Ernie Ford, Hank Thompson and Willie Nelson, who figure strongly here. But there are a dozen other main players, and legions of lesser ones. A fine piece of cultural journalism about a powerful engine of music and poetry." -- Michael Pakenham, The Baltimore Sun"Kienzle, with the gift of a storyteller combined with the details of a professor's research, shows off our state's music roots in his book "Southwest Shuffle," a must for anyone interested in the annals of country and Western music, a link to rock 'n roll, swing and rhythm and blues styles that owe a lot to country boogie." -- DailyOklahoman"Kienzie has put together an absorbing and eminently readable account of an important period of music history that's often overlooked, filled as it is with engaging stories and personalities. Any self-respecting fan of the genre should hunt this book down." -- The AustinChronicleTable of ContentsPreface Part I A New Country Beat 1. JEKYLL AND HYDE, Spade Cooley 2. SEARS' JUBILEERS TO OCEAN'S ELEVEN, Jimmy Wyble 3. INSURGENCY IN ASCENDANCE, Hank Penny Part II Capitol Chronicles THE KID FROM CHICAGO, Lee Gillette 4. FATE JUST PUTS EVERYTHING TOGETHER, Ken Nelson THE ONE WE HAVE BEEN LOOKING FOR Smoke! Smoke! Smoke! (That Cigarette) Part III Western Swingers 5. THAT WESTERN SWING FLAVOR, Hank Thompson RHYTHM BUSTER, Luke Wills 6. WRONG ROAD HOME, Tommy Duncan MOVE THOSE THINGS OUT Bob Wills Invades the Grand Ole Opry: 1944 Part IV Hometown Heroes 7. A HAPPY HELLO, Cliffie Stone and the Hometown Jubilee 8. FLIPPIN' THE LID, Speedy West and Jimmy Bryant ADULTERY GOES MAINSTREAM, Slippin' Around 9. NEITHER FISH NOR FOWL, Roy Lanham and the Whippoorwills 10. PEA-PICKIN', Tennessee Ernie Ford Part V Against the Grain 11. I CAN'T RUN AWAY FROM MYSELF, Ray Price WALK SOFTLY, Wade Ray 12. SOMEDAY THAT'LL CHANGE, Willie Nelson Discography Notes Bibliography

Read more less

Book SynopsisWhy are some popular musical forms and performers universally reviled by critics and ignored by scholars-despite enjoying large-scale popularity?  How has the notion of what makes good or bad music changed over the years-and what does this tell us about the writers who have assigned these tags to different musical genres?  Many composers that are today part of the classical canon were greeted initially by bad reviews.  Similarly, jazz, country, and pop musics were all once rejected as bad by the academy that now has courses on these and many other types of music. This book addresses why this is so through a series of essays on different musical forms and performers. It looks at alternate ways of judging musical performance beyond the critical/academic nexus, and suggests new paths to follow in understanding what makes some music popular even if it is judged to be bad. For anyone who has ever secretly enjoyed ABBA, Kenny G, or disco, Bad Music will be a guilty pleasure!Trade Review"Every now and then a book comes along that is embedded in our collective cultural conscience that we rarely see publicly discussed. Bad Music: The Music We Love to Hate is such a volume." -- Laura J. Gray, University of Wartloo, NotesTable of ContentsEditor's Preface [Acknowledgements] Introduction Maiken Derno and Christopher Washburne Chapter 1: What is Bad Music? Simon Frith I. Value & Identity Politics Chapter 2: White Trash Alchemies of the Abject Sublime: Country as Bad Music Aaron A. Fox Chapter 3: Pop Music, Racial Imagination, and the Sounds of Cheese: Notes on Loser's Lounge Jason Lee Oakes Chapter 4: Bad World Music Timothy D. Taylor Chapter 5: Theorizing the Musically Abject Elizabeth Tolbert II. Canonizing the Popular, Discovering the Mundane Chapter 6: Does Kenny G play Bad Jazz?: A Case Study Christopher Washburne Chapter 7: The Flight from Banality James Koehne Chapter 8: The Good, The Bad, and The Folk Richard Carlin Chapter 9: Film, Music, and the Redemption of the Mundane Giorgio Biancorosso Chapter 10: A moment like this: American Idol and narratives of meritocracy Matthew Wheelock Stahl III. Noise, Malfunction, and Discourses of (In)Authenticity Chapter 11: Extreme Noise Terror: Punk Rock and the Aesthetics of Badness Angela Rodel Chapter 12: Glitch - The Beauty of Malfunction Torben Sangild Chapter 13: Glitches, Bugs, and Hisses: the degeneration of musical recordings and the contemporary musical work Eliot Bates Chapter 14: Rock Critics Need Bad Music Deena Weinstein Chapter 15: Much Too Loud and Not Loud Enough: Issues Involving the Reception of Staged Rock Musicals Elizabeth L. Wollman IV. Historical Afterthought Chapter 16: Trivial Music (Trivialmusik): Preface and Trivial Music and aesthetic judgment Carl Dahlhaus, translated by Ulrike Sailer Introductory comments by Walter Frisch List of contributors

Read more less

Book SynopsisLuck's in My Corner is a comprehensive biography of one of the most compelling jazz musicians of the Swing Era, Oran Hot Lips' Page. Page was the greatest of the Kansas City trumpeters, whose crackling, growling solos made him the go-to man during Count Basie's earliest days as a bandleader. Page went on to be a featured trumpeter with Artie Shaw, a star of New York's 52nd street, and a pioneer of the R & B scene of the 1950s. This book presents an in-depth chronology of Page's career, with special attention paid to the development of his trumpet style. Luck's in My Corner examines the life and music of a forgotten figure of the Swing Era and returns him to his rightful place as a leading light in the world of jazz. Todd Bryant Weeks has combined genealogical, musicological, discographical and historical research, resulting in a revealing and entertaining examination of a life that spanned major changes in American popular music. This bookTrade Review'This book, Luck's in my Corner, is worth checking out because it's the total package... Todd's research is monumental and he's a fine writer... Todd's remarks are always on the mark, while his transcriptions are invaluable... I don't think anyone else can write another word on Lips without it being compared to this magnificent work.' - http://Dippermouth.Blogspot.com"On his soulful trumpet and as a riveting singer of the blues, Oran "Lips" Page was and remains a permanent jazz master. At last, there is a book that brings the man and his music fully back to life. Luck's In My Corner: The Life and Music of Hot Lips Page by Todd Bryant Weeks is essential for any jazz library.” -Nat Hentoff, Wall Street Journal"This book, Luck's in my Corner, is worth checking out because it's the total package... Todd's research is monumental and he's a fine writer... Todd's remarks are always on the mark, while his transcriptions are invaluable... I don't think anyone else can write another word on Lips without it being compared to this magnificent work." - http://Dippermouth.Blogspot.com "On his soulful trumpet and as a riveting singer of the blues, Oran "Lips" Page was and remains a permanent jazz master. At last, there is a book that brings the man and his music fully back to life. Luck's In My Corner: The Life and Music of Hot Lips Page by Todd Bryant Weeks is essential for any jazz library." -Nat Hentoff, Wall Street Journal"In telling the life story of legendary jazz trumpeter Oran "Hot Lips" Page, author Todd Bryant Weeks has penned one of the major jazz biographies. Mr. Weeks has has crafted a beautifully written, deeply compassionate, psychologically insightful and multi-layered portrait of an extraordinary real life human being. I heartily recommend this book." - David Krakauer, international concert and recording artistTable of ContentsPart 1. Texas Introduction 1. Cuero, 1900 2. Black Dallas, 1902 - 1923 3. Goin’ To The Territory 1926 - 1927 4. Texas Trumpeter Part 2. Barnstorming 5. The Blue Devils, 1927—1931 6. Ya Got Love, 1931 7. With Bennie, 1931—1935 8. Kansas City Man, 1935—1936 Part 3. Luck’s In My Corner 9. Home to Harlem, 1936—193 10. The Street, 1939—1941 11. The Big Time, 1941—1945 12. Uptown Jive, 1945—1949 13. Open The Door Richard, 1949—1954 Epilogue: Miss Larceny Postscript Mr. After Hours

