Popular music Books
Cambridge University Press Rap Music and the Poetics of Identity 5 New Perspectives in Music History and Criticism Series Number 5
Book SynopsisThis is the first book to discuss in detail how rap music is put together musically and how it contributes to the formation of cultural identities for both artists and audiences. It also argues that current skeptical attitudes toward music analysis in popular music studies are misplaced and need to be reconsidered if cultural studies are to treat seriously the social force of rap music, popular musics, and music in general. Drawing extensively on recent scholarship in popular music studies, cultural theory, communications, critical theory, and musicology, Krims redefines 'music theory' as meaning simply 'theory about music', in which musical poetics (the study of how musical sound is deployed) may play a crucial role when its claims are contextualized and demystified. Theorizing local and global geographies of rap, Krims discusses at length the music of Ice Cube, the Goodie MoB, KRS-One, Dutch group the Spookrijders, and Canadian Cree rapper Bannock.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.
£28.47
Cambridge University Press The Cambridge Companion to Bob Dylan Cambridge Companions to American Studies
Book SynopsisA towering figure in American culture and a global twentieth-century icon, Bob Dylan has been at the centre of American life for over forty years. The Cambridge Companion to Bob Dylan brings fresh insights into the imposing range of Dylan's creative output. The first Part approaches Dylan's output thematically, tracing the evolution of Dylan's writing and his engagement with American popular music, religion, politics, fame, and his work as a songwriter and performer. Essays in Part II analyse his landmark albums to examine the consummate artistry of Dylan's most accomplished studio releases. As a writer Dylan has courageously chronicled and interpreted many of the cultural upheavals in America since World War II. This book will be invaluable both as a guide for students of Dylan and twentieth-century culture, and for his fans, providing a set of new perspectives on a much-loved writer and composer.Table of ContentsChronology; Introduction Kevin J. H. Dettmar; Part I. Perspectives: 1. Bob Dylan and the Anglo-American tradition David Yaffe; 2. Bob Dylan and 'The Great Recession' Michael Denning; 3. Bob Dylan as songwriter Anthony DeCurtis; 4. Bob Dylan as performer Alan Light; 5. Bob Dylan and collaboration Martin Jacobi; 6. Bob Dylan and gender politics Barbara O'Dair; 7. Bob Dylan and religion R. Clifton Spargo and Anne Ream; 8. Bob Dylan and the Academy Lee Marshall; 9. Bob Dylan as cultural icon David Shumway; Part II. Landmark Albums: 10. The Freewheelin' Bob Dylan (1963) Eric Bulson; 11. Bringing It All Back Home (1965) Jean Tamarin; 12. Highway 61 Revisited (1965) Robert Polito; 13. Blonde on Blonde (1966) Michael Coyle and Debra Rae Cohen; 14. The Basement Tapes (1967; 1975) Alex Abramovich; 15. Blood on the Tracks (1975) Carrie Brownstein; 16. Infidels (1983) Jonathan Lethem; 17. Love and Theft (2001) Eric Lott; Works cited.
£27.34
Cambridge University Press Yonder Come the Blues The Evolution of a Genre
Book SynopsisYonder Come the Blues combines three influential and much-quoted books: Savannah Syncopators; Blacks, Whites and Blues and Recording the Blues. Updated with additional essays, this 2001 volume discusses the crucial early development of the blues as a music of Blacks in the United States, explaining some of the most significant factors that shaped this music. Together, these three texts emphasise the significance of the African heritage, the mutuality of much white and black music and the role of recording in consolidating the blues, thus demonstrating the importance of these formative elements in its complex but combined socio-musical history. Redressing some of the misconceptions that persist in writing on African-American music, this book will be essential reading for all enthusiasts of blues, jazz and country music and will be important for students of African-American studies and music, popular music and popular culture.Trade Review"The reappearance of these three long-out-of-print books is enough cause for celebration." Notes"What a delight to have three classic works on blues reissued under one cover. Oliver is to be congratulated for conceiving of the idea and for bringing it to fruition...This book should be in every academic library." CHOICE Dec 2001"...anyone with a general knowledge of the blues will have his or her understanding deepened by these works, particularly in the updated guise in which they appear here." American RecorderTable of ContentsIntroduction: yonder come the Blues Paul Oliver; Book One. Savannah Syncopators: African retentions in the Blues: 1. Afternoon - Nangodi; 2. Africa and jazz historian; 3. Music in West Africa; 4. Savannah song; 5. The source of the slaves; 6. Africa and the Blues; 7. Afterword Paul Oliver; Book Two. Blacks, Whites and Blues: Foreword; 8. Minstrelsy; 9. Old familiar tunes; 10. Letting out the Blues; 11. The Idea of the White People; 12. Out West; 13. Out East; 14. Afterword Tony Russell; Book Three. Recording The Blues: 15. The birth of a new industry; 16. The new market 1920–2; 17. The classic blues; 18. Into the field 1927–30; 19. Hard times; 20. Urban blues 1934–40; 21. End of an era 1941–5 Robert M. W. Dixon and John Godrich; 22. Afterword Howard Rye.
