Theory of music and musicology Books

Book SynopsisMadness came to prominence in the UK in the wake of the Punk/New Wave explosion and must be seen in the context of Britain in the late 70s, musically, socially and politically. Through interviews with the band, this title tells the inside story of how Madness rose to be the most successful singles band of the 1980s in the UK charts.Trade Review"It was only a matter of time before a clever publisher realized that there is an audience for whom Exile on Main Street or Electric Ladyland are as significant and worthy of study as The Catcher in the Rye or Middlemarch... The series, which now comprises 29 titles with more in the words, is freewheeling and eclectic, ranging from minute rock-geek analysis to idiosyncratic personal celebration--The New York Times Book Review Ideal for the rock geek who thinks liner notes just aren't enough--Rolling Stone One of the coolest publishing imprints on the planet--Bookslut These are for the insane collectors out there who appreciate fantastic design, well-executed thinking, and things that make your house look cool. Each volume in this series takes a seminal album and breaks it down in startling minutiae. We love these. We are huge nerds. - Vice A brilliant series...each one a word of real love - NME (UK) Passionate, obsessive, and smart - Nylon Religious tracts for the nock 'n' roll faithful - Uncut (UK) We...aren't naive enough to think that we're your only source for reading about music (but if we had our way...watch out). For those of you who really like to know everything there is to know about an album, you'd do well to check out Continuum's "33 1/3" series of books." - Pitchfork"

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Book SynopsisAlthough Exile in Guyville was celebrated as one of the year''s top records by Spin and the New York Times, it was also, to some, an abomination: a mockery of the Rolling Stones'' most revered record and a rare glimpse into the psyche of a shrewd, independent, strong young woman. For these crimes, Liz Phair was run out of her hometown of Chicago, enduring a flame war perpetrated by writers who accused her of being boring, inauthentic, and even a poor musician. With Exile in Guyville, Phair spoke for all the girls who loved the world of indie rock but felt deeply unwelcome there. Like all great works of art, Exile was a harbinger of the shape of things to come: Phair may have undermined the male ego, but she also unleashed a new female one. For the sake of all the female artists who have benefited from her workfrom Sleater-Kinney to Lana Del Rey and back againit''s high time we go back to Guyville.Trade ReviewI found this book to be, like Ms. Phair’s album, charming and brave and unexpectedly moving. The author is excellent on so many things, including how the power of Ms. Phair’s songs grows from their grainy details, quotidian observations that other rockers so rarely give us, about things like housework and roommates and 'what is was like to feel voiceless and powerless in a nightclub, on a road trip, or during sexual intercourse. -- Dwight Garner * The New York Times *Arnold is a wonderful writer: fearless, precise, full of doubt, never taking anything for granted. She’s one of the few people left on the planet who uses presently correctly, which can create its own thrill. Going back to Liz Phair’s once notorious, now often forgotten, absurdly in-your-face ambitious first album—'a story about a girl and a time and a place,' the indie-rock world of Wicker Park, in Chicago, in the early 1990s, but in Phair’s hands a story told with such heart that you need no such details to catch every shade of meaning and emotion—Arnold has written a book about the past ('when dinosaurs, as personified by Dinosaur Jr., ruled the earth'), its follies and crimes ('Every past is worth condemning,' Arnold quotes Nietzsche, and then puts the words to work), and the idea of an imagined community that the past leaves behind ('Often I think I am a better informed citizen of Middlemarch, Bartsetshire,' Arnold says, 'than I am of San Francisco'). And it’s about what it means for a young woman to simultaneously take on both everyone in her town and take down the album that sums up everything that everyone in her town would like to sound like, look like, act like, be—to take down a whole way of being in the world. -- Greil Marcus * The Believer *Writing at length about two themes – ‘third-wave feminism’ and the changing nature of indie music over the past twenty years - requires laborious research, cogent arguments, and logical grounding from start to finish. Doing so in the context of one record makes the task even more difficult. I can say, having reviewed many scholarly articles in my time, that Arnold passes the test with flying colors. The book is well cited, filled (but not overwrought) with pertinent facts, and her points are structured in a way that just make sense. In a word, the book is smart. * 2bit Monkey *Mentioned in Harper's Bazaar -- Hannah Morrill * Harper's Bazaar *Provocative in all the right places, persuasively argued and certainly among the most professional of the series. It reminds me how much my thinking about gender and sexuality has benefitted from reading women’s testimonials to the emotional power of Guyville. It also reminds me how, to this day, I would drink Liz Phair’s bathwater. -- Kirk Curnutt * Paste Magazine *Arnold’s book puts Phair in her proper place as the patron saint of f**k you. Because, in the end, Phair had the last laugh. Guyville is no more. It has been laid waste, in part, by the corporate interests that poached and commodified indie rock’s talent (Phair included), and finally blasted into oblivion by technology. The critic, like those denizens of Guyville, no longer needs to impress us with her encyclopedic knowledge of a musical act, or lay forth great truths and judgments for us to accept without question. Rather, she can engage in a more lyrical form of storytelling, picking apart at the edges of a work of art, and letting biography and theory bubble forth as need be, in order to reveal a particular, individual relationship. In this way, Arnold’s book not only documents a lost world. By presenting an engaging and enlightening example of criticism in the post-critical age, it also points a way forward. -- Brian Gresko * The Rumpus *Table of ContentsIntroduction: Written in my Seoul Chapter 1: Guvyille as Ghostworld Chapter 2: Sonic Pleasure and Narrative rock criticism Chapter 3: My Mixed Feelings Chapter 4: Exile State of Mind Works Cited

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Book SynopsisTrent Reznor rode into music mythology on Pretty Hate Machine, powered by Futurist industrial pistons and covered in ice-spiked synth hooks shined by new wave robots. Then there was his voice. This book interviews dozens of NIN fans to provide information on the heart of Reznor's very personal appeal.Trade ReviewCarr's take on Pretty Hate Machine as an accessible piece of art is fortified by her ability to include everyone — fans, critics, NIN virgins — into her dialogue. Here, PHM is transformed from an album for outcasts into a work that applies more generally to mass culture. * Tiny Mix Tapes *Table of ContentsIntroduction Map The Becoming Mercer, Pa. "Head Like a Hole" "Terrible Lie" "Down in It" Youngstown, Ohio "Sanctified" "Something I Can Never Have" "Kinda I Want To" "Sin" Cleveland, Ohio "That's What I Get" "The Only Time" "Ringfinger" Leader of the Black Parade Notes Credits Bibliography