Read more less

Book SynopsisMusic Cultures in the United States is a basic textbook for an Introduction to American Music course. Taking a new, fresh approach to the study of American music, it is divided into three parts. In the first part, historical, social, and cultural issues are discussed, including how music history is studied; issues of musical and social identity; and institutions and processes affecting music in the U.S. The heart of the book is devoted to American musical cultures: American Indian; European; African American; Latin American; and Asian American. Each cultural section has a basic introductory article, followed by case studies of specific musical cultures. Finally, global musics are addressed, including Classical Musics and Popular Musics, as they have been performed in the U.S..Each article is written by an expert in the field, offering in-depth, knowledgeable, yet accessible writing for the student. The downloadable resources offer musical examples tied to each article. Pedagogic material includes chapter overviews, questions for study, and a chronoloogy of key musical events in American music and definitions in the margins.Table of ContentsIntroduction Acknowledgments Part I: Music in the United States: Historical and Cultural Contexts Chapter 1 A Social-Historical Approach to Music in the United States Ellen Koskoff Chapter 2 Institutions and Processes Affecting Music in the United States Barry Bergey, Anthony Seeger, David Sanjek, Charlotte J. Frisbie, Kai Fikentscher, and Robert Fink Chapter 3 Social and Musical Identities Adelaida Reyes, Ann Dhu McLucas, Ronald Radano, Susan C. Cook, Terry E. Miller, Tamara Livingston, Portia K. Maultsby, Susan Fast, and Jennifer Rycenga Chapter 4 Musical and Social Interactions James R. Cowdery, Victoria Lindsay Levine, Judith A. Gray, Beverly Diamond, Barbara Benary, Jody Diamond, Amy Ku'uleleialoha Stillman, and Steven Cornelius Part II: A Sampler of Music Cultures in the United States Chapter 5 American Indian Musical Cultures Charlotte Heth, Victoria Lindsay-Levine, and Erik D. Gooding Chapter 6 European American Musical Cultures Carl Rahkonen, Christopher Goertzen, Jennifer C. Post, and Mark Levy Chapter 7 African American Musical Cultures Portia K. Maulstby, Mellonee V. Burnim, Dena J. Epstein, Susan Oehler, Jacqueline Cogdell Dje Dje, David Evans, and Thomas Riis Chapter 8 Latin American Musical Cultures Daniel Sheehy, Steven Loza, José R. Reyna, and Steven Cornelius Chapter 9 Asian American Musics Terry E. Miller, Susan M. Asai, and Anne K. Rasmussen Part III: Global Musics in the United States Chapter 10 Contemporary Concert Musics William Kearns, Rob Haskins, Steven Loza, Josephine R.B. Wright, and Ingrid Monson Chapter 11 Popular Musics Charles K. Wolfe, Rob Bowman, Sara Nicholson, Dawn M. Norfleet, and Jeremy Wallach Bibliography Index

Read more less

Book SynopsisJazz: The Basics gives a brief introduction to a century of jazz, ideal for students and interested listeners who want to learn more about this important musical style. The heart of the book traces jazz''s growth from its folk origins through early recordings and New Orleans stars; the big-band and swing era; bebop; cool jazz and third stream; avant-garde; jazz-rock; and the neo-conservative movement of the 1980s and 1990s. Key figures from each era including: Louis Armstrong, Benny Goodman, Charlie Parker, Miles Davis, and Wynton Marsalis are highlighted along with classic works. The book concludes with a list of the 100 essential recordings to own, along with a timeline and glossary. Jazz: The Basics serves as an excellent introduction to the players, the music, and the styles that make jazz ''America''s classical music.''Table of ContentsChapter 1 Fundamentals; Chapter 2 Pre-Jazz; Chapter 3 Early Jazz Recordings; Chapter 4 Louis Armstrong; Chapter 5 The 1920S; Chapter 6 The Swing Era, Part I; Chapter 7 The Swing Era, Part II; Chapter 8 Bebop and the Moldy Figs; Chapter 9 Charlie Parker; Chapter 10 Thelonious Monk; Chapter 11 The 1950S; Chapter 12 Miles Davis; Chapter 13 Avant-Garde Jazz of The 1950s and Early 1960s; Chapter 14 John Coltrane; Chapter 15 The 1960s, Part I; Chapter 16 The 1960s, Part II; Chapter 17 The 1960s, Part III; Chapter 18 Postbop Pianists; Chapter 19 Fusion; Chapter 20 The 1980s and New Conservatism; Chapter 21 The Genre Busters; Chapter 22 Lately;

