This first-ever biography of American painter Grace Hartigan traces her rise from virtually self-taught painter to art-world fame, her plunge into obscurity after leaving New York to marry a scientist in Baltimore, and her constant efforts to reinvent her style and subject matter. Along the way, there were multiple affairs, four troubled marriages, a long battle with alcoholism, and a chilly relationship with her only child. Attempting to channel her vague ambitions after an early marriage, Grace struggled to master the basics of drawing in night-school classes. She moved to New York in her early twenties and befriended Willem de Kooning, Jackson Pollock, and other artists who were pioneering Abstract Expressionism. Although praised for the coloristic brio of her abstract paintings, she began working figuratively, a move that was much criticized but ultimately vindicated when the Museum of Modern Art purchased her painting The Persian Jacket in 1953. By the mid-fifties, she freely combined abstract and representational elements. Grace-who signed her paintings "Hartigan"- was a full-fledged member of the "men's club" that was the 1950s art scene. Featured in Time, Newsweek, Life, and Look, she was the only woman in MoMA's groundbreaking 12 Americans exhibition in 1956, and the youngest artist-and again, only woman-in The New American Painting, which toured Europe in 1958-1959. Two years later she moved to Baltimore, where she became legendary for her signature tough-love counsel to her art school students. Grace continued to paint throughout her life, seeking-for better or worse-something truer and fiercer than beauty.

Cantopop was once the leading pop genre of pan-Chinese popular music around the world. In this pioneering study of Cantopop in English, Yiu-Wai Chu shows how the rise of Cantopop is related to the emergence of a Hong Kong identity and consciousness. Chu charts the fortune of this important genre of twentieth-century Chinese music from its humble, lower-class origins in the 1950s to its rise to a multimillion-dollar business in the mid-1990s. As the voice of Hong Kong, Cantopop has given generations of people born in the city a sense of belonging. It was only in the late 1990s, when transformations in the music industry, and more importantly, changes in the geopolitical situation of Hong Kong, that Cantopop showed signs of decline. As such, Hong Kong Cantopop: A Concise History is not only a brief history of Cantonese pop songs, but also of Hong Kong culture. The book concludes with a chapter on the eclipse of Cantopop by Mandapop (Mandarin popular music), and an analysis of the relevance of Cantopop to Hong Kong people in the age of a dominant China. Drawing extensively from Chinese-language sources, this work is a most informative introduction to Hong Kong popular music studies.

Analytical and Cross-Cultural Studies in World Music presents intriguing explanations of extraordinary musical creations from diverse cultures across the world. All the authors are experts, deeply engaged in the traditions they describe. They recount the contexts in which the music is created and performed, and then hone in on elucidating how the music works as sound in process. Accompanying the explanatory prose is a wealth of diagrams, transcriptions, recordings, and (online) multimedia presentations, all intended to convey the richness, beauty, and ingenuity of their subjects. The music ranges across geography and cultures--court music of Japan and medieval Europe, pagode song from Brazil, solos by the jazz pianist Thelonius Monk and by the sitar master Budhaditya Mukherjee, form-and-timbre improvisations of a Boston sound collective, South Korean folk drumming, and the ceremonial music of indigenous cultures in North American and Australia--much of which has never been so thoroughly analyzed before. Thus the essays diversify and expand the scope of this book's companion volume, Analytical Studies in World Music, to all inhabited continents and many of its greatest musical traditions. An introduction and an afterword point out common analytical approaches, and present a new way to classify music according to its temporal organization. Two special chapters consider the juxtaposition of music from different cultures: of world music traditions and popular music genres, and of Balinese music and European Art music, raising provocative questions about the musical encounters and fusions of today's interconnected world. For everyone listening in wonderment to the richness of world music, whether listener, creator, or performer, this book will be an invaluable resource and a fount of inspiration.