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Book SynopsisTable of ContentsList of Illustrations Preface Acknowledgments I The Musical Language of Bartok: Historical Backgrounds Folk- and Art-Music Sources Orientation toward French, Russian, and Folk-Music Sources: Nonfunctional Bases in Pentatonic, Modal, and Whole-Tone Constructions Use of Symmetrical Pitch Collections by Russian, French, and Hungarian Composers Russian Nationalists: Symmetrical Properties of the Dominant-Ninth Chord Russian Nationalists, Debussy, and Stravinsky: Symmetrical Properties of Nontraditional as Well as Traditional (Pentatonic and Modal) Pitch Constructions Russian Nationalists, Scriabin, and Kodaly: Symmetrical Partitions of the Octatonic Scale Late Nineteenth- and Early Twentieth-Century Germanic Influences: Symmetrical Organization of Chromatically Related Keys The Schoenberg School: Symmetrical Formations as the Basis of Progression in Free-Atonal Compositions Berg and Webern: Total Systematization of the Concepts of the Interval Cycle and Inversional Symmetry in Dodecaphonic Serial Compositions II Harmonization of Authentic Folk Tunes III Symmetrical Transformations of the Folk Modes IV Basic Principles of Symmetrical Pitch Construction V Construction, Development, and Interaction of lntervallic Cells VI Tonal Centricity Based on Axes of Symmetry Including the Concepts of: Symmetrical Organization around an Axis; Use of Symmetrical Cells in Establishing Axes; Interaction of Traditional Tonal Centers and Axes VII Interaction of Diatonic, Octatonic, and Whole-Tone Formations VIII Generation of the Interval Cycles IX Conclusion Chronological List of Cited Bartok Compositions Works Cited Index to Basic Terms, Definitions, and Concepts Index to Compositions General Index

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Book SynopsisBryan Waterman teaches American literature and culture at New York University. His previous books include, with Cyrus R. K. Patell, The Cambridge Companion to the Literature of New York City.Trade ReviewPenned by Bryan Waterman, the book focuses much of its attention on the four years leading up to the recording of the record in 1977...it offers amazing insight into one of rock's most unsung masterpieces. * Montreal Mirror *Waterman [has done] extensive research, culling from NYU's archive of Richard Hell's papers, rock journalist reviews from the era (Christgau, Bangs, Kent, et al.), and extensive interviews, making sure to maintain the composure of an academic thesis, and not a fan boy rag... what happens when you pull back all the layers of flashbacks and reminiscence is an extensive true story that is still interesting, and echoes long down the volleys of rock history. * Crawdaddy! *[Waterman's book] will delight both Television fans and nostalgists of seventies punk-era New York. * The East Village Local *The New York punk scene of the 1970s doesn’t lack for documentation … That Bryan Waterman still finds something new to say is impressive enough, but he expertly expands the context for Television’s debut album and for the Bowery punk movement within New York’s larger arts scene. At more than 200 pages, it’s one of the longest titles in the series, but each page seems to contain some new idea or discovery. -- Stephen M. Deusner * Pitchfork *Table of Contents1. Biography; 2. The "downtown scene" pre-CBGB; 3. The emergence of the CBGB scene; 4. The Album.

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Book SynopsisThough "Nevermind" was Nirvana's most commercially successful album, and the record that broke them - and the grunge phenomenon - internationally, "In Utero" has increasingly become regarded as the band's best album, both by the critics and the band members themselves. This work tells the story behind the creation of "In Utero".

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Book SynopsisDescribed, variously, as the perfect fusion of poetry and garage band rock and roll, Horses belongs as much to the world of literary and cultural criticism as it does to the realm of musicology. This book demonstrates how Horses transformed the possibilities of both poetry and rock music.Trade ReviewArmed with an amazing depth of knowledge and insight on Smith's life from childhood to the release of her debut masterpiece, Shaw contributes yet another stellar entry in this excellent series of books. -- Jer Fairall * Popmatters *

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Book SynopsisExplores how a tiny acoustic record has puttered and purred its way into the millennium. This book contains interviews of producer Joe Boyd, string arranger Robert Kirby, and the marketing team behind the VW commercial.Trade ReviewThe latest addition to the evergrowing 33 1/3 series (now up to volume 51) is an in-depth look at Nick Drake's final album "Pink Moon". Tackling a 28 minute album of sparse folk by an artist whose life went largely undocumented (there are no known video clips or interviews with Drake) is a daunting task, but Petrusich handles the job nicely by telling the story through interviews with the people who knew Drake and worked with him musically, as well as testimonials from current artists who have felt his influence. She also does a great service to the readers by not painting Drake as some romantically doomed poetic soul, like so many other writers have done in the past. In fact, she does an excellent job of dispelling many Drake myths (ex: he didn't anonymously leave the tapes for Pink Moon at Island's reception desk without saying a word), and even points out flaws in the album (many of the vocals are garbled). The most interesting part of the book is the final third which focuses on Pink Moon's 21st Century revival thanks to a 2000 Volkswagon commercial featuring the title track. While many make the argument that using a song to push a product cheapens the artistry of the song, "Pink Moon" was used to such great effect that it has simultaneously become synonymous with Volkswagon. More importantly, thanks to commercial exposure, annual sales of the album jumped from 6,000 to 74,000 in the year that it hit the airwaves - exposing Drake's work to a new generation. Perhaps the best praise I can give the book is that after I finished reading it I put it down and listened to Pink Moon. * Losing Today.com *One of my favourites in Continuum's 33 1/3 series of books on seminal albums. * Largehearted Boy, August 2008 *Is an ambitious project...Petrusich is up to the task, and her travels weave an essential sense of place into her exploration of the evolution of Americana music. -- Julian Koster * Largehearted Boy, August 2008 *[A] fascinating read and a worthy inclusion in the pantheon of great books about great records. -- Matthew van DeWitt * Skyscraper magazine *