Read more less

Book SynopsisJazz: The Basics gives a brief introduction to a century of jazz, ideal for students and interested listeners who want to learn more about this important musical style. The heart of the book traces jazz''s growth from its folk origins through early recordings and New Orleans stars; the big-band and swing era; bebop; cool jazz and third stream; avant-garde; jazz-rock; and the neo-conservative movement of the 1980s and 1990s. Key figures from each era including: Louis Armstrong, Benny Goodman, Charlie Parker, Miles Davis, and Wynton Marsalis are highlighted along with classic works. The book concludes with a list of the 100 essential recordings to own, along with a timeline and glossary. Jazz: The Basics serves as an excellent introduction to the players, the music, and the styles that make jazz ''America''s classical music.''Table of ContentsChapter 1 Fundamentals; Chapter 2 Pre-Jazz; Chapter 3 Early Jazz Recordings; Chapter 4 Louis Armstrong; Chapter 5 The 1920S; Chapter 6 The Swing Era, Part I; Chapter 7 The Swing Era, Part II; Chapter 8 Bebop and the Moldy Figs; Chapter 9 Charlie Parker; Chapter 10 Thelonious Monk; Chapter 11 The 1950S; Chapter 12 Miles Davis; Chapter 13 Avant-Garde Jazz of The 1950s and Early 1960s; Chapter 14 John Coltrane; Chapter 15 The 1960s, Part I; Chapter 16 The 1960s, Part II; Chapter 17 The 1960s, Part III; Chapter 18 Postbop Pianists; Chapter 19 Fusion; Chapter 20 The 1980s and New Conservatism; Chapter 21 The Genre Busters; Chapter 22 Lately;

Read more less

Book SynopsisThis is the definitive resource for understanding and practicing the influential dance technique developed by two pioneers of modern dance, Alwin Nikolais and Murray Louis. The Nikolais/Louis Dance Technique is presented in a week-to-week classroom manual, providing an indispensable tool for teachers and students of this widely studied movement practice. Theoretical background for further reading is set off from the manual for those interested in deeper study. Their philosophy and methodology span a broad readership and offer an important addition to dance literature and American cultural history.Table of ContentsBiography of Alwin Nikolais, Biography of Murray Louis, Introduction, SECTION I Definitions, Basic Dance, Vision of a New Technique , Decentralization , Grain , Gravity and Verticality, The Psyche, Stasis, Dynamics and Energies, Sensory Perception, Movement Range, Three Conditions of Energy, SECTION II Creating Improvisation and Composition, Defining Improvisation, Gestalt, Nature and Art , The Language of Criticism, Composition, SECTION III The Class Manual, Introduction to the Classes, The Body as an Instrument, The Dimensional Concept, Alignment, The Stretches, Up and Down Vertical The Plié, Across the Floor, Week 1 Locomotion and Dimensions, Week 2— Isolating Body Parts (Isolations), Week 3— Body Parts (Continued), Week 4 Levels, Week 5 The Joints and Joint Action, Week 6 Rotary Action, Week 7 Grain and Density , Week 8— Gravity and Upward Willpower, Week 9— Swing, Centripetal, and Centrifugal Momentum, Week 10 Undercurves, Week 11 Overcurves and Mirror Action, Major Principles of Dance (The Big Four), Week 12 Space Volume and Peripheral, Week 13 Time, Week 14 Shape, Motion, Week 15— Motion, Week 16— Abstraction, Week 17— Review Technique, Week 18 Realism to Abstraction, Week 19 Diagonals, Week 20 Circles, Week 21 Falls, Week 22 Suspension Points, Week 23 Percussion and Prop Extension, Week 24 Lyricism, Adjuncts to Choreographic and Performing Skills, Week 25 The Showing: Performance, Consonance and Summation, A Brief Review

Read more less

Book SynopsisSpeak It Louder: Asian Americans Making Music documents the variety of musics-from traditional Asian through jazz, classical, and pop-that have been created by Asian Americans. This book is not about Asian American music but rather about Asian Americans making music. This key distinction allows the author to track a wide range of musical genres. Wong covers an astonishing variety of music, ethnically as well as stylistically: Laotian song, Cambodian music drama, karaoke, Vietnamese pop, Japanese American taiko, Asian American hip hop, and panethnic Asian American improvisational music (encompassing jazz and avant-garde classical styles). In Wong's hands these diverse styles coalesce brilliantly around a coherent and consistent set of questions about what it means for Asian Americans to make music in environments of inter-ethnic contact, about the role of performativity in shaping social identities, and about the ways in which commercially and technologically mediated culturTrade Review"[Speak It Louder] is a remarkable and important achievement and is no doubt poised to be a significant influence in the worlds of musicology and ethnic studies." --Women & MusicTable of ContentsAcknowledgments Southeast Asian Immigrants Sounding Off Chapter 1: Asian American Performativities Chapter 2: History, Memory, Re-Membering Chapter 3: Taking (to) the Street: Cambodian Immigrants in the Philadelphia Mummers Parade Chapter 4: Karaoke as Phantasm: Mass Mediation and Agency in Vietnamese American Popular Music Chapter 5: Vietnamese American Technoculture in Orange County: Pham Duy at Home II. Encounters Chapter 6: Taking (to) the Streets Again: Theorizing the Asian American Festival Chapter 7: Listening to Local Practices: Asian American Performance and Identity Politics in Riverside, California III. New Interventions Chapter 8: The Asian American Body in Performance Chapter 9: Taiko in Asian America Chapter 10: Just Being There: Making Asian American Space in the Recording Industry Chapter 11: Finding an Asian American Audience: The Problem of Listening. Chapter 12: ImprovisAsians: Free Improvisation as Asian American Resistance Chapter 13: Ethnography, Ethnomusicology, and Post-White Theory Chapter 14: My Father's Life in Music. Appendix A: "Thinking of the Old Village," by Khamvong Insixiengmai (transcription and translation) Bibliography

Read more less

Book SynopsisClassic American Popular Song: The Second Half-Century, 1950-2000 addresses the question: What happened to American popular song after 1950? There are numerous books available on the so-called Golden Age of popular song, but none that follow the development of popular song styles in the second half of the 20th century. While 1950 is seen as the end of an era, the tap of popular song creation hardly ran dry after that date. Many of the classic songwriters continued to work through the following decades: Porter was active until 1958; Rodgers until the later 1970s; Arlen until 1976. Some of the greatest lyricists of the classic era continued to do outstanding and successful work: Johnny Mercer and Dorothy Fields, for example, continued to produce lyrics through the early ''70s. These works could be explained as simply the Golden Age''s last stand, a refusal of major figures to give in to a new reality. But then, how can we explain the outstanding careers of Frank Loesser, Cy Coleman, JTrade Review"An excellent and much-needed contribution to the literature of American popular song." -- Phil Furia, University of North Carolina, author of The Poets of TinPan Alley.Table of ContentsIntroduction 1. Classic Pop at Mid-Century 2. The Music Went Round and Round . . . 3. Late Flowering from Old Stock 4. Indian Summer of the Classic Popular Song 5. Re-Stocking the Songbook 6. The Land Where the Good Songs Go 7. Other Voices in Popular Song 8. Sondheim and After Copyright Information Index of Songs Cited Index of Songwriters Index of Other Names