£32.42
Cambridge University Press The Cambridge Companion to Bob Dylan Cambridge Companions to American Studies
Book SynopsisA towering figure in American culture and a global twentieth-century icon, Bob Dylan has been at the centre of American life for over forty years. This book will be invaluable both as a guide for students of Dylan and twentieth-century culture, and for his fans, providing a set of new perspectives on a much-loved writer and composer.Table of ContentsChronology; Introduction Kevin J. H. Dettmar; Part I. Perspectives: 1. Bob Dylan and the Anglo-American tradition David Yaffe; 2. Bob Dylan and 'The Great Recession' Michael Denning; 3. Bob Dylan as songwriter Anthony DeCurtis; 4. Bob Dylan as performer Alan Light; 5. Bob Dylan and collaboration Martin Jacobi; 6. Bob Dylan and gender politics Barbara O'Dair; 7. Bob Dylan and religion R. Clifton Spargo and Anne Ream; 8. Bob Dylan and the Academy Lee Marshall; 9. Bob Dylan as cultural icon David Shumway; Part II. Landmark Albums: 10. The Freewheelin' Bob Dylan (1963) Eric Bulson; 11. Bringing It All Back Home (1965) Jean Tamarin; 12. Highway 61 Revisited (1965) Robert Polito; 13. Blonde on Blonde (1966) Michael Coyle and Debra Rae Cohen; 14. The Basement Tapes (1967; 1975) Alex Abramovich; 15. Blood on the Tracks (1975) Carrie Brownstein; 16. Infidels (1983) Jonathan Lethem; 17. Love and Theft (2001) Eric Lott; Works cited.
£75.00
Cambridge University Press Jazz Icons Heroes Myths and the Jazz Tradition
Book SynopsisToday, jazz history is dominated by iconic figures who have taken on an almost God-like status. Using a series of individual case studies, Jazz Icons explores the growing significance of icons in jazz and discusses the reasons why the music's history is increasingly dependent on the legacies of 'great men'.Trade ReviewReview of the hardback: 'If the cultural construction of the music - including the education of young musicians - is to move beyond the individualist mythology into a more pragmatic sense of collective achievement, then we will indeed need, as Whyton says, a far more critical engagement with the existing icons of jazz.' Andrew Blake, The Times Higher Education SupplementReview of the hardback: 'Jazz Icons is essential reading for anyone interested in better understanding their relationship with jazz icons and it will no doubt change the way many of us perceive our relationship with jazz. Highly recommended.' Ian Patterson, allaboutjazz.comTable of ContentsIntroduction: jazz narratives and sonic icons; 1. Jazz icons, heroes and myths; 2. Jazz and the disembodied voice; 3. Not a wonderful world: Louis Armstrong meets Kenny G.; 4. Men can't help acting on impulse!; 5. Witnessing and the jazz anecdote; 6. Dispelling the myth: essentialist Ellington; 7. Birth of the school.