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Book Synopsis-- Stanley Persky, City University of New YorkTable of ContentsIntroduction Part 1. The Techniques of Elementary Counterpoint 1. Cantus Firmus and First Species 1. Cantus Firmus 2. Two-part Counterpoint, First Species 3. Three-part Counterpoint, First Species 2. Second Species 1. Two-part Counterpoint 2. Three-point Counterpoint 3. Third Species 1. Two-part Counterpoint 2. Three-part Counterpoint 3. Three Notes against One 4. Fourth Species 1. Two-part Counterpoint 2. Three-part Counterpoint 5. Fifth Species 1. Two-part Counterpoint 2. Three-part Counterpoint Part 2. The Techniques of Prolonged Counterpoint 6. Counterpoint in Composition, I 1. The Direct Application of Species Counterpoint 2. Two Major Influences on Contrapuntal Texture 7. Counterpoint in Composition, II 1. Melodic-contrapuntal Prolongations 2. Counterpoint within Prolonged Chords 3. The Evolution of Dissonance 4. Repetition and Articulation 5. Harmonic Influences on Voice Leading 6. Chromaticism; Contrapuntal Leading-tone Chords 7. Octaves and Fifths 8. The Chorale 1. The Elements of Chorale Writing 2. Setting a Single Phrase 3. Setting Groups of Two or More Phrases 4. The Complete Chorale 9. Combined Species 1. Combination of Two Second Species 2. Combination of Second and Third Species 3. Combination of Second and Fourth Species 4. Combination of Third and Fourth Species 5. Combination of Two Fifth Species 6. Progressions from Combined Species in Composition 10. Voice-Leading Techniques in Historical Perspective (ca. 1450-ca. 1900)

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Book Synopsis*Offers invaluable insight into the issues of historically informed performanceTrade ReviewIn a climate where marketing and convenient practicalities have increasingly tended to overwhelm historical evidence, Kuijken's book is timely and worthwhile. * Performance Practice Review *Table of ContentsPreface Acknowledgements1. The Underlying Philosophy2. My Way Towards Research3. The Limits of Notation4. The Notation, Its Perception and Rendering5. OutlookBibliography

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Book SynopsisWhy do we value music? Many people report that listening to music is one of life''s most rewarding activities. In Critique of Pure Music, James O. Young seeks to explain why this is so. Formalists tell us that music is appreciated as pure, contentless form. On this view, listeners receive pleasure, or a pleasurable ''musical'' emotion, when they explore the abstract patterns found in music. Music, formalists believe, does not arouse ordinary emotions such as joy, melancholy or fear, nor can it represent emotion or provide psychological insight. Young holds that formalists are wrong on all counts. Drawing upon the latest psychological research, he argues that music is expressive of emotion by resembling human expressive behaviour. By resembling human expressive behaviour, music is able to arouse ordinary emotions in listeners. This, in turn, makes possible the representation of emotion by music. The representation of emotion in music gives music the capacity to provide psychological insTable of Contents1. Music and Expressiveness ; 2. Music and the Arousal of Emotion ; 3. The Content of Music ; 4. Music and Lyrics ; 5. The Value of Music ; Bibliography

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Book SynopsisDescribes and cites examples of pitch-class sets and relations in atonal music.

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Book SynopsisThis book discusses the myriad ways in which Beethoven begins his works and the structural, rhetorical, and emotional implications of these beginnings for listeners. Examining the opening moments of nearly 200 compositions, it offers a new method of analysis of Beethoven's music. At the same time, it sets Beethoven's work in context through a close study of beginnings in the compositions of the Classical Era.Trade ReviewJeremy Yudkin...is an expert guide, taking the reader through an enormous number of musical examples. * BBC MUSIC *Jeremy Yudkin's new book carries a most intriguing title. -- Michael Fend * Journal of Eighteenth Century Studies *Table of ContentsForeword by Lewis Lockwood Preface Chapter One: Begin at the Beginning Chapter Two: Conventions of Beginning Chapter Three: Unconventional Beginnings Chapter Four: Beginning as Structural Unit Chapter Five: Special Beginnings Chapter Six: Beginning as Public Statement Chapter Seven: Fighting for Perfection Chapter Eight: Conclusions Appendix 1: Key Distribution in the Principal Works of Beethoven Appendix 2: Compositions Cited Bibliography

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Book Synopsis"Tusk", the first record in history to cross the million dollar threshold in production costs, was the Fleetwood Mac's critically acclaimed, commercially disappointing 1979 double album. This book looks at one of the most unusual albums ever released by a major rock band.Trade Review[The] journalistic revelations and general insight add yet more layers to the double album's controversial standing. * The Austin Chronicle *Trucks doesn’t spend much time analyzing songs; the book is a tribute to the auteur spirit ... Readers may skim Trucks’ long digressions into his own autobiography, which is too bad because they contain some interesting anecdotes, especially regarding the popularity of the Buckingham Nicks album in the author’s native Alabama. The real draw of the book, however, are interpolated testimonials from indie rockers such as Camper Van Beethoven’s Jonathan Segel and Dave Portner of Animal Collective. -- Kirk Curnutt * Paste Magazine *Table of ContentsAcknowledgments Intro: The Warning Shot Chapter One What We Talk About When We Talk About Tusk Jonathan Segel of Camper Van Beethoven Chapter Three What We Talk About When We Talk About Tusk Walter Egan Chapter Five What We Talk About When We Talk About Tusk Kaki King Chapter Seven What We Talk About When We Talk About Tusk A.C. Newman of the New Pornographers Chapter Nine What We Talk About When We Talk About Tusk Gretchen Heffler of the USC Spirit of Troy marching band Chapter Eleven What We Talk About When We Talk About Tusk Dan Boeckner and Hadji Bakara of Wolf Parade Chapter Thirteen What We Talk About When We Talk About Tusk Dave Portner, a/k/a Avey Tare, of Animal Collective Chapter Fifteen What We Talk About When We Talk About Tusk Michael G of Tusk, a Fleetwood Mac tribute band Chapter Seventeen

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Book SynopsisIn contrast with many of their punk peers, Wire were enigmatic and cerebral, always keeping a distance from the crowd. Although Pink Flag appeared before the end of 1977, it was already a meta-commentary on the punk scene and was far more revolutionary musically than the rest of the competition. This book tells about a punk band.Trade Review"It was only a matter of time before a clever publisher realized that there is an audience for whom Exile on Main Street or Electric Ladyland are as significant and worthy of study as The Catcher in the Rye or Middlemarch...The series, which now comprises 29 titles with more in the words, is freewheeling and eclectic, ranging from minute rock-geek analysis to idiosyncratic personal celebration--The New York Times Book Review Ideal for the rock geek who thinks liner notes just aren't enough--Rolling Stone One of the coolest publishing imprints on the planet--Bookslut These are for the insane collectors out there who appreciate fantastic design, well-executed thinking, and things that make your house look cool. Each volume in this series takes a seminal album and breaks it down in startling minutiae. We love these. We are huge nerds. - Vice A brilliant series...each one a word of real love - NME(UK) Passionate, obsessive, and smart - Nylon Religious tracts for the nock 'n' roll faithful - Uncut(UK) We...aren't naive enough to think that we're your only source for reading about music (but if we had our way...watch out). For those of you who really like to know everything there is to know about an album, you'd do well to check out Continuum's "33 1/3" series of books." - Pitchfork"