Read more less

Book SynopsisBlues: The Basics offers a concise introduction to a century of the blues. Organized chronologically, it focuses on the major eras in the growth and development of this popular musical style. Material includes: a definition of the blues and the major genres within it key artists such as Ma Rainey, Bessie Smith, Robert Johnson and Blind Lemon Jefferson key recordings Complete with timelines and suggestions for further investigation, this fascinating overview is ideal for students and interested listeners.Table of ContentsIntroduction, Some Caveats, 1 The Roots of The Blues: 1619–1919, 2 The 1920s: Documented Beginnings of the Classic and Rural Blues, 3 The Folk Blues: 1920–1940, 4 Rhythm and Blues and the Beginning of Electric Blues: 1940–1960, 5 The Blues Revival: 1960–1980, 6 The New Generation of Blues Artists: 1980–Today, Appendix, Index

Read more less

Book SynopsisTo his many fans, he was known simply as Mr. Excitement, a singer whose music and stage presence influenced generations of performers, from Elvis Presley to Michael Jackson. Jackie Wilson: Lonely Teardrops looks at the life and career of this deeply troubled artist. Published briefly in a limited edition in the United Kingdom, this Routledge edition makes available this definitive biography for Wilson's legions of fans. Also includes two 8-page photo inserts.Trade Review"Brims with the reminiscences of Wilson's former wives and lovers, fellow musicians, bodyguards, and others. This is the portrait of a bigger-than-life personality." -- Benjamin Segedin, Booklist"A tremendous read. Four stars (highest rating)." -- Q Magazine"Jackie was one of the most extraordinary performers with whom I've ever worked... Thanks so much, Tony, for helping to tell the world of his contributions." -- Dick ClarkTable of ContentsWhy a Book on Jackie Wilson? Acknowledgements Introduction . Chapter One: Danny Boy Chapter Two: You Can't Keep a Good Man Down Chapter Three: Reet Petite Chapter Four: You'd Better Know It ............................................ 80 Chapter Five: A Woman, a Lover, a Friend .................................... 84 Chapter Six: I'm Wanderin' ...................................................... 94 Chapter Seven: Higher and Higher ........................................... 114 Chapter Eight: A Kiss, a Thrill and Goodbye ................................ 139 Chapter Nine: Soul Galore .................................................... 150 Chapter Ten: I Don't Need You Around ...................................... 165 Chapter Eleven: Those Heartaches ........................................... 177 Chapter Twelve: This Love Is Real ............................................ 183 Chapter Thirteen: Beautiful Day .............................................. 197 Chapter Fourteen: It's All Over ............................................... 214 Chapter Fifteen: Your Loss, My Gain ......................................... 241 Chapter Sixteen: The Greatest Hurt ......................................... 247 Chapter Seventeen: Postscript ................................................ 252 Bibliography ......................................................... ............. 256 Discography ......................................................... ............. 258

Read more less

Book SynopsisHow does popular music produce its subject? How does it produce us as subjects? More specifically, how does it do this through voice--through giving voice? And how should we understand this subject--the people--that it voices into existence? Is it singular or plural? What is its history and what is its future?Voicing the Popular draws on approaches from musical interpretation, cultural history, social theory and psychoanalysis to explore key topics in the field, including race, gender, authenticity and repetition. Taking most of his examples from across the past hundred years of popular music development--but relating them to the eighteenth- and nineteenth-century pre-history--Richard Middleton constructs an argument that relates the popular to the unfolding of modernity itself. Voicing the Popular renews the case for ambitious theory in musical and cultural studies, and, against the grain of much contemporary thought, insists on theTrade ReviewVoicing the Popular already marks one of the paradigmatic moments in popular-music studies in the twenty-first century. Richard Middleton makes a turn toward a new set of issues of a humanistically based scholarship – poverty, working-class culture, racism, gender. Precisely because of his conviction that it is music that "voices the popular," he refuses to neglect the music. In Voicing the Popular Richard Middleton launches his most intensive examination of race and racism to date. In the early chapters he opens an analytical space between study of the blues and the historical trajectory of the minstrel stage, culminating in a powerful reading of Show Boat. In subsequent chapters we witness him again insisting that interpretation of the music, too, must accompany our location of the voice, as he analyzes a history of standards that stretches from Monteverdi to Percy Sledge. The book closes with a fresh approach to authenticity, which does not hesitate to confront the reader with the troubling contexts within which popular music has been created in the recent past, particularly through his examination of the Buena Vista Social Club. It is in Voicing the Popular that Richard Middleton most passionately locates popular music in the domain of the people themselves.--Philip V. Bohlman, University of Chicago, author of The Study of Folk Music in the Modern World and World Music: A Very Short IntroductionRichard Middleton's Voicing the Popular cannot but inspire profound admiration. On the one hand, it displays a vast, astounding knowledge in contemporary critical theory and an impressive mastery and lucidity in treating its object, popular music, and on the other hand his devoted and passionate conceptual work shows the ways in which both things, the theoretical concepts and the popular, can be brought together in a way to elucidate each other, comment and displace each other, so that we are brought to experience both, the theory and the popular culture, in new ways, with new eyes and ears. From Mozart’s Magic Flute to the Spice Girls his magisterial voice leads us through the multi-faceted network of modernity’s popular underside.--Mladen Dolar, University of Ljubljana, author of A Voice and Nothing MoreThe publication of Voicing the Popular is a threshold event in the study of popular culture and for that matter in the study of culture generally. No concept has been more, well, popular in the past half-century than the "popular," and none has been more loosely conceptualized and taken for granted. No longer. Richard Middleton has raised a discussion to which he has himself already contributed invaluably to an unprecedented level of intellectual rigor and theoretical sophistication. His specific historical thesis linking the popular to modernity is one that is bound to become fundamental for the future study of either. And those interested particularly in the "voicing" part—that is, in the role of music in the construction of the popular—will be amply provoked and enlightened by what they find here.--Lawrence Kramer, Fordham University, author of Classical Music and Postmodern Knowledge and Musical Meaning: Towards a Critical HistoryTable of ContentsTable of Contents: Acknowledgements 1 Introduction: 'We're Low, We're Low, We're Very, Very Low' 2 Through a Mask Darkly: Voices of Black Folk 3 Appropriating the Phallus? Female Voices and the Law-of-the-Father 4 Once More with Feeling: On the Subjects of Repetition 5 The Real Thing? The Spectre of Authenticity Notes Bibliography