£91.61
Amazon Digital Services LLC - Kdp In the Belly of the Blues
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£21.60
Amazon Digital Services LLC - Kdp The Uninvited
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£999.99
iUniverse The Oldies Music Aptitude Test Trivia Fun for Armchair Deejays
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£9.02
iUniverse John Denver and Me
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£8.54
iUniverse What is This Thing Called Jazz Insights and Opinions from the Players
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£13.77
iUniverse Glam Musik British Glam Music 70 History
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£13.29
iUniverse Jazz In Short Measures Jazz history in 10 lectures with selected CD recommendations
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£9.02
iUniverse A Simple Kind Mirror The Lyrical Vision of Rush
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£8.54
iUniverse Lyrics by Jimmy Lyons These are the songs that make up my mind
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£21.59
iUniverse YesTales An Unauthorized Biography of Rocks Most Cosmic Band in Limerick Form
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£9.49
iUniverse Johnnys Jukebox Trivia 1001 Fantastic Questions from the Golden Age of Rock and Roll
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£12.59
iUniverse The Extraordinary World Of YES
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£14.27
iUniverse The Psychology of Hip Hop
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£8.97
iUniverse Along The Road To Heaven Songs and Poems about Polk County Florida
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£15.71
iUniverse WCFL Chicago Top 40 Charts 19651976
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£13.63
iUniverse ROCK N POLITICS A STATE OF THE UNION ADDRESS
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£9.00
iUniverse Rock n Politics A State of the Union Address
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£13.30
Hal Leonard Corporation Hard Rock Guitar Bible
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£34.10
Hal Leonard Corporation Guitar PlayAlong Volume 38 Blues Play 8 of Your Favorite Songs with Tab and Soundalike Audio Tracks Audio Access Included
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£16.14
Mitchell Media The Life and Times of Tom Watson
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£999.99
Taylor & Francis Ltd Refashioning Pop Music in Asia
Book SynopsisExamining the cultural, political, economic, technological and institutional aspects of popular music throughout Asia, this book is the first comprehensive analysis of Asian popular music and its cultural industries. Concentrating on the development of popular culture in its local socio-political context, the volume highlights how local appropriations of the pop music genre play an active rather than reactive role in manipulating global cultural and capital flows.Broad in geographical sweep and rich in contemporary examples, this work will appeal to those interested in Asian popular culture from a variety of perspectives including, political economy, anthropology, communication studies, media studies and ethnomusicology.Table of ContentsPart 1: Musical Cultures and Culture IndustriesPart 2: Local Appropriations: From Nation-Building to Happy Pop and Folk Resistance Part 3: Travelling Theories, Syncretic Exoticisms or Diffusion by Any Other Name? Part 4: Colonial Desire, Social Memory and Popular Sensuality as Performance Genres
£145.00
Music Sales Ltd Play Guitar With... The Beatles Book 2
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£24.78
Marion Boyars Publishers Ltd Walking a Blues Road A Blues Reader 19562004
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£9.95
Rizzoli Universe George Michael
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£44.00
University of Oklahoma Press Where Next Columbus Volume 27
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£22.79
Beacon Press No New York
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£20.59
John Wiley & Sons Beats Rhymes and Classroom Life HipHop Pedagogy and the Politics of Identity
Book SynopsisShares the author's experience teaching a hip-hop centered English literature course in a Philadelphia high school where rap music, turntablism, breakdancing, graffiti culture, and other aspects of hip-hop were incorporated into the curriculum. This book shows that hip-hop culture is the opportunity to affect students' lives in extraordinary ways.
£68.01
Rutgers University Press Rockin Out of the Box Gender Maneuvering in Alternative Hard Rock
Book SynopsisEmploying the crucial feminist insight that gender is a constantly shifting performance and not an essential quality related to sex, Mimi Schippers explores the gender roles, assumptions and transgressions of the men and women involved in the hard rock scene.Table of ContentsPreface Acknowledgments 1. Gender and Rock Music: So What's New? 2. The Gender Order of Mainstream Rock Culture 3. This is Alternative Hard Rock: Rock Culture as Gender Maneuvering 4. Gender Maneuvering in Face-to-Face Interaction 5. The Body in Alternative Hard Rock 6. Sexuality and Gender Maneuvering 7. Feminist Politics Notes Index
£26.99
University of Hawai'i Press Dance of Life Popular Music and Politics in Southeast Asia
Book SynopsisThis text explores the connections between popular music genres and politics in Southeast Asia, with particular emphasis on Indonesia, the Philippines, Thailand, Malaysia and Singapore.
£25.56
Texas Christian University Press Ghost Notes
Book Synopsis'Ghost notes' is a musical term for sounds barely audible, a wisp lingering around the beat, yet somehow driving the groove. The Texas musicians profiled here, ranging from 1920s gospel performers to the first psychedelic band, are generally not well known, but the impact of their early contributions on popular music is unmistakable.
£29.32
Retro Publishing Sex Pistols
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£11.89
Cambridge University Press Rock Guitar Virtuosos
Book SynopsisVirtuosos in the 21st century are exploring ways to expand standard playing techniques in a climate expecting ever-higher levels of perfection, supported by technological advances such as extended-range guitars. This Element examines the development and current state of virtuosic rock guitar in terms of playing, technology, and culture.Table of Contents1. Introduction; 2. Establishing a canon; 3. Overview of electric guitar playing techniques; 4. First-generation rock guitar heroes; 5. The emergence and decline of shred; 6. Guitar technology, playing, and culture in the twenty-first century; 7. The virtual scene, and how contemporary virtuosos make a living; 8. Conclusion; References; Appendix.