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Book SynopsisTakes a look at what many consider to be U2's most fully formed album through the prisms of politics, spirituality, and culture. This work features interviews with Daniel Lanois, Steve Lillywhite, Flood, and more.Trade Review[Catanzarite has written] a surprisingly profound meditation on ‘Achtung Baby' as a metaphor for the Fall of Man. I told Bono, rather sceptically, that I had met a man who theorised that Achtung Baby was a metaphor for the fall of man ... and had just given a lecture on ‘the conservative voice in U2'. I thought Bono might get a kick out it, but I was surprised by his response. "Both theories sound bang on," he said. -- Neil McCormick * The Daily Telegraph *Stephen Catanzarite takes his readers on a metaphysical trip with Achtung Baby...The book reads like a well-written thesis, and Catanzarite is knowledgeable both musically and theologically. The songs are the bones on which the author fleshes out his theories, with the help of quotes by philosophers, poets, musicians (Axl Rose, of all people), and whole passages taken from books by religious scholars of different faiths. There are references to Neil Young, Led Zeppelin (the Tower of Babel is the original stairway to heaven), Bob Dylan and Morrissey for the rock cognoscenti, as well as a few Chinese proverbs thrown in for good measure. * @U2 *Stephen Catanzarite has reflected on a beloved Rock album and turned his reflections into a book. Not only that, but his book is theological, Christian, Catholic and concerned with humanity's place in the world. Ambitious, no? A lesser album would collapse under such ponderings, but U2's Achtung Baby is a "heavy mother," to quote the band's ever-quotable lead vocalist. And The Edge lists "betrayal" among the album's chief preoccupations, so bringing it all back home to Adam and Eve's betrayal of God does work. The book is a good primer on moral theology -- an oddity in the 33 1/3 book series. Our guide cites Augustine, Newman and more luminaries without any quote seeming irrelevant. And still the book stays connected to the music, delving into both words and instrumental landscape. Two quarrels: First, three taboos fascinate U2: sex, God and politics. Catanzarite describes an Adam and Eve losing and finding each other and their Maker in a neon city. That covers sex and God. But politics? In an epilogue Catanzarite mentions upheavals occurring in Achtung Baby's era but not a whisper elsewhere. He quotes the exquisite apocalypse of Yeats' poem "The Second Coming," but relates it not to chaos in wartime but to breakdowns in personal relationships. Second, Catanzarite praises "Mysterious Ways" as an ode to feminine inspiration. He challenges disrespect of women and yet never quotes a single woman author. It's a glaring omission in a Catholic-worldview book -- U2 themselves have spoken often of their indebtedness to, for instance, Flannery O'Connor. It would take 10 more books to maybe start to describe Achtung Baby. Catanzarite is brave to try. * CityBeat *If you don't already know about the Christianity present in U2, or have never heard Achtung Baby, find a copy and listen to it. And if you are interested in a thoughtful engagement by a Catholic with the best of modern rock, you might like Achtung Baby: Meditations on Love in the Shadow of the Fall. -- Nathaniel Peters * First Things *...a surprisingly profound meditation on ‘Achtung Baby' as a metaphor for the Fall of Man (part of the excellent 33? series of books about albums)... * Neil McCormick *

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Book SynopsisIn the fall of 1980 Richard and Linda Thompson (of Fairport Convention fame) had recently been dumped from their record label and were on the verge of divorce. Somehow they overcame these miserable circumstances and managed to make an album considered by many to be a masterpiece. This title puts Richard and Linda Thompson's album in context.Trade ReviewHayden Childs has definitely broken beyond the normal form of rock criticism with his take on Shoot Out The Lights, creating a review of some depth and intelligence, his critique as layered and textured as the album it explores. Whether you're a longtime fan of the Thompsons, or a listener just discovering the brilliant and disturbing Shoot Out The Lights, Childs' book provides the perfect guide to this difficult album. -- Rev. Keith Gordon * Blurt Magazine *This is an intent, even intense, look at Thompson's careful, multi-layering lyric writing, plus an enthusiastic, if not revelatory, appreciation for his musical gift. * Erasingclouds *

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Book SynopsisHank Shteamer is a writer and musician living in Brooklyn. He covers music for Time Out New York, The Wire and various other outlets, including his personal blog, Dark Forces Swing Blind Punches. He also plays in the band STATS.Table of ContentsAcknowledgements Introduction: "These guys got no future"—Ween beat the odds Before Chocolate and Cheese, part I: "We both loved to hear ourselves on tape": Ween's humble originsBefore Chocolate and Cheese, part II: Subsidized scribbles: Pure Guava and the underdog mystiqueAfter Chocolate and Cheese: "We can pull off our fantasies"—Ween comes into their own Chocolate and Cheese, part I: The making of... Chocolate and Cheese, part II: The songsChocolate and Cheese, part III: The artworkOutro: "The hardest thing to get"—Ween's autonomy

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Book SynopsisFirst published in 1995, Caribbean Currents has become the definitive guide to the distinctive musics of this region of the world. This third edition of the award-winning book is substantially updated and expanded, featuring thorough coverage of new developments, such as the global spread of reggaeton and bachata, the advent of music videos, the restructuring of the music industry, and the emergence of new dance styles. It also includes many new illustrations and links to accompanying video footage. The authors succinctly and perceptively situate the musical styles and developments in the context of themes of gender and racial dynamics, sociopolitical background, and diasporic dimensions. Caribbean Currents showcases the rich and diverse musics of Cuba, Puerto Rico, the Dominican Republic, Jamaica, Trinidad, the French Caribbean, the lesser Antilles, and their transnational communities in the United States and elsewhere to provide an engaging panorama of