Tandem Dances: Choreographing Immersive Performance is the first book to propose dance and choreography as frames through which to examine immersive theatre, more broadly known as immersive performance. Indicative of a larger renaissance in storytelling during the digital age, immersive performance is influenced by emerging computer technologies, such as virtual reality and advances in video-gaming, as well as increased interest in new forms of experiential entertainment. The idea of tandemness - suggesting motion that is achieved by two bodies working together and acting in conjunction with one another - is critical throughout the book. Author Julia M. Ritter persuasively argues that practitioners of immersive productions deploy choreography as a structural mechanism to mobilize the bodies of cast and audience members to perform together. Furthermore, choreography is contextualized as an effective tool for facilitating audience participation towards immersion as an affect. Through a focus on Western dance histories, theories, and practices, Ritter's close choreographic analysis of immersive productions, along with unique insights from choreographers, directors, performers, and spectators, enlivens discourse across dramaturgy, kinesthesia, affect, and co-authorship. By foregrounding the choreographic in order to examine its specific impact on the evolution of immersive theater, Tandem Dances explores choreography as a discursive domain that is fundamentally related to creative practice, agendas of power and control, and concomitant issues of freedom and agency.

James Payne’s YouTube Channel “Great Art Explained” gained a huge and appreciative worldwide audience. This beautifully put-together book is simply the best introduction to the lifelong pleasure and rewards of looking at pictures since Gombrich. An instant classic' Stephen Fry

Art appreciation made accessible, relevant and entertaining; writer, curator and YouTuber James Payne demystifies great works of art.

Based on the popular and enormously successful YouTube channel of the same name, Great Art Explained unveils the fascinating stories behind some of the world’s most iconic paintings and sculptures, proving that there’s more to art than just watching paint dry. It can be thrilling, if you give it a chance. It is how you view the work, place it in context and understand its history that makes an artwork truly come alive.

A fresh approach to a classic subject, James Payne’s no-nonsense analysis sheds new light on thirty different masterpieces from around the globe and reveals what makes them truly timeless works of art. Each chapter delves into not only the art itself but also the artist’s life, as well as the work’s place in their wider oeuvre; in other words, what makes it ‘great’. From Hilma af Klint’s occult altarpieces to Claude Monet’s Water Lilies, Botticelli’s The Birth of Venus to Georgia O’Keeffe’s Jimson Weed, each artwork is explored with clarity and passion.

Whether a seasoned art enthusiast or a curious newcomer, this book promises to deepen your appreciation and enrich your understanding of some of the world’s greatest treasures.

Come on in to Sumner, Washington, the "Rhubarb Pie Capital of the World." Settled in 1853 after a wagon train daringly crossed the Cascade Mountains through Naches Pass, Sumner quickly grew to become an established town. Find out how Sumner's name was literally drawn out of a hat. Learn about George Ryan's unique method for getting the railroad to stop here. Take a tour down Main Street, and watch how it changed--or didn't--through the decades. See Ryan House when it actually was a farmhouse and the Old Cannery when it was canning fruit. Join in celebrations over the years, from the Daffodil Parade to football championships. Meet schoolchildren, including Clara McCarty Wilt, who became the first graduate of the University of Washington. Follow the work at local industries, from the lumberyards to the fields, where daffodils, berries, and of course, rhubarb were grown.

In the nearly eight decades since his death from tuberculosis at age thirty-five, singer-songwriter Jimmie Rodgers has been an inspiration for numerous top performers--from Woody Guthrie, Lead Belly, Bill Monroe and Hank Williams to Elvis Presley, Johnny Cash, Dolly Parton, Bob Dylan, and Beck. How did this Mississippi-born vaudevillian, a former railroad worker who performed so briefly so long ago, produce tones, tunes, and themes that have had such broad influence and made him the model for the way American roots music stars could become popular heroes?
In Meeting Jimmie Rodgers, the first book to explore the deep legacy of "The Singing Brakeman" from a twenty-first century perspective, Barry Mazor offers a lively look at Rodgers' career, tracing his rise from working-class obscurity to the pinnacle of renown that came with such hits as "Blue Yodel" and "In the Jailhouse Now." As Mazor shows, Rodgers brought emotional clarity and a unique sense of narrative drama to every song he performed, whether tough or sentimental, comic or sad. His wistful singing, falsetto yodels, bold flat-picking guitar style, and sometimes censorable themes---sex, crime, and other edgy topics--set him apart from most of his contemporaries. But more than anything else, Mazor suggests, it was Rodgers' shape-shifting ability to assume many public personas--working stiff, decked-out cowboy, suave ladies' man--that connected him to such a broad public and set the stage for the stars who followed him.
Mazor goes beyond Rodgers's own life to map the varied places his music has gone, forever changing not just country music but also rock and roll, blues, jazz, bluegrass, Western, commercial folk, and muchmore. In reconstructing this far-flung legacy, Mazor enables readers to meet Rodgers and his music anew--not as an historical figure, but as a vibrant, immediate force.