Read more less

Book SynopsisHow does popular music produce its subject? How does it produce us as subjects? More specifically, how does it do this through voice--through giving voice? And how should we understand this subject--the people--that it voices into existence? Is it singular or plural? What is its history and what is its future?Voicing the Popular draws on approaches from musical interpretation, cultural history, social theory and psychoanalysis to explore key topics in the field, including race, gender, authenticity and repetition. Taking most of his examples from across the past hundred years of popular music development--but relating them to the eighteenth- and nineteenth-century pre-history--Richard Middleton constructs an argument that relates the popular to the unfolding of modernity itself. Voicing the Popular renews the case for ambitious theory in musical and cultural studies, and, against the grain of much contemporary thought, insists on theTrade ReviewVoicing the Popular already marks one of the paradigmatic moments in popular-music studies in the twenty-first century. Richard Middleton makes a turn toward a new set of issues of a humanistically based scholarship – poverty, working-class culture, racism, gender. Precisely because of his conviction that it is music that "voices the popular," he refuses to neglect the music. In Voicing the Popular Richard Middleton launches his most intensive examination of race and racism to date. In the early chapters he opens an analytical space between study of the blues and the historical trajectory of the minstrel stage, culminating in a powerful reading of Show Boat. In subsequent chapters we witness him again insisting that interpretation of the music, too, must accompany our location of the voice, as he analyzes a history of standards that stretches from Monteverdi to Percy Sledge. The book closes with a fresh approach to authenticity, which does not hesitate to confront the reader with the troubling contexts within which popular music has been created in the recent past, particularly through his examination of the Buena Vista Social Club. It is in Voicing the Popular that Richard Middleton most passionately locates popular music in the domain of the people themselves.--Philip V. Bohlman, University of Chicago, author of The Study of Folk Music in the Modern World and World Music: A Very Short IntroductionRichard Middleton's Voicing the Popular cannot but inspire profound admiration. On the one hand, it displays a vast, astounding knowledge in contemporary critical theory and an impressive mastery and lucidity in treating its object, popular music, and on the other hand his devoted and passionate conceptual work shows the ways in which both things, the theoretical concepts and the popular, can be brought together in a way to elucidate each other, comment and displace each other, so that we are brought to experience both, the theory and the popular culture, in new ways, with new eyes and ears. From Mozart’s Magic Flute to the Spice Girls his magisterial voice leads us through the multi-faceted network of modernity’s popular underside.--Mladen Dolar, University of Ljubljana, author of A Voice and Nothing MoreThe publication of Voicing the Popular is a threshold event in the study of popular culture and for that matter in the study of culture generally. No concept has been more, well, popular in the past half-century than the "popular," and none has been more loosely conceptualized and taken for granted. No longer. Richard Middleton has raised a discussion to which he has himself already contributed invaluably to an unprecedented level of intellectual rigor and theoretical sophistication. His specific historical thesis linking the popular to modernity is one that is bound to become fundamental for the future study of either. And those interested particularly in the "voicing" part—that is, in the role of music in the construction of the popular—will be amply provoked and enlightened by what they find here.--Lawrence Kramer, Fordham University, author of Classical Music and Postmodern Knowledge and Musical Meaning: Towards a Critical HistoryTable of ContentsTable of Contents: Acknowledgements 1 Introduction: 'We're Low, We're Low, We're Very, Very Low' 2 Through a Mask Darkly: Voices of Black Folk 3 Appropriating the Phallus? Female Voices and the Law-of-the-Father 4 Once More with Feeling: On the Subjects of Repetition 5 The Real Thing? The Spectre of Authenticity Notes Bibliography

Read more less

Book SynopsisA collection of essays that situate queering within the discourse of sex and sexuality in relation to popular music, this investigation addresses the changing debates within gay, lesbian and queer discourse in relation to the dissemination of musical texts. It provides a discourse in the field of musicological research.Trade Review'Queering the Popular Pitch considers much more than a new gay and lesbian popular musicology. This new collection of essays applies the queer framework to popular music, musicians, nationalistic contexts, as well as film music and stage presence' - Popular Music'This collection is a recommended addition for both interdisciplinary scholars and (popular) musicologists alike' - Popular MusicTable of ContentsProposed Table of Contents: Introduction Queering Borders Stephen Amico Mi Casa es Su Casa: Latin House, Sexuality and the Formation of Place (p) Jeffrey Callen 'Gender Crossings : A Neglected History in African American Music' Freya Jarman-Ivens Queer constructions of masculinity in rap music (p) Vanessa Knights Big Boys Don't Cry? : Performances of Pleasure and Pain in the Bolero (p) Mario Rey Albita Rodgriguez: Sexuality, Imaging, and Gender Construction in Music of Exile (p) Queer Spaces Paul Attinello Closeness and Distance: Songs about AIDS (cp) Rachel Cowgill 'Music, Consumption, and the Lesbian Self' (p) Rachel Devitt Talk softly and carry a big...stick! Stealing the Spotlight and Building a Dyke Community with Seattle's All-Grrrl Queer Cabarets (p) Jason Lee Oakes (sc) Night of a Thousand Stevies: Queer strategies and the forging of femininity Jennifer Rycenga Is This Desire?: Queering Large-scale Form in Rock (p) Karen Tongson Tickle Me Emo: Lesbian Balladeering, Straight-Boy Emo and the Politics of Affect (p) Hidden Histories Judith Halberstrom What's That Smell: Queer Temporalities and Subcultural Lives. (p) Anno Mungen Anders als die Anderen, or Queering the Song. Construction and Representation of Homosexuality in German Cabaret Song Recordings before 1933 (p) Lloyd Whitesell Trans Glam: Gender Magic in the Film Musical (p) Mixed Media (how music/queering is mediated by visual culture and videos) Stan Hawkins Mediations on Queer Masculinity in Pop Videos (p) Sarah Kerton 'Too Much Tatu Young' (p) Emma Mayhew I am not a box of any Kind: Sinead O'Connor's Queer Outing (p) Gilad Padva Hey, Man, You're My Girlfriend! Poetic Genderfuck and Queer Hebrew in Eran Zur's Performance of Yona Wallach's Lyrics (sc) Sheila Whiteley Popular Music, Queering and the Dynamics of Desire (sc)