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Book SynopsisFor his 2007 critically acclaimed 33 1/3 series title, Let's Talk About Love, Carl Wilson went on a quest to find his inner Céline Dion fan and explore how we define ourselves by what we call good and bad, what we love and what we hate. At once among the most widely beloved and most reviled and lampooned pop stars of the past few decades, Céline Dion's critics call her mawkish and overblown while millions of fans around the world adore her huge pipes and even bigger feelings. How can anyone say which side is right? This new, expanded edition goes even further, calling on thirteen prominent writers and musicians to respond to themes ranging from sentiment and kitsch to cultural capital and musical snobbery. The original text is followed by lively arguments and stories from Nick Hornby, Krist Novoselic, Ann Powers, Mary Gaitskill, James Franco, Sheila Heti and others. In a new afterword, Carl Wilson examines recent cultural changes in love and hate, including the impact of technTrade ReviewLike the whole world, I'm a fan of Carl Wilson's Celine Dion book. * Jonathan Lethem *An evergreen classic of music criticism--a love letter from a cerebral pop aesthete to the music he sincerely, almost sentimentally hates. * Rob Sheffield *Carl Wilson is a profound listener and an extraordinary writer. Along with being a tremendously important piece of criticism, Let’s Talk About Love is an agile, moving, and generous exploration of the music that accompanies us, welcome or not, on the travels we all need to make on our own. It is a beautiful, funny, unerringly concise book that invites repeated readings, new conversations, and a thoughtful engagement with the culture of our time. * John K. Samson *The book is laugh-out-loud funny, whip-smart about contemporary thought, and fascinating in its many voices, but, readers, beware—you may wind up humming that song for days afterward. -- Eloise Kinney * Booklist *[I]t’s a conversation worth having: as a dialogue between Wilson and his 13 disciples, with peers in social circles, and ultimately with oneself. Why we like what we like is always a fun topic to discuss, but it’s often more challenging and more enlightening to discuss the converse: why we don’t like what we don’t like… Any investigation into cool is incomplete without due consideration of too-cool-for. Wilson has provided a primer for that discourse. -- Kurtt Gottshalk * Brooklyn Rail *…the recently updated Let's Talk About Love—cheekily re-subtitled Why Other People Have Such Bad Taste and bundled with a host of excellent accompanying essays from the book's admirers including Krist Novoselic, Nick Hornby, Ann Powers, and James Franco—is a welcome excuse to revisit the main text in light of our current state of hyperspeed discourse. It's also a good excuse to catch up with Wilson, who continues to be an essential voice in the rock writer community while serving as Slate's music critic. -- Ryan Dombal * Pitchfork *Let’s Talk About Love…is not just a critical study of one Céline Dion album, but an engaging discussion of pop criticism itself. -- Elias Leight * LA Review of Books *In this gnostic context, Carl Wilson’s Let’s Talk About Love: A Journey to the End of Taste, first published in 2007, was a counter-intuitive masterstroke. Wilson’s gamble—that even people who hate Céline Dion would be curious to read an entire book about why they hate her, and what that hatred might mean—paid off handsomely: Let’s Talk About Love was widely and enthusiastically reviewed outside the usual music-geek circles, Wilson appeared on NPR and The Colbert Report, and last year he was hired as Slate’s chief music critic, as plum a gig as a pop critic can expect in today’s collapsing media economy. -- Ellis Avery * Public Books *Freaking brilliant. -- Will Hermes * Hippies and Hipsters *Voted a Best Music Book 2014 * The Guardian *Carl Wilson’s 2007 entry in the 33 1/3 library of pocket-sized books about classic albums is one of the most celebrated in the series. The author goes against the critical grain, not because he defends the music of this much-maligned international phenomenon. Wilson spends most of the book putting Dion into social and cultural context that in the end does not win him over to her kind of music. Wilson’s book, unlike most criticism, openly invites dialogue, even providing an email contact for readers to beat their own breasts for and against Céline Dion. -- Pat Padua * Spectrum Culture *The 33 1/3 series lets writers write (mini) book length tomes based on or inspired by an individual album. It's produced some intriguing experiments, like John Darnielle's novella inspired by Black Sabbath's Masters of Reality (a precursor to this year's debut novel, Wolf In White Van), but in 2007 Carl Wilson exploded the entire premise. He picked an album he hated - Celine Dion's Let's Talk About Love - and used it to enter a discourse on what determines good and bad taste. Seven years later, "poptimism" is practically standard practice, and Wilson's tome is a massively influential text in pop criticism. This year, Bloomsbury separated it from 33 1/3 and let it stand on its own in an expanded editions with a whackload of new material. Wilson's original work seemed like it examined Celine from every possible angle, but the 13 new essays, from writers like Nick Hornby, Owen Pallett and Nirvana's Krist Novoselic, show that he may have left a few stones unturned. -- Richard Trapunski * Chart Attack *An expanded version of Wilson's 2007 book for the 33 1/3 series with additional thoughts from 13 writers including James Franco, Ann Powers, Nick Hornby and others. An incredible look at pop culture -- and Celine Dion. -- The Ten Best Books of 2014 * Papermag *Table of ContentsA NOTE FROM THE PUBLISHER PART I Let’s Talk About Love: A Journey to the End of Taste Carl Wilson 1. Let’s Talk About Hate 2. Let’s Talk About Pop (and Its Critics) 3. Let’s Talk in French 4. Let’s Talk About World Conquest 5. Let’s Talk About Schmaltz 6. Let’s Sing Really Loud 7. Let’s Talk About Taste 8. Let’s Talk About Who’s Got Bad Taste 9. Let’s Talk with Some Fans 10. Let’s Do a Punk Version of “My Heart Will Go On” (or, Let’s Talk About Our Feelings) 11. Let’s Talk About Let’s Talk About Love 12. Let’s Talk About Love PART II Essays: What We Talk About When We Talk About Love Carl Wilson, “Introduction” Nick Hornby, “The Artists We Deserve” Krist Novoselic, “With the Lights On, It’s Less Useless” Ann Powers, “If the Girls Were All Transported” Mary Gaitskill, “The Most Obvious Thing” Jason King, “Compared to What?” Daphne Brooks, “Let’s Talk About Diana Ross (In Memory of Trayvon Martin)” Drew Daniel, “Deep in the Game” Sukhdev Sandhu, “Children of the Corn” James Franco, “Acting In and Out of Context” Marco Roth and the Editors of n+1, “Too Much Sociology” Jonathan Sterne, “Giving Up on Giving Up on Good Taste” Owen Pallett, “When I Come Home” Sheila Heti, “Playlist: Let’s Listen to Love” PART III Afterword Carl Wilson, “Let’s Talk Later” ACKNOWLEDGEMENTS NOTES ON CONTRIBUTORS

