Since the 1960s, the Grateful Dead have welcomed and participated in academic work on the band, encouraging scrutiny from a wide variety of disciplinary and theoretical perspectives, from anthropology to sociology. Interest in Dead studies is growing across the country and around the world, and UC Santa Cruz s Grateful Dead Archive continues to attract a high level of attention. In Reading the Grateful Dead: A Critical Survey, Nicholas G. Meriwether has assembled essays that examine the development of Grateful Dead studies. This volume features work from three generations of scholars, including a wide variety of perspectives on the band and its cultural significance. From insiders like lyricist John Perry Barlow and longtime band publicist and historian Dennis McNally to well-known Deadhead scholars such as Barry Barnes and Rebecca Adams, the contributors to this volume offer valuable insights into the Grateful Dead phenomenon. No other Dead book focuses on the growth and development of the discourse, contains such a range of critical approaches, nor features work by luminaries Stan Krippner and Barnes, among others. The four sections of the book describe aspects and approaches to Dead studies, along with overviews of how the discipline evolved and what it comprises today. This collection will appeal to scholars, students, and teachers interested in Dead studies and fans of the band.

An insightful and wide-ranging look at one of America's most popular genres of music, Walking the Line: Country Music Lyricists and American Culture examines how country songwriters engage with their nation's religion, literature, and politics. Country fans have long encountered the concept of walking the line, from Johnny Cash's "I Walk the Line" to Waylon Jennings's "Only Daddy That'll Walk the Line." Walking the line requires following strict codes, respecting territories, and, sometimes, recognizing that only the slightest boundary separates conflicting allegiances. However, even as the term acknowledges control, it suggests rebellion, the consideration of what lies on the other side of the line, and perhaps the desire to violate that code. For lyricists, the line presents a moment of expression, an opportunity to relate an idea, image, or emotion. These lines represent boundaries of their kind as well, but as the chapters in this volume indicate, some of the more successful country lyricists have tested and expanded the boundaries as they have challenged musical, social, and political conventions, often reevaluating what "country" means in country music. From Jimmie Rodgers's redefinitions of democracy, to revisions of Southern Christianity by Hank Williams and Willie Nelson, to feminist retellings by Loretta Lynn and Dolly Parton to masculine reconstructions by Merle Haggard and Cindy Walker, to Steve Earle's reworking of American ideologies, this collection examines how country lyricists walk the line. In weighing the influence of the lyricists' accomplishments, the contributing authors walk the line in turn, exploring iconic country lyrics that have tested and expanded boundaries, challenged musical, social, and political conventions, and reevaluated what "country" means in country music.

Recognized for its distinctive musical features and its connection to periods of social innovation and ferment, the genre of psychedelia has exerted long-term influence in many areas of cultural production, including music, visual art, graphic design, film, and literature. William Echard explores the historical development of psychedelic music and its various stylistic incarnations as a genre unique for its fusion of rock, soul, funk, folk, and electronic music. Through the theory of musical topics-highly conventional musical figures that signify broad cultural concepts-and musical meaning, Echard traces the stylistic evolution of psychedelia from its inception in the early 1960s, with the Beatles' Rubber Soul and Revolver and the Kinks and Pink Floyd, to the German experimental bands and psychedelic funk of the 1970s, with a special emphasis on Parliament/Funkadelic. He concludes with a look at the 1980s and early 1990s, touching on the free festival scene, rave culture, and neo-jam bands. Set against the cultural backdrop of these decades, Echard's study of psychedelia lays the groundwork and offers lessons for analyzing the topic of popular music in the twentieth and twenty-first centuries.

In Britain during the late 1970s and early 1980s, a new phenomenon emerged, with female guitarists, bass-players, keyboard-players and drummers playing in bands. Before this time, women's presence in rock bands, with a few notable exceptions, had always been as vocalists. This sudden influx of female musicians into the male domain of rock music was brought about partly by the enabling ethic of punk rock ('anybody can do it!') and partly by the impact of the Equal Opportunities Act. But just as suddenly as the phenomenon arrived, the interest in these musicians evaporated and other priorities became important to music audiences. Helen Reddington investigates the social and commercial reasons for how these women became lost from the rock music record, and rewrites this period in history in the context of other periods when female musicians have been visible in previously male environments. Reddington draws on her own experience as bass-player in a punk band, thereby contributing a fresh perspective on the socio-political context of the punk scene and its relationship with the media. The book also features a wealth of original interview material with key protagonists, including the late John Peel, Geoff Travis, The Raincoats and the Poison Girls.

Revisit favorite arrangements, discover new ones, and inspire your jazz ensemble with sound and adventurous music to play. This new book recommends and analyzes sixty-seven quality jazz arrangements recommended by eighteen of the foremost jazz experts in the field today, including directors and professors from high schools and colleges across the country, including the Houston High School for the Performing and Visual Arts, Bloomington High School, Fiorello La Guardia Performing Arts High School, Juilliard School, Berklee College of Music, and Harvard University. Listed alphabetically, each analysis includes information on instrumentation, ranges, playability, and requirements for rendering the score. This book includes eight indexes of musical features to help instructors select repertoire and teaching topics, five indexes for quick navigation and reference, three appendices on survey data results, a glossary, a bibliography, a list of jazz ensemble music publishers, and a general index.

The Singer-Songwriter in Europe is the first book to explore and compare the multifaceted discourses and practices of this figure within and across linguistic spaces in Europe and in dialogue with spaces beyond continental borders. The concept of the singer-songwriter is significant and much-debated for a variety of reasons. Many such musicians possess large and zealous followings, their output often esteemed politically and usually held up as the nearest popular music gets to high art, such facets often yielding sizeable economic benefits. Yet this figure, per se, has been the object of scant critical discussion, with individual practitioners celebrated for their isolated achievements instead. In response to this lack of critical knowledge, this volume identifies and interrogates the musical, linguistic, social and ideological elements that configure the singer-songwriter and its various equivalents in Europe, such as the French auteur-compositeur-interprete and the Italian cantautore, since the late 1940s. Particular attention is paid to the emergence of this figure in the post-war period, how and why its contours have changed over time and space subsequently, cross-cultural influences, and the transformative agency of this figure as regards party and identity politics in lyrics and music, often by means of individual case studies. The book's polycentric approach endeavours to redress the hitherto Anglophone bias in scholarship on the singer-songwriter in the English-speaking world, drawing on the knowledge of scholars from across Europe and from a variety of academic disciplines, including modern language studies, musicology, sociology, literary studies and history.

This book explores the highly-valued, and often highly-charged, ideal of authenticity in hip-hop - what it is, why it is important, and how it affects the day-to-day life of rap artists. By analyzing the practices, identities, and struggles that shape the lives of rappers in the London scene, the study exposes the strategies and tactics that hip-hop practitioners engage in to negotiate authenticity on an everyday basis. In-depth interviews and fieldwork provide insight into the nature of authenticity in global hip-hop, and the dynamics of cultural appropriation, globalization, marketization, and digitization through a combined set of ethnographic, theoretical, and cultural analysis. Despite growing attention to authenticity in popular music, this book is the first to offer a comprehensive theoretical model explaining the reflexive approaches hip-hop artists adopt to 'live out' authenticity in everyday life. This model will act as a blueprint for new studies in global hip-hop and be generative