This collection of original essays, written by scholars from disciplines across the humanities, addresses a wide range of questions about love through a focus on individual films, novels, plays, and works of philosophy. The essays touch on many varieties of love, including friendship, romantic love, parental love, and even the love of an author for her characters. How do social forces shape the types of love that can flourish and sustain themselves? What is the relationship between love and passion? Is love between human and nonhuman animals possible? What is the role of projection in love? These questions and more are explored through an investigation of works by authors ranging from Henrik Ibsen to Ian McEwan, from Rousseau to the Coen Brothers.

In June of 1964, three young, white blues fans set out from New York City in a Volkswagen, heading for the Mississippi Delta in search of a musical legend. So begins Preachin' the Blues, the biography of American blues signer and guitarist Eddie James "Son" House, Jr. (1902 - 1988). House pioneered an innovative style, incorporating strong repetitive rhythms with elements of southern gospel and spiritual vocals. A seminal figure in the history of the Delta blues, he was an important, direct influence on such figures as Muddy Waters and Robert Johnson.
The landscape of Son House's life and the vicissitudes he endured make for an absorbing narrative, threaded through with a tension between House's religious beliefs and his spells of commitment to a lifestyle that implicitly rejected it. Drinking, womanizing, and singing the blues caused this tension that is palpable in his music, and becomes explicit in one of his finest performances, "Preachin' the Blues." Large parts of House's life are obscure, not least because his own accounts of them were inconsistent. Author Daniel Beaumont offers a chronology/topography of House's youth, taking into account evidence that conflicts sharply with the well-worn fable, and he illuminates the obscurity of House's two decades in Rochester, NY between his departure from Mississippi in the 1940s and his "rediscovery" by members of the Folk Revival Movement in 1964. Beaumont gives a detailed and perceptive account of House's primary musical legacy: his recordings for Paramount in 1930 and for the Library of Congress in 1941-42. In the course of his research Beaumont has unearthed not only connections among the many scattered facts and fictions but new information about a rumoured murder in Mississippi, and a charge of manslaughter on Long Island - incidents which bring tragic light upon House's lifelong struggles and self-imposed disappearance, and give trenchant meaning to the moving music of this early blues legend.

A retelling of Disney Mulan, accompanied by art from the original Disney Studio artists. Collect the whole Animated Classics series! This beautiful hardback features premium cloth binding, a ribbon marker to match the cover, foil stamping and illustrated endpapers, making this the perfect gift for all those who have been enchanted by the magic of Mulan and a book to be treasured by all. A family favourite, Disney Mulan is one of the best-loved films of all time. Relive the magic through this retelling of the classic animated film, accompanied by paintings, story sketches and concept art from the original Disney Studio artists. Also featured is a foreword by Paul Briggs, a director at the Walt Disney Animation Studios. Turn to the back of the book to learn more about the artists who worked on this iconic animated film.

Create retro neon artwork that's truly electric with this funky rock painting kit!

Let author and artist Amanda Rogers guide you through creating 8 glowing rock painting projects that perfectly capture the style and nostalgia of retro neon lights and lettering.

Featuring a 24-page book plus rocks, paints, brushes and dotting tools, you'll be creating your own electrifying rock art to keep or share in no time!