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Book SynopsisTony Tost is a scholar and poet who lives in Seattle, Washington. The author of two poetry collections, he was the recipient of the Walt Whitman Award in 2003. He is currently completing a dissertation on myth, technology and the poetic imagination at Duke University.Trade ReviewIt's a terrific, illuminating read that I'd recommend to anyone who loves Johnny Cash, and that record in particular. * No Depression Magazine *Tost cores the Cash mythology with the reverence it deserves, and in so doing gets to the very logic of reckoning. * Miami Sun Post *In a dynamically sequenced succession of short-burst essays, Tost matches driving, energized prose against the titanic scale of the image that Cash created through his public life and career. Writing about a man who contained multitudes, Tost is a poet in his own right. * Nashville City Paper *Like the best work on Cash, it makes no attempt to disentangle myth from history or biography. Tost is an American mythologist in the vein of Greil Marcus, and there are numerous moments in the book where the reader is put in mind of Marcus writing on Dylan (or Cash for that matter). * Tiny Mix Tapes *Tost is like a foster son of Greil Marcus, beating his own path into old, weird America through the life of the Man in Black. * Milwaukee Express *Table of ContentsPreface; Permanence (1); Permanence (2). Americana (1); Independence Day; The Gift; Americana (2); Delia; Let the Train Blow the Whistle; The Beast in Me; Drive On; Why Me, Lord; Bad Luck Wind; Cowboy Prayers; Precedence; To Be Free; He Had the Nerve and He Had the BloodWhere Are Your Guts?; Where the Train Goes Slow; Redemption; Like a SoldierPermanence (3); The Man Who Couldn't Cry; The Old, Weird American.

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Book SynopsisMusic Will Never Sound the Same Again. No longer will music theory be an intimidating notion! Whether you’re new to music and want to know the fundamentals to succeed, or whether you already play, sing and write and need a refresher on the basics, multi-instrumentalist Adrian Valia has you covered. From melody and rhythm all the way to the most essential elements of harmony, you’ll learn—or relearn!—everything you need to know in order to understand and make profound and beautiful tunes. Using the same colorful graphics and illustrations made popular in his beloved “Music Visually Explained” series on TikTok, Adrian breaks down concepts like polyrhythm, scales, power chords and the puzzling Circle of Fifths into easily digestible forms. What’s more, tools that spin and move on the page demonstrate melody and rhythm in real-time for a fun, interactive flair, as do quizzes and QR codes that lead to video demonstrations. With this book in hand, you’ll soon be on your way to making the songs you’ve always dreamed of.

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Book SynopsisArsenio Rodr\u00edguez was one of the most important Cuban musicians of the twentieth century. In this first scholarly study, ethnomusicologist David F. Garc\u00eda examines Rodr\u00edguez's life, including the conjunto musical combo he led and the highly influential son montuno style of music he created in the 1940s. Garc\u00eda recounts Rodr\u00edguez's battle for recognition at the height of \u0022mambo mania\u0022 in New York City and the significance of his music in the development of salsa. With firsthand accounts from relatives and fellow musicians, Arsenio Rodr\u00edguez and the Transnational Flows of Latin Popular Music follows Rodr\u00edguez's fortunes on several continents, speculating on why he never enjoyed wide commercial success despite the importance of his music. Garc\u00eda focuses on the roles that race, identity, and politics played in shaping Rodr\u00edguez's music and the trajectory of his musical career. His transnational perspective has important implications for Latin American and popular music studies.Trade Review"An engaging, timely, and thoroughly researched work that explores the accomplishments and legacy of one of Cuba's most important musicians and bandleaders, Arsenio Rodriguez Scull. Garcia's book fills a voice on Cuban and Latin American popular music scholarship, painstakingly outlining the details of Arsenio's strong African playing style, and how his musical creations were deeply tied to race, class, and cubanidad. No other book so skillfully combines biography with a convincing cultural analysis of how music both emerges from and contests specific ideologies of race, class, and national identity. This book promises to be the definitive biography of Arsenio in the English language-comprehensive and unstinting in its attention to detail." -Katherine Hagedorn, Associate Professor of Music at Pomona College, and author of Divine Utterances: The Performance of Afro-Cuban SanteriaTable of ContentsFinal Table of Contents List of Illustrations Preface Introduction "Feeling Son Montuno": Issues and Theoretical Approach Outline 1 "I Was Born of Africa": Black Consciousness and Cubanidad Formative Years Reclaiming "Africa" "Adore Her as Marti Did" 2 Negro y Macho: Arsenio Rodriguez's Conjunto and Son Montuno Style The Early Septetos and Conjunto, 1926-1944 Contratiempo and the Emergence of the Son Montuno Feel Placing the Emergence of Son Montuno 3 Who Is Who in Mambo? Migrating to New York City "I Sell Rhythm!" The Political Economy of Son Montuno and Mambo The Pueblo Pueblo of El Barrio and the Bronx 4 Remembering the Past with El Ciego Maravilloso Arsenio Rodriguez in Chicago, Curacao, and Los Angeles Nostalgia, Exile Politics, and the "Pre-salsa" Milieu in New York City Final Performances and Death 5 Salsa and Arsenio Rodriguez's Legacy "We Were Disciples of Arsenio" Son Montuno and Salsa Aesthetics Conclusion: Remembering Arsenio Rodriguez/Remembering Son Montuno Notes Discography Bibliography

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Book SynopsisTrade ReviewThere is no other textbook in modal counterpoint quite like it. Schubert's innovative division of rules into "hard" (rules never to be violated) and "soft" (rules that may be violated if the occasion demands) has proven very useful in the classroom, and his warm-up exercises for each species are quite helpful. This certainly ranks among the best music theory textbooks of the past ten years. * Anton Vishio, Steinhardt School of Culture, Education, and Human Development, New York University *This is one of the most successful textbooks in any area of music I have used in sixteen years of university teaching. It is also remarkably well edited. Its format is both instructor- and student-friendly. This is a book of inspired musicality, pragmatic pedagogy, scholarship, and wit. * Jeff Perry, Louisiana State University *Table of ContentsINTRODUCTION: RENAISSANCE MUSICAL STYLE AND NOTATION; APPENDICES

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Book SynopsisA sustained study of music and spirit possession in modern VietnamTrade Review"There is no better study that looks at Vietnamese mediumship music in a thorough, multidisciplinary manner."--Music & Letters"An exciting document of a locally diverse and unique ritual practice of the Viet people and their music. . . . A Vital work."--Asian Ethnology"Essential reading for scholars of Vietnamese religion, women's religion and culture, and spirit possession."--Religious Studies Review"The book is comprehensive in its analysis of cultural practices such as len dong, tracing the history of rituals, music and religion in Vietnam back to the early 20th century. . . . The inclusion of a DVD with video clips of mediums performing the spirit ceremonies and audio clips of the music played at the ceremonies makes turns an interesting book into a fascinating multimedia experience.” --Songlines"This book is at once reflexive, accessible, and consistently theorized. Barley Norton is closely attentive to the political life of performance and to the lived reality of rituals in a shifting socialist landscape. His writing is vivid and exacting, and the book's DVD invites a process of reading, watching, and listening that is wonderfully rewarding."--Deborah Wong, author of Speak It Louder: Asian Americans Making Music"Barley Norton's foundational study provides an indispensable guide to the music that animates Vietnamese mediumship. Choice anecdotes and recordings introduce individual mediums and musicians, demonstrate the musicality of religious experience, and reveal how ritual music is learned, performed, and transformed in Vietnam."--Philip Taylor, editor of Modernity and Re-enchantment: Religion in Post-revolutionary Vietnam"Songs for the Spirits is the first extensive and accurate ethnomusicological study of the chau van possession rituals in contemporary Vietnam. This study is exceptionally interesting, and it demonstrates the vigor of an ethnomusicologist who is remarkably engaged in both fieldwork operation and post-fieldwork analysis."--Phong T. Nguyen, author of From Rice Paddies and Temple Yards: Traditional Music of Vietnam