Read more less

Book SynopsisWhen the first edition of Queering the Pitch was published in early 1994, it was immediately hailed as a landmark and defining work in the new field of Gay Musicology. In light of the explosion of Gay Musicology since 1994, a new edition of Queering the Pitch is timely and needed. In this new work, the editors are including a landmark essay by Philip Brett on Gay Musicology, its history and scope. The essay itself has become a cause celebre, and this will be its first full appearance in print. Along with this new historical essay, the editors are contributing a new introduction that outlines the changes that have occurred over the last decade as Gay Musicology has grown.Table of Contents1. Queering the Pitch: A Posy of Definitions and Impersonations Part 1: Canons and Arias 2. Musicality, Essentialism, and the Closet 3. Sapphonics 4. On a Lesbian Relation with Music: A Serious Effort Not to Think Straight 5. A Conversation with Ned Rorem Part 2: Chronicles 6. Henry Lawes's Setting of Katherine Philips's Friendship Poetry in His Second Book of Ayres and Dialogues, 1655: A Musical Misreading? 7. Unveiled Voices: Sexual Difference and the Castrato Joke Dame 8. "Was George Frideric Handel Gay?": On Closet Questions and Cultural Politics 9. Constructions of Subjectivity in Schubert's Music 10: Eros and Orientalism in Britten's Operas 11. Queer Thoughts on Country Music and k.d. lang Part 3: Consorts 12. Lesbian Compositional Process: One Lover-Composer's Perspective 13. Growing up Female(s): Retrospective Thoughts on Musical Preferences and Meanings 14. Authority and Freedom: Toward a Sociology of the Gay Choruses Part 4: Coda Preface 15. Lesbian and Gay Music

Read more less

Book SynopsisExpression in Pop-Rock Music is a collection of critical and analytical essays written by today's top scholars on pop and rock music. Applying a wide variety of analytical techniques and critical approaches in the study of songs by artists such as Tori Amos, David Bowie, James Brown, the Cure, Genesis, Radiohead, and Frank Zappa, these essays tackle the musical text itself in coming to terms with political, social, cultural, and stylistic issues expressed in the most popular music of the past half-century. It has been expanded in its second edition to include three new essays and other additions accounting for the changes to the popular music landscape since its first edition, with particular attention paid to the rise of hip-hop and country music.Table of Contents1. The Musical World(s?) of Frank Zappa: Some Observations of his 'Crossover' Pieces 2. Frank Zappa’s 'The Black Page': A Case of Musical 'Conceptual Continuity' 3. Analytic Methodologies for Rock Music: Harmonic and Voice-Leading Strategies in Tori Amos's 'Crucify' 4. Jazz-Rock? Rock-Jazz? Stylistic Crossover in Late-1970s American Progressive Rock 5. Pitch Down the Middle 6. Music, Contexts, and Meaning in U2 7. From L’Étranger to 'Killing an Arab': Representing the Other in a Cure Song 8. The Imagination of Pop-Rock Criticism 9. Trapped within the Wheels: Flow and Repetition, Modernism and Tradition in Stevie Wonder’s 'Living for the City' 10. Fumbling Towards Ecstasy: Voice Leading, Tonal Structure, and the Theme of Self-Realization in the Music of Sarah McLachlan 11. Country-Pop Formulae and Craft: Shania Twain’s Crossover Appeal 12. Large-Scale Strategy and Compositional Design in the Early Music of Genesis 13. Rock and Roll Rhapsody: Pop Epics of the 1970s

Read more less

Book SynopsisExpression in Pop-Rock Music is a collection of critical and analytical essays written by today's top scholars on pop and rock music. Applying a wide variety of analytical techniques and critical approaches in the study of songs by artists such as Tori Amos, David Bowie, James Brown, the Cure, Genesis, Radiohead, and Frank Zappa, these essays tackle the musical text itself in coming to terms with political, social, cultural, and stylistic issues expressed in the most popular music of the past half-century. It has been expanded in its second edition to include three new essays and other additions accounting for the changes to the popular music landscape since its first edition, with particular attention paid to the rise of hip-hop and country music.Table of Contents1. The Musical World(s?) of Frank Zappa: Some Observations of his 'Crossover' Pieces 2. Frank Zappa’s 'The Black Page': A Case of Musical 'Conceptual Continuity' 3. Analytic Methodologies for Rock Music: Harmonic and Voice-Leading Strategies in Tori Amos's 'Crucify' 4. Jazz-Rock? Rock-Jazz? Stylistic Crossover in Late-1970s American Progressive Rock 5. Pitch Down the Middle 6. Music, Contexts, and Meaning in U2 7. From L’Étranger to 'Killing an Arab': Representing the Other in a Cure Song 8. The Imagination of Pop-Rock Criticism 9. Trapped within the Wheels: Flow and Repetition, Modernism and Tradition in Stevie Wonder’s 'Living for the City' 10. Fumbling Towards Ecstasy: Voice Leading, Tonal Structure, and the Theme of Self-Realization in the Music of Sarah McLachlan 11. Country-Pop Formulae and Craft: Shania Twain’s Crossover Appeal 12. Large-Scale Strategy and Compositional Design in the Early Music of Genesis 13. Rock and Roll Rhapsody: Pop Epics of the 1970s

Read more less

Book SynopsisBased on the author's research in Ho Chi Minh City, Hanoi, and other urban areas in Vietnam, this study of contemporary Vietnamese popular music explores the ways globalization and free market economics have influenced the music and subcultures of Vietnamese youth, focusing on the conflict between the politics of remembering, nurtured by the Vietnamese Communist government, and the politics of forgetting driven by the capitalist interests of the music industry.Vietnamese youth at the end of the second and beginning of the third millennium are influenced by the challenges generated by a number of seemingly opposite ideologies and realities, such as the past versus the present, socialism versus capitalism, and cultural traditionalism versus globalization. Vietnam has undergone a radical demographic shift with a very pronounced youth movement, and consequently, Vietnamese popular culture has been radically reshaped by a young population coming of age in the twenty-firsTrade Review"this book should serve as a model for younger ethnomusicologists pursuing study of popular music... Highly recommended." --CHOICETable of ContentsList of Figures. Forward Nguyen T. Phong. Acknowledgements 1. Prelude 2. Cultural and Political Settings for Vietnam’s Popular Music 3. Vietnamese Pop Music Stars and the Bumpy Road to Stardom 4. Vietnamese Rock, Pop-Rock, and Pop Music Bands 5. Vietnamese Songwriters, Social Issues, and Government Persuasion 6. Performance Venues for (Mostly) Live Popular Music 7. Disseminating Popular Music: Pop and Rock Music Concerts, Festivals, and Shows 8. Disseminating Popular Music: Audio and Video Recordings 9. Vietnamese Karaoke: Place, Pleasure, Politics, and Profit 10. Conclusion: The Politics and Economics of Popular Music in Vietnam. Notes. Glossary. Bibliography. Index