£21.54
Cambridge University Press Original Pirate Material
Book SynopsisWith his debut album Original Pirate Material (2002), Mike Skinner, who recorded under the name The Streets, combined the world of UK dance music with US hip-hop. OPM is the result of the so-called ''bedroom producer'', hybridizing previous forms into something novel. This Element explores a number of themes in this album: white masculinity, the everyday, technology, sampling, hybridity, the Black Atlantic, and US-UK transatlantic relations. It examines the exoticism of Englishness from a US perspective as well as within the wider context of Anglo-American cross influence in post-WWII popular music. Twenty years since the album''s release, this element provides an investigation of the album''s content and reception, as an important case study of (postcolonial) hybridity and (English, male) identity.
£58.12
Taylor & Francis Ltd Childrens Guided Participation in Jazz Improvisation
Book SynopsisImprobasen is a Norwegian private learning centre that offers beginner''s instrumental tuition within jazz improvisation for children between the ages of 7 and 15. This book springs out of a two-year ethnographic study of the teaching and learning activity at Improbasen, highlighting features from the micro-interactions within the lessons, the organisation of Improbasen, and its international activity.Music teachers, students, and scholars within music education as well as jazz research will benefit from the perspectives presented in the book, which shows how children systematically acquire tools for improvisation and shared codes for interplay. Through a process of guided participation in jazz culture, even very young children are empowered to take part in a global, creative musical practice with improvisation as an educational core.This book critically engages in current discussions about jazz pedagogy, inclusion and gender equity, beginning instrumental tuition, creTrade Review'Guro Gravem Johansen’s new book, Children’s Guided Participation in Jazz Improvisation, provides an innovative ethnography of the Improbasen school’s creative approach to teaching jazz improvisation to children and young people between the ages of seven and fifteen. Johansen carefully documents how Improbasen teaches young children how to improvise as they learn their individual instruments and become musicians capable of performing with others. There are many noteworthy pedagogical innovations in the Improbasen curriculum including teaching gender and ethnic inclusion, and ethical modes of social interaction. Johansen’s analysis emphasizes the creation of micro-communities through musical improvisation and the school’s critique of traditional modes of jazz pedagogy. Especially noteworthy is Johansen’s documentation of Improbasen’s emphasis on gender inclusivity from an early age, which successfully results in the full participation of female students in what is often regarded as a masculine art form. In demonstrating the capability of the female students, Johansen shows how the study of children’s acquisition of musical skills can have socially transformative results.' Ingrid Monson, Quincy Jones Professor of African-American Music, Department of African American Studies, Harvard University, USA'Guro Gravem Johansen’s Children’s Guided Participation in Jazz Improvisation stands as an important contribution to jazz and improvised music scholarship, focusing on the experiences of individuals who are not commonly considered in the music’s literature. Drawing upon the fields of musicology, ethnography, music education, Johansen both builds upon and offers alternatives to existing scholarship in jazz and musical learning that will find a warm and receptive audience. In the introductory chapter, Johansen makes the case for her study, noting that jazz researchers have tended to ignore “children playing jazz”. But children are, as she points out, among the most active and receptive of musical learners. The jazz community’s lack of direct engagement with children’s experiences in the music calls for a corrective, which Johansen provides in subsequent chapters through a close examination of Improbasen, a Norwegian learning center which focuses on the facilitation of improvisation in children. Chapter 3, for example, describes the nature of the center, tracing its development, demographic profile, and underlying principles, or the “way” that musical learning at Improbasen is structured and practiced. Central to these principles, Johansen writes, is the desire of Improbasen’s founder to “unite all the world’s children in jazz.” In a later chapter, Johansen engages more deeply with children’s engagement with a genre that is “constructed as adult’s music”. In examining Improbasen’s programs for teaching jazz to children, Johansen also calls into question the very notion of jazz as “adult music”. The desire to have children play jazz, while still being true to their “authentic” selves as children, serves as a catalyst for a deep, probing discussion of embedded assumptions about jazz, childhood, creativity, and identity. In closing, I am happy to endorse Johansen’s book, as it is a deeply researched and engagingly written study. I will look forward to seeing it in print, and I am confident that it will stimulate spirited debate among jazz communities, and in the field of musical learning in general.' Ken