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Book SynopsisIn examining the work of Theodor Adorno, this collection of essays focuses on the German philosopher's ideas in the field of musicology. Though it addresses complex theories, this inquiry maintains a lucid style, describing the nuances of Adorno's thought while not relying on a great deal of prior knowledge to shed light on his contributions to music theory. Included is a discussion of the applicability of Adorno's ideas to popular music and an assessment of Adorno's continuing relevance in light of other commentaries.Trade Review"Paddison has assembled an accessible and timely collection of reflections on Adorno's aesthetics of music in service of showing just how it might compose a framework for the present critical interpretation of culture." - Tom Huhn, Professor of Philosophy, British Journal of Aesthetics.; "...a briliant piece of work..." Charles Rosen, The New York Review of BooksTable of ContentsPreface, Introduction, 1. Critical Theory and Music, 2. Adorno's Aesthetics of Modernism, 3. Adorno, Popular Music and Mass Culture, 4. Critical Reflections on Adorno, Bibliography, Indices

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Book SynopsisImprovisation plays a key role in the toolbox of the music therapist. Tony Wigram's practical and comprehensive guide and online content will prove indispensable to students, teachers, therapists and musicians as a book of musical techniques and therapeutic methods. Beginning with an overview of developing, teaching and analysing the skills of improvisation, Wigram describes techniques ranging from warming up to mirroring, rhythmic grounding, containing and holding. With specific sections on piano improvisation, chordal and 2-, 3- and 4- note improvisation are covered, in addition to advanced skills such as frameworking and transitions. Wigram also includes techniques for thematic improvisation, group improvisation and outlines methods for analysing and reporting improvisational processes. Notated examples allow readers to try out techniques and progress as they read, with audio examples on the accompanying online content adding another dimension to the structure and guidance provided for all levels of music student and therapist.Trade ReviewIn conclusion, this is an impressive book, essential for its exceptional thoroughness and readability as well as for being the only book of its kind. It will be invaluable as a training manual for professional courses, and may also raise other health professionals' awareness of the complex and scientifically grounded skills deployed by a profession so often obliged to defend its research base against accusations of a lack of scientific rigour from those with too narrow a vision of evidence based medicine. -- British Journal of Music Therapy, John Strange, former Chair of the APMTThe book's prose is clear and always user friendly. Wigram's approach is also profoundly practical, requiring the reader to work on the methods outlined, moving "backwards as well as forwards" so as to revise, integrate and develop them in ways specific to the needs of particular working contexts. The book is both accessible and profoundly practical. Moreover, whilst written for a music therapy audience, it warrants a much wider readership, including musicians that play in hospitals or in hospices who may not necessarily be formally qualified as music therapists'. -- British Journal of Music EducationTony Wigram is an experienced improviser, who has written a book to help others to attain the necessary musical and clinical skills to learn to improvise and to effectively use improvisation in their music therapy sessions. As I begun reading, I felt that Wigram was speaking to my experience. He spoke to and normalized my fears of failure and my inner voice of self-criticism. His intention with this book is to dispel the myth that improvisation is "a gift granted to the chosen few" (p.19) and he asserts that "the potential to 'join in' with a musical experience through improvising is inborn and present in everyone" (p.19). It is really designed for music therapy students and clinicians. It is geared towards both beginning and experienced pianists and includes the use of other instruments. It begins at a very basic level and progresses to very complex skills. The chapters that I found most valuable as an educator of undergraduate music therapy students were the chapters on musical techniques (Chapter 3), basic therapeutic methods and skills (Chapter 4), advanced therapeutic methods (Chapter 5), transitions (Chapter 6), and group improvisation (Chapter 8). All of these techniques are well explained, masterfully illustrated in the audio and notated example provided, and are further reinforced with readily accessible yet challenging exercises. Throughout, Wigram provides helpful guidelines in terms of strategies with which to experiment. Improvisation: Methods and Techniques for Music Therapy Clinicians, Educators, and Students is a must for all undergraduate music therapy students.This book provides a systematic approach for novice improvisers and as such is a wonderful teaching aid for those who have been reluctant to teach it in their program. This book also covers more complex skills and therefore I also highly recommended it for graduate students, clinicians, and people with improvisation experience. -- Music Therapy PerspectivesA comprehensive representation of the current international knowledge and practical experiences of music therapeutic interventions, which describes a systematic procedure on different instruments for teachers, students and clinical practitioners, and offers a lot of practical material to aid the development of a personal repertoire of music therapeutic interventions... [Wigram] is the authority to write a book on this topic. -- Musiktherapeutische UmschauThis bountiful text by experienced musician and researcher Tony Wigram is destined to become a standard on the shelves of music therapists globally. Packed full of ideas and examples, it breaks down the "doing" of improvisation into simple and straightforward sections...A bible for music therapists who use and teach improvisation - I highly recommend it. -- Australian Journal of Music TherapyA unique and excellent book of didactics for music therapy academic education, involving the systematisation (and "quantification") of music therapy procedures with a focus of improvisation, and of a Meta methodology of improvisation - especially in music therapy dyad work. While it could be considered first of all as a tutor for students and educators, it is also designed for clinicians to help develop more improvisation skills. As such, it is a handbook of improvisation for clinical practice, to develop more sensitivity to musical material, and to learn a very useful assessment and indication perspective into improvisation as an intervention. -- Nordic Journal of Music TherapyTable of ContentsForeword, Professor Kenneth Bruscia. 1. Introduction. 2. Basic concepts in improvisation. 3. Musical techniques. 4. Basic therapeutic methods and skills. 5. Advanced musical and therapeutic techniques: Extemporising and frameworking. 6. Transitions: In improvisation and therapy. 7. Thematic Improvisation. 8. Group improvisation. 9. Two different methods for analysing improvised music. 10. Summary and Conclusion. Appendices. Glossary. Index.