Read more less

Book SynopsisLuck's in My Corner is a comprehensive biography of one of the most compelling jazz musicians of the Swing Era, Oran Hot Lips' Page. Page was the greatest of the Kansas City trumpeters, whose crackling, growling solos made him the go-to man during Count Basie's earliest days as a bandleader. Page went on to be a featured trumpeter with Artie Shaw, a star of New York's 52nd street, and a pioneer of the R & B scene of the 1950s. This book presents an in-depth chronology of Page's career, with special attention paid to the development of his trumpet style. Luck's in My Corner examines the life and music of a forgotten figure of the Swing Era and returns him to his rightful place as a leading light in the world of jazz. Todd Bryant Weeks has combined genealogical, musicological, discographical and historical research, resulting in a revealing and entertaining examination of a life that spanned major changes in American popular music. This bookTrade Review'This book, Luck's in my Corner, is worth checking out because it's the total package... Todd's research is monumental and he's a fine writer... Todd's remarks are always on the mark, while his transcriptions are invaluable... I don't think anyone else can write another word on Lips without it being compared to this magnificent work.' - http://Dippermouth.Blogspot.com"On his soulful trumpet and as a riveting singer of the blues, Oran "Lips" Page was and remains a permanent jazz master. At last, there is a book that brings the man and his music fully back to life. Luck's In My Corner: The Life and Music of Hot Lips Page by Todd Bryant Weeks is essential for any jazz library.” -Nat Hentoff, Wall Street Journal"This book, Luck's in my Corner, is worth checking out because it's the total package... Todd's research is monumental and he's a fine writer... Todd's remarks are always on the mark, while his transcriptions are invaluable... I don't think anyone else can write another word on Lips without it being compared to this magnificent work." - http://Dippermouth.Blogspot.com "On his soulful trumpet and as a riveting singer of the blues, Oran "Lips" Page was and remains a permanent jazz master. At last, there is a book that brings the man and his music fully back to life. Luck's In My Corner: The Life and Music of Hot Lips Page by Todd Bryant Weeks is essential for any jazz library." -Nat Hentoff, Wall Street Journal"In telling the life story of legendary jazz trumpeter Oran "Hot Lips" Page, author Todd Bryant Weeks has penned one of the major jazz biographies. Mr. Weeks has has crafted a beautifully written, deeply compassionate, psychologically insightful and multi-layered portrait of an extraordinary real life human being. I heartily recommend this book." - David Krakauer, international concert and recording artistTable of ContentsPart 1. Texas Introduction 1. Cuero, 1900 2. Black Dallas, 1902 - 1923 3. Goin’ To The Territory 1926 - 1927 4. Texas Trumpeter Part 2. Barnstorming 5. The Blue Devils, 1927—1931 6. Ya Got Love, 1931 7. With Bennie, 1931—1935 8. Kansas City Man, 1935—1936 Part 3. Luck’s In My Corner 9. Home to Harlem, 1936—193 10. The Street, 1939—1941 11. The Big Time, 1941—1945 12. Uptown Jive, 1945—1949 13. Open The Door Richard, 1949—1954 Epilogue: Miss Larceny Postscript Mr. After Hours

Read more less

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

Read more less

Book SynopsisAs one of the architects of modern jazz (often called bebop), Charlie Parker (1920-55) had a profound effect on American music that continues to this day.This book opens with a chapter of biography and then progresses to four chapters focusing on Charlie Parker's music by tracing his artistic evolution and major achievements as a jazz improviser. Much like a guided tour through an artist's retrospective, the book introduces readers to a sampling of Charlie Parker's most illustrative works. The musical discussions and transcribed musical examples are keyed to compact disc timings for easy location--a feature unique to this book.

Read more less

Book SynopsisNew York City has always been a mecca in the history of jazz, and in many ways the city's jazz scene is more important now than ever before. Using interviews, in-person observation, and analysis of live and recorded events, this title examines how jazz has thrived in New York following its popular resurgence in the 1980s.Trade Review"[Jackson's] contributions on authenticity, race and identity are direct and refreshing and his analysis informative and stimulating." -- Damian Evans Musicology Review

Read more less

Book SynopsisA study of Italian stage works that reconsiders a crucial period of music history: the late eighteenth century through the early nineteenth century. It shows how enlightenment ideas influenced Italian theater and music and vice versa.Trade Review"As with any scholarship that treats its material with sensitivity and thoroughness, here the subject justifies itself and the reader is motivated to keep reading—both within the book and without. That, after all, is perhaps the highest praise one could offer any new work, particularly one that disentangles such a beautiful can of worms." * European History Quarterly *"Deftly traversing a wide range of sources, Lockhart shows how the animated statue ties together a rich late eighteenth- and early nineteenth-century world of musical theater, aesthetic theory, nationhood fantasies, sciences of the body, and notions of self. . . . by the end, one is left wondering not what animation and plasticity have to do with music, nor in what respect late eighteenth- and early nineteenth-century Italy matters to broader music historical developments, but how we ever thought we could understand this period or the longer history of aesthetics without attending to the statue that comes to life. Like the ruin pictured on its cover, this work seems destined to endure.” * Journal of the American Musicological Society *Table of ContentsAcknowledgments Introduction 1. Dancing Statues 2. Pimmalione 3. Defining Italy in Haunted Rome 4. Partial Animacy and Blind Listening in Napoleonic Italy 5. Giuditta Pasta and the History of Musical Electrification Conclusion Notes Bibliography List of Illustrations Index

Read more less

Book SynopsisFrom Robert Johnson to Aretha Franklin, Mahalia Jackson to John Lee Hooker, blues and gospel artists figure heavily in the mythology of twentieth-century culture. The styles in which they sang have proved hugely influential to generations of popular singers, from the wholesale adoptions of singers like Robert Cray or James Brown, to the subtler vocal appropriations of Mariah Carey. Their own music, and how it operates, is not, however, always seen as valid in its own right. This book provides an overview of both these genres, which worked together to provide an expression of twentieth-century black US experience. Their histories are unfolded and questioned; representative songs and lyrical imagery are analysed; perspectives are offered from the standpoint of the voice, the guitar, the piano, and also that of the working musician. The book concludes with a discussion of the impact the genres have had on mainstream musical culture.Trade Review'The Cambridge Companion to Blues and Gospel Music will find its place in serious collections of a musical nature.' Reference Reviews'… stimulating and informative book …'. British Journal of Music EducationTable of Contents1. Surveying the field: our knowledge of blues and gospel music Allan Moore; 2. Labels: identifying categories of blues and gospel Jeff Todd Titon; 3. The development of the blues David Evans; 4. The development of gospel music Don Cusic; 5. Twelve key recordings Graeme Boone; 6. 'Black twice': performance conditions for blues and gospel artists Steve Tracy; 7. Vocal expression in the blues and gospel Barb Jungr; 8. The guitar Matt Backer; 9. Keyboard techniques Adrian York; 10. Imagery in the lyrics Guido van Rijn; 11. Appropriations of blues and gospel in popular music Dave Headlam.