Prouty, PhD, Associate Professor, Musicology and Jazz Studies, Michigan State University, USA'Guro Gravem Johansen’s new book, Children’s Guided Participation in Jazz Improvisation, provides an innovative ethnography of the Improbasen school’s creative approach to teaching jazz improvisation to children and young people between the ages of seven and fifteen. Johansen carefully documents how Improbasen teaches young children how to improvise as they learn their individual instruments and become musicians capable of performing with others. There are many noteworthy pedagogical innovations in the Improbasen curriculum including teaching gender and ethnic inclusion, and ethical modes of social interaction. Johansen’s analysis emphasizes the creation of micro-communities through musical improvisation and the school’s critique of traditional modes of jazz pedagogy. Especially noteworthy is Johansen’s documentation of Improbasen’s emphasis on gender inclusivity from an early age, which successfully results in the full participation of female students in what is often regarded as a masculine art form. In demonstrating the capability of the female students, Johansen shows how the study of children’s acquisition of musical skills can have socially transformative results.' Ingrid Monson, Quincy Jones Professor of African-American Music, Department of African American Studies, Harvard University, USA'Guro Gravem Johansen’s Children’s Guided Participation in Jazz Improvisation stands as an important contribution to jazz and improvised music scholarship, focusing on the experiences of individuals who are not commonly considered in the music’s literature. Drawing upon the fields of musicology, ethnography, music education, Johansen both builds upon and offers alternatives to existing scholarship in jazz and musical learning that will find a warm and receptive audience. In the introductory chapter, Johansen makes the case for her study, noting that jazz researchers have tended to ignore “children playing jazz”. But children are, as she points out, among the most active and receptive of musical learners. The jazz community’s lack of direct engagement with children’s experiences in the music calls for a corrective, which Johansen provides in subsequent chapters through a close examination of Improbasen, a Norwegian learning center which focuses on the facilitation of improvisation in children. Chapter 3, for example, describes the nature of the center, tracing its development, demographic profile, and underlying principles, or the “way” that musical learning at Improbasen is structured and practiced. Central to these principles, Johansen writes, is the desire of Improbasen’s founder to “unite all the world’s children in jazz.” In a later chapter, Johansen engages more deeply with children’s engagement with a genre that is “constructed as adult’s music”. In examining Improbasen’s programs for teaching jazz to children, Johansen also calls into question the very notion of jazz as “adult music”. The desire to have children play jazz, while still being true to their “authentic” selves as children, serves as a catalyst for a deep, probing discussion of embedded assumptions about jazz, childhood, creativity, and identity. In closing, I am happy to endorse Johansen’s book, as it is a deeply researched and engagingly written study. I will look forward to seeing it in print, and I am confident that it will stimulate spirited debate among jazz communities, and in the field of musical learning in general.' Ken Prouty, PhD, Associate Professor, Musicology and Jazz Studies, Michigan State University, USA'Through its descriptions of how learning to improvise enables children to develop the ability to think in music, Johansen’s book is not only a powerful plea in defence of difference and diversity in jazz improvisation education, but also regarding improvisation as a central activity in music pedagogy generally...There is no doubt that her detailed and well-reasoned account of Improbasen’s methods for teaching children jazz improvisation – peculiar as they may undoubtedly seem to some – provides valuable food for thought to music education research in general and to jazz educators in particular.'Sven Bjerstedt, Lund University, Lund, Sweden"Why is a book about a pedagogical jazz project in Oslo relevant for the international community? Firstly, it gives voice to Norwegian perspectives on learning jazz in a discourse that is largely shaped by North Americans. Secondly, it presents an ethnographic approach to the study of jazz, but in contrast to well-known ethnomusicological studies like those of Berliner (1994) and Monson (1996), it doesn’t focus on professional musicians but on children and their learning processes in jazz, addressing numerous essential pedagogical questions. And thirdly, it fills a certain gap (regarding scientific studies and didactic material) by discussing teaching approaches for children learning jazz in the very first years on an instrument...The book sophisticatedly discusses possible answers to this very question, resulting from a detailed study of the teaching approach and the learning processes taking place at “Improbasen,” a private jazz learning center for children in Oslo. Remarkable is the fact that jazz is not seen there as something for those who already have been trained in classical music or who have achieved whatever may be seen as