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Book SynopsisThe music reviews of Robert Schumann and Richard Wagner are central documents of 19th-century German musical culture. This book takes a closer look at the way these texts were written and explores the significant contributions Schumann and Wagner made to the discourse of musical appraisal. To that effect, the author raises fundamental questions that have thus far remained unaddressed: What textual features characterize the critical writings? How do Schumann and Wagner understand their roles as critics of music? And in what way do they reach out to the reader? Rather than understanding these critical writings exclusively as a gateway to the compositions and musical aesthetics of Schumann and Wagner, this book analyzes the texts through the lens of pragmatics, narratology and discourse analysis. Using this interdisciplinary perspective, the author proposes to understand Schumann and Wagner within the broader medial and discursive context of German ‘Kritik’. He challenges the dominant narrative that brands Schumann and Wagner as elitist Romantic critics, demonstrating instead that they actively encourage their readers to form their own judgements. This volume is an indispensable resource for scholars of German literature, periodicals and music alike.

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Book SynopsisMajor Label Mastering: Professional Mastering Process distills 25 years of mastering experience at Capitol Records into practical understandings and reliable systems. Containing unparalleled insights, this book reveals the mastering tricks and techniques used by Evren Göknar at one of the world's most notable record labels.Beginning with the requisite competencies every Mastering Engineer must develop, Major Label Mastering delves into the particulars of the mastering studio, as well as fundamental mastering tools. Included among these tools is The Five Step Mastering Process, a rigorously tested system that equips the practitioner to successfully and confidently master a project to exacting standards of audio fidelity. Covering all bases, the book discusses both macro and micro considerations: from mindset approach and connecting with clients down to detailed guidelines for processing audio, advanced methods, and audio restoration. Each chapter ends with exerciTrade Review"Absolutely essential for anyone seriously considering any aspect of mastering as their passion or career choice […] this is an under-the-hood approach which anyone involved in mastering can use to understand the entire process." - Greg Calbi, Sterling Sound"One of the first songs that Evren mastered for me was a very open, old-school sounding, Ray Charles-esque type of song. He suggested using one of the classic Capitol Records echo chambers on the mix. My first thought was, 'thats insane!', but my second thought was, 'thats cool!, let’s do it!' I realized very quickly that I was working with a very creative, open-minded Mastering Guru, who was going to take my mixes to a new level of creativity. Since then, Evren has mastered well over 800 songs for me. In addition to the great sounding final master, what I value about Evren is that he understands the importance of building the relationship between the Mixer and Mastering Engineer. Over the years my mixes have evolved and improved based on what I've learned from Evren and his creative approach, techniques and ideas that he has added to my mixes. It's as if we're on the same football team and I pass him the ball around the 30 yard line so to speak, and Evren runs it in the rest of the way for the goal! Now he has put his techniques and creative approach to Mastering in writing. This book is a must-have for any aspiring student or professional alike seeking a better understanding of the fine art of Mastering!"Bill Appleberry, Producer, Mixer (The Voice, The Wallflowers, Operator, Puddle Of Mudd, Stone Temple Pilots)"This is great. Evren is one of the best mastering engineers in the world and he's written a book about his craft." - David Holley, Group Managing Director Wise Music Group (Former Managing Director Abbey Road Studios, Former SVP EMI Music)''Mastering is often considered a mysterious black art, but while there is certainly a lot of artistry involved Evren Göknar’s book, published in April 2020 (Routledge/Focal Press), dispels the mystery in a very readable and understandable way. For anyone with an interest in mastering, either for DIY projects or as a potential career path, Evren has crammed a lot of really helpful information and very practical advice into this book, along with very sensible and constructive guides to developing and honing the core skills, techniques and approaches that make a good mastering engineer. I particularly appreciated the emphasis on developing and honing listening skills. It’s well worth adding to the book shelf.'' SOUND ON SOUND (SOS), Hugh Robjohns"Whether a budding engineer or a seasoned pro, readers will come away from Major Label Mastering with far greater understanding and appreciation for the newly demystified process of mastering."Clive Young, ProSoundNewsTable of ContentsINTRODUCTIONPART I: The Key Competencies and Understandings of a Mastering EngineerChapter I. The Mastering Engineer Chapter II. Listening Experience: The Mastering Engineer’s Primary Concern PART II: The Mastering Studio and Fundamental Mastering ToolsChapter III. The Mastering StudioChapter IV. Fundamental Mastering Tools and The Primary Colors of Mastering PART III: Professional Mastering Process: The Five Step Mastering ProcessChapter V. Step I: Objective Assessment Chapter VI. Step II: Subjective Assessment Chapter VII. Step III: The Mastering Game Plan Chapter VIII. Step IV: Assembly – Links in a Chain Chapter IX. Step V: Delivery – Generate The Master PART IV – Professional Mastering Process – Macro ConsiderationsChapter X. Before Beginning a Mastering Project Chapter XI. The Inner Game: Mindset Approaches For Mastering Chapter XII. Session-Saving Mastering Secrets PART V: Professional Mastering Process – Micro ConsiderationsChapter XIII. General Guidelines for Processing Audio Chapter XIV. Advanced Mastering Chain Tools and Techniques Chapter XV. Mid-Side (M/S): An Elixir of Mastering Hope Chapter XVI. In-The-Box Considerations Chapter XVII. De-noising / Audio Restoration (Out, Damned Spot!) Chapter XVIII. Conclusion and Summary

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Book SynopsisFRUSTRATED SONGWRITER'S HANDBOOK

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Book SynopsisTrade Review"In A Respectable Spell, prominent Brazilian ethnomusicologist Carlos Sandroni contributes important perspectives by detailing the musical transformation of samba from the first recording in 1917 to its codification as a genre, circa 1930." --Journal of Folklore Research Reviews"At long last, we can celebrate the publication of this groundbreaking study in English. Carlos Sandroni's brilliant ‘historical ethnomusicology’ of samba laid the foundations for many subsequent studies, and continues to set a standard in the field. Sandroni is equally adept at fine-grained musical analysis, rich social-historical contextualization, and crisp, clear explanation. Michael Iyanaga's sensitive and graceful translation makes this accessible to a broad international audience for the first time. This book is fundamental for all those interested in samba's emergence and evolution."--Bryan McCann, author of Hard Times in the Marvelous City: From Dictatorship to Democracy in the Favelas of Rio de Janeiro

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