Read more less

Book SynopsisIn this innovatory book the celebrated writer on the blues, Paul Oliver, rediscovers the wealth of neglected vocal traditions presented on Race records. When blues first reached a large audience it was through the 'Race records' issued specifically for black purchasers in the 1920s. Blues South have been extensively discussed by many writers. Paul Oliver shows that this emphasis has drawn attention away from the other important vocal traditions also available on Race records: the songs of Southern rural dances, the comic and social songs and ballads of the medicine shows and travelling entertainments, and, even more neglected, the sacred vocal traditions, from the song-sermons of the Baptist and Sanctified preachers to the gospel songs of the church congregations and of the 'jack-leg' preachers and street evangelists. Over 500 artists and 700 song titles are indexed and there is a guide to reissued recordings.Trade Review"...fills an interesting and important gap in American musical history." CashboxTable of ContentsList of illustrations; Acknowledgements; A note on the transcriptions; The half ain't never been told; An introduction; 1. Do the Bombashay; 2. Under the chicken tree; 3 The long-tailed blue; 4. If luck don't change; 5. As the eagle stirreth her nest; 6. Three ways to praise; 7. Honey in the rock; 8. Natural-born men; 9. Next week, sometime…?; Notes; Bibliography; A guide to reissued recordings; Index of song titles; Index of artists; General index.

Read more less

Book SynopsisThis is a new, thoroughly revised edition of Paul Oliver's classic study of the blues. First published in 1960, this remarkable book has not been superseded and its reappearance will be welcomed by all who wish to understand the complexity of meaning in the blues and the experiences which they expressed. The book examines the functions of the blues as black American folk music recorded during the 78 rpm era, from the 1920s to the 1950s. The lyrics are quoted extensively throughout the book, revealing their significance as a means of communication within black society. The author shows how the themes of labour and unemployment, migration and the Depression years, love, sex, and marriage, crime, violence and imprisonment, disasters, sickness, war and death are expressed in black idioms and he discusses their meaning on many levels.Trade Review' … remarkable … a definitive study in breadth and depth of the themes, backgrounds, imagery and motivation of the blues.' The New York TimesTable of ContentsList of illustrations; Author's note and acknowledgements to the first edition; Foreword by Richard Wright; Preface to the revised edition; Introduction; 1. Got to work or leave; 2. Railroad for my pillow; 3. Pains in my heart; 4. I'm a rooster, baby; 5. The jinx is on me; 6. Let the deal go down; 7. Evil and mean and funny; 8. Goin' to take a rap; 9. World black as midnight; 10. Going down slow; 11. Blues like showers of rain; Bibliographical references; Discography of quoted blues; Acknowledgements to discography; Index of quoted blues singers; General index.

Read more less

Book SynopsisThis Companion maps the world of pop and rock, pinpointing the most significant moments in its history and presenting the key issues involved in understanding popular culture's most vital art form. Expert writers chart the changing patterns in the production and consumption of popular music, the emergence of a vast industry with a turnover of billions and the rise of global stars from Elvis to Public Enemy, Nirvana to the Spice Girls. They trace the way new technologies - from the amplifier to the internet - have changed the sounds and practices of pop and they analyse the way maverick entrepreneurs have given way to multimedia corporations. In particular they focus on the controversial issues concerning race and ethnicity, politics, gender and globalisation. Contains full profiles of a selection of figures from the pop and rock world.Trade Review'Whilst being of essential reading to the student of pop and rock it is also of interest to anyone who enjoys reading about the social history of our time.' Yorkshire Gazette'This thought-provoking companion gives would be students a taster of what they might encounter on the several courses now available … it is to the book's credit that it adopts an all-encompassing approach.' Music Teacher'Suitable as an introductory-level undergraduate book and there is also sufficient novelty of approach within some of the chapters to interest graduates and researchers alike.' European Journal of CommunicationTable of ContentsNotes on contributors; Acknowledgements; Introduction and chronology of pop and rock; Part I. Context: 1. 'Plugged in': technology and popular music Paul Théberge; 2. The popular music industry Simon Frith; 3. Consumption Will Straw; Star profiles I: Elvis Presley, The Beatles, Bob Dylan, Jimi Hendrix, The Rolling Stones, James Brown, Marvin Gaye; Part II. Texts, Genres, Styles: 4. Pop music Simon Frith; 5. Reconsidering rock Keir Keightley; 6. Soul into hip-hop Russell A. Potter; 7. Dance music Will Straw; 8. World music Jocelyne Guilbault; Star profiles II: Bob Marley, David Bowie, Abba, Madonna, Nirvana, Public Enemy, Derrick May, The Spice Girls; Part III. Debates: 9. Pop, rock and interpretation Richard Middleton; 10. Popular music, gender and sexuality Sara Cohen; 11. Rock, pop and politics John Street; 12. From rice to ice: the face of race in rock and pop Barry Shank; 13. The 'local' and 'global' in popular music Jan Fairley; References; Index.

Read more less

Book SynopsisSgt. Pepper's Lonely Hearts Club Band (1967) represents the highpoint of the recording career of the Beatles. This is the first detailed study to be made of this or any other such album, and it demonstrates how serious discussion of popular music can be undertaken without failing either the approach or the music. Dr Moore considers each song individually, tying his analysis to the recorded performance on disc, rather than the printed music. He focuses on the musical quality of the songs and the interpretations offered by a range of commentators. He also describes the context in which the album was written - both within the career of the group itself and within the development of popular music globally, both before and since.Trade Review'… a reasoned look at the album's place in the history of popular music.' Alan Kozinn, BBC Music MagazineTable of ContentsPreface; 1. Inheritance; 2. Preparation; 3. Inception; 4. Commentary; 5. Reception; 6. Legacy; Appendix; Notes; Select bibliography; Discography; Index.

Read more less

Book SynopsisThis is the first book to explain how rap is put together musically. Whereas popular music scholarship tends to dismiss music analysis as of limited value, Krims argues that it can be crucial to cultural theory. It brings together perspectives from music theory, musicology, cultural studies, critical theory, and communications.Trade Review"...students and scholars who accept the academic importance of the rap idiom (an idealization of rap is already taking place in the works of young composers -- Gregory Walker, for example) will appreciate this contribution to the literature on contemporary music." ChoiceTable of ContentsIntroduction: music theory, musical poetics, rap music; 1. Analyzing rap music; 2. A genre system for rap music; 3. The musical poetics of a 'revolutionary' identity; 4. Rap geography and soul food; 5. Two cases of localized (and globalized) musical poetics; Bibliography; Discography.

Read more less