In Off Key, Kay Dickinson offers a compelling study of how certain alliances of music and film are judged aesthetic failures. Based on a fascinating and wide-ranging body of film-music mismatches, and using contemporary reviews and histories of the turn to post-industrialization, the book expands the ways in which the union of the film and music businesses can be understood.
Moving beyond the typical understanding of film music that privileges the score, Off Key also incorporates analyses of rock 'n' roll movies, composer biopics, and pop singers crossing over into acting. By doing this, it provides a fuller picture of how two successful entertainment sectors have sought out synergistic strategies, ones whose alleged "failures" have much to tell about the labor practices of the creative industries, as well as our own relationship to them and to work itself. A provocative and politically-conscious look at music-image relations, Off Key will appeal to students and scholars of film music, cinema studies, media studies, cultural studies, and labor history.

In this groundbreaking book, acclaimed film music author Kevin Donnelly offers the first sustained theorization of synchronization in sound film. Donnelly addresses the manner in which the lock of the audio and the visual exerts a perceptible synergy, an aesthetic he dubs occult: a secret and esoteric effect that can dissipate in the face of an awareness of its existence. Drawing upon theories of sound from Sergei Eisenstein to Pierre Schaeffer to Michel Chion, the book investigates points of synchronization as something like repose, providing moments of comfort in a potentially threatening environment that can be fraught with sound and image stimuli. Correspondingly, lack of synchrony between sound and images is characterized as potentially disturbing for the viewer, a discomfort that signals moments of danger. From this perspective, the interplay between the two becomes the central dynamic of audio-visual culture more generally, which, as Donnelly argues, provides a starting point for a new understanding of audio/visual interactions. This fresh approach to the topic is discussed in theoretical and historical terms as well as elaborated through analysis of and reference to a broad selection of films and their soundtracks including, among others, Singin' in the Rain, Saw, Shanghai Express, and Assault on Precinct 13.

Country music in the Carolinas and the southern Appalachian Mountains owes a tremendous debt to freedom-loving Scotch-Irish pioneers who settled the southern backcountry during the eighteenth and nineteenth centuries. These hardy Protestant settlers brought with them from Lowland Scotland, Northern England and the Ulster Province of Ireland music that created the essential framework for "old-time string band music." From the cabins of the Blue Ridge and Great Smoky Mountains to the textile mills and urban centers of the Carolina foothills, this colorful, passionate, heartfelt music transformed the culture of America and the world and laid the foundation for western swing, bluegrass, rockabilly and modern country music. Author Michael Scoggins takes a trip to the roots of country music in the Carolinas.

No matter the excellence of a musician's performance achievements, upon entering the professional world, it is unlikely that any musician will depend solely upon performance for income. Those who distinguish themselves as both skilled teachers and skilled performers will have a significant advantage. From the Stage to the Studio provides the tools and information necessary for musicians to become effective teachers in terms useful to both pedagogy teachers and applied music instructors, and young music students learning to teach while perfecting their performance skills. Premised on the integral partnership between pedagogy and performance, authors Cornelia Watkins and Laurie Scott offer in depth explorations of the essential components of instrumental performance, the nature of student-teacher interactions and the manner in which knowledge, skills and musicianship are most effectively conveyed. In so doing, they illuminate the profound resonance between music performance and education and show how musicians benefit as much from teaching as their students do from being taught. Included is a wealth of information and concrete examples on everything from setting up a studio, to writing a lesson plan, to soliciting constructive feedback from students. From the Stage to the Studio serves as an essential resource for music pedagogy teachers, college performance majors who will want or need to teach and established musicians looking to add music education to their professional repertoire.

The vast majority of films produced by Mumbai's commercial Hindi language film industry - known world-wide as Bollywood - feature songs as a central component of the cinematic narrative. While many critics have addressed the visual characteristics of these song sequences, very few have engaged with their aurality and with the meanings that they generate within the film narrative and within Indian society at large. Because the film songs operate as powerful sonic ambassadors to individual and cultural memories in India and abroad, however, they are significant and carefully-constructed works of art. Bollywood Sounds focuses on the songs of Indian films in their historical, social, and commercial contexts. Author Jayson Beaster-Jones walks the reader through the highly collaborative songs, detailing the contributions of film directors, music directors and composers, lyricists, musicians, and singers. A vital component of film promotion on broadcast media, Bollywood songs are distributed on soundtracks by music companies, and have long been the most popular music genre in India - even among listeners who rarely see the movies. Through close musical and multimedia analysis of more than twenty landmark compositions, Bollywood Sounds illustrates how the producers of Indian film songs mediate a variety of influences, musical styles, instruments, and performance practices to create this distinctive genre. Beaster-Jones argues that, even from the moment of its inception, the film song genre has always been in the unique position of demonstrating cosmopolitan orientations while maintaining discrete sound and production practices over its long history. As a survey of the music of seventy years of Hindi films, Bollywood Sounds is the first monograph to provide a long-term historical insights into Hindi film songs, and their musical and cinematic conventions, in ways that will appeal both to scholars and newcomers to Indian cinema.

Critiques and calls for reform have existed for decades within music education, but few publications have offered concrete suggestions as to how things might be done differently. Motivated by a desire to do just that, College Music Curricula for a New Century considers what a more inclusive, dynamic, and socially engaged curriculum of musical study might look like in universities. Editor Robin Moore creates a dialogue among faculty, administrators, and students about what the future of college music instruction should be and how teachers, institutions, and organizations can transition to new paradigms. Including contributions from leading figures in ethnomusicology, music education, theory/composition, professional performance, and administration, College Music Curricula for a New Century addresses college-level curriculum reform, focusing primarily on performance and music education degrees, and offer ideas and examples for a more inclusive, dynamic, and socially engaged curriculum of applied musical study. This book will appeal to thoughtful faculty looking for direction on how to enact reform, to graduate students with investment in shaping future music curricula, and to administrators who know change is on the horizon and seek wisdom and practical advice for implementing change. College Music Curricula for a New Century reaches far beyond any musical subdiscipline and addresses issues pertinent to all areas of music study.

For over a century, Ohio and Pennsylvania families have made an annual trek to a special spot on the shores of Lake Erie. This tiny piece of Northeast, Ohio, has made a huge impression on the hearts of thousands of visitors. But what is it about this town that draws generation after generation back for a vacation every summer? Why, when other resorts and amusements crumbled apart in the mid-nineteenth century, was Geneva on the Lake able to sustain some of the most trying times in the entertainment industry?

Perhaps, by tracing the history of the town, and by exploring what the town is today, one may discover the answers to these questions. By examining numerous accounts of happy times on the lakeside, one will discover that some feelings have held true since the resorts beginnings; Geneva on the Lake has a magical way of lingering in our memories, connecting us to our past, and forever remaining in our hearts

At its most intimate, music heals our emotional wounds and inspires us; at its most public, it unites people across cultural boundaries. But can it rebuild a city? Renowned music writer John Swenson asks that question with New Atlantis: Musicians Battle for the Survival of New Orleans, a story about America's most colorful and troubled city and its indominable will to survive. Under sea level, repeatedly harangued by fires, crime, and most devastatingly, by Hurricane Katrina, New Orleans has the potential to one day become a "New Atlantis," a lost metropolis under the waves. But this threat has failed to prevent its stalwart musicians and artists from living within its limits, singing its praises and attracting the economic growth needed for its recovery. New Atlantis records how the city's jazz, Cajun, R&B, Bourbon Street, second line, brass band, rock and hip hop musicians are reconfiguring the city's unique artistic culture, building on its historic content while reflecting contemporary life in New Orleans. New Atlantis is a city's tale made up of citizen's tales. It's the story of Davis Rogan, a songwriter, bandleader and schoolteacher who has become an integral part of David Simon's new HBO series Treme (as compelling a story about New Orleans as The Wire was about Baltimore). It's the story of trumpeter Irvin Mayfield, who lost his father in the storm and has since become an important political and musical force shaping the future of New Orleans. It's the story of Bo Dollis Jr., chief of the Wild Magnolias Mardi Gras Indians, as he tries to fill the shoes of his ailing father Bo Dollis, one of the most charismatic figures in Mardi Gras Indian history. It is also the author's own story; each musician profiled will be contextualized by Swenson's three-decades-long coverage of the New Orleans music scene.

Copyright looms large in the digital world. As users and creators of expressive works, we all know more about copyright than we did a decade ago. But scholars of modernism have felt a special urgency in grappling with this branch of law, whose rapid expansion in recent years has prolonged or revived the rights in many modernist works. Indeed, thanks to public clashes between estates and users, 'modernism' has lately begun to seem like a byword for contested intellectual property. At the same time, today's volatile legal climate has prompted us to ask how modernism was, from its beginning, shaped by intellectual property law-and how modernists sought variously to exploit, reform, anoint, and evade copyright. We are beginning to discover, too, how copyright's transatlantic and imperial asymmetries during the modernist decades helped set the stage for its geopolitical role in the new millennium. Modernism and Copyright is the first book to take up these questions and discoveries in all their urgency. A truly multi-disciplinary study, it brings together essays by well-known scholars of literature, theater, cinema, music, and law as well as by practicing lawyers and caretakers of modernist literary estates. Its contributors' methods are as diverse as the works they discuss: Ezra Pound's copyright statute and Charlie Parker's bebop compositions feature here, as do early Chaplin, EverQuest, and the Madison Avenue memo. As our portrait of modernism expands and fragments, Modernism and Copyright locates works like these on one of the few landscapes they all clearly share: the uneven terrain of intellectual property law.

Now in its second edition, A Handbook of Diction for Singers is a complete guide to achieving professional levels of diction in Italian, German, and French, the three major languages of the classical vocal repertory. Written for English-speaking singers and offering thorough, consistent explanations, it is an ideal tool for students and an invaluable reference for voice teachers, vocal coaches, and conductors. The book combines traditional approaches proven successful in the teaching of diction with important new material not readily available elsewhere, presenting the sounds of each language in logical order, along with essential information on matters such as diacritical marks, syllabification, word stress, and effective use of the variety of foreign-language dictionaries. Presented in an attractively concise format, the book goes into greater detail than comparable texts, providing specific information to clarify concepts typically difficult for English-speaking singers. Particular emphasis is placed on the characteristics of vowel length, the sequencing of sounds between words, as well as the differences between spoken and sung sounds in all three languages. Featuring significantly expanded coverage of each of the three languages and illustrated with numerous examples, this second edition of A Handbook of Diction for Singers is an exceptional text for courses in diction and a valuable reference source for all vocalists.

- Directly relevant to the needs of teachers and researchers in music, musicology, ethnomusicology and social anthropology. This book examines the significance of music in the construction of identities and ethnicities, and suggests ways to understand music as social practice. The authors focus on the role of music in the construction of national and regional identities; the media and 'postmodern identity'; concepts of authenticity; aesthetics; meaning; performance; 'world music'; and the use of music as a focus for discursive evocations of 'place'. The chapters tackle a wide range of subjects including 16th century etiquette, Celtic music and Chopin. The volume will be of interest to social anthropologists, and those working in the fields of cultural studies, politics, gender studies, musicology and folklore.

This book presents a contemporary overview of our most ubiquitous cultural phenomena - festivals. It is able to do so by taking a powerful and unique case-study focused, theoretically rigorous and pan-European approach. It comes from a hugely expert and experienced team of editors and authors drawn from across Europe and is based on the groundbreaking work of the European Festival Research Project (EFRP). The EFRP and the book are focused on understanding the causes and implications of the current growth in festivals internationally, and the implications this has across major sectors ranging from tourism to culture. The key themes the books brings out are: *The politics, programming, impacts, governance and management of festivals; *The social, cultural, political, economic and physical contexts in which festivals operate; *The potential of festivals to explore and stimulate a more risk-oriented approach to the arts; *Key conclusions, trends, forecasts and recommendations for the sector in the future. The exciting range of real world examples and the mix of practical and academic contributions provides readers with a broad perspective across agendas from economic regeneration and tourism, to education and social inclusion. An indispensable text for students in arts and festival management, events, tourism, hospitality and cultural policy and management courses. It is also essential reading for festival and events managers, public authorities and existing and potential sponsors.