instrumental basics elsewhere, but as core content for “children who have never played an instrument before” (p. 2). This book comprehensively documents and reflects pedagogical practice and knowledge regarding the first years of instrumental learning in the context of jazz and thus represents a highly relevant contribution for the actual discourse in jazz education...From the perspective of creative music pedagogy, it is stated that children should get the space to freely explore without the exclusive necessity of certain skills, in order to create their own music...Is jazz an adult music that is superimposed on the children? What can be the response to the critique, that possibly “children do not truly learn to improvise, only to copy and obey rules,” as Johansen points out (p. 4)? These questions are crucial ones for a jazz education dealing with children. Johansen acknowledges this criticism and in fact detects a great instructiveness and teacher-centeredness with given musical material connected to a certain tradition at Improbasen. But she also argues that these components provide a valuable process of interaction and empowerment: “Nevertheless, [the children’s] ability to draw on a shared repertoire of form and codes, as well as their social agency in instructing each other in what to do, point to their proximal development ahead and show that their training had empowered them enough to perform independently” (p. 167). She describes the approach of Improbasen—as the book title suggests—as a guidance toward the participation in jazz improvisation as an “adult knowledge culture,” referring to theories from psychologist Barbara Rogoff (1990) and sociologist Karin Knorr Cetina (1999)."Julian Schunter, Jazz Education in Research and Practice Vol. 4, No. 1 Table of Contents1. Introduction: Making the case for Improbasen; 2. Researching Improbasen; 3. A fungus system: Roles and rules in Improbasen; 4. ‘Jazz is like slow carbs’: Children’s perspectives on learning jazz and improvisation; 5. The subject matter: Explicit teaching and learning; 6. The rhythmic scaffold: Implicit teaching and learning; 7. ‘Then we can play together’: inter-play, inter-nations; 8. Creative music pedagogy: Authenticity and childhood; 9. Children, jazz, and learning to improvise
£39.99
Taylor & Francis Speak it Louder
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
£51.99
Cambridge University Press Yonder Come the Blues The Evolution of a Genre
Book SynopsisYonder Come the Blues combines three influential and much-quoted books: Savannah Syncopators; Blacks, Whites and Blues and Recording the Blues. Updated with additional essays, this 2001 volume discusses the crucial early development of the blues as a music of Blacks in the United States, explaining some of the most significant factors that shaped this music. Together, these three texts emphasise the significance of the African heritage, the mutuality of much white and black music and the role of recording in consolidating the blues, thus demonstrating the importance of these formative elements in its complex but combined socio-musical history. Redressing some of the misconceptions that persist in writing on African-American music, this book will be essential reading for all enthusiasts of blues, jazz and country music and will be important for students of African-American studies and music, popular music and popular culture.Trade Review"The reappearance of these three long-out-of-print books is enough cause for celebration." Notes"What a delight to have three classic works on blues reissued under one cover. Oliver is to be congratulated for conceiving of the idea and for bringing it to fruition...This book should be in every academic library." CHOICE Dec 2001"...anyone with a general knowledge of the blues will have his or her understanding deepened by these works, particularly in the updated guise in which they appear here." American RecorderTable of ContentsIntroduction: yonder come the Blues Paul Oliver; Book One. Savannah Syncopators: African retentions in the Blues: 1. Afternoon - Nangodi; 2. Africa and jazz historian; 3. Music in West Africa; 4. Savannah song; 5. The source of the slaves; 6. Africa and the Blues; 7. Afterword Paul Oliver; Book Two. Blacks, Whites and Blues: Foreword; 8. Minstrelsy; 9. Old familiar tunes; 10. Letting out the Blues; 11. The Idea of the White People; 12. Out West; 13. Out East; 14. Afterword Tony Russell; Book Three. Recording The Blues: 15. The birth of a new industry; 16. The new market 1920–2; 17. The classic blues; 18. Into the field 1927–30; 19. Hard times; 20. Urban blues 1934–40; 21. End of an era 1941–5 Robert M. W. Dixon and John Godrich; 22. Afterword Howard Rye.
£94.24
LEGARE STREET PR The Mikado or The Town of Titipu
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LEGARE STREET PR Merrie England
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LEGARE STREET PR Guys On Ice
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LEGARE STREET PR Syncopating Saxophones
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LEGARE STREET PR Histoire Des Cafésconcerts Et Des Cafés De Paris...
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LEGARE STREET PR Chu Chin Chow a Musical Tale of the East
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LEGARE STREET PR Davidsons Universal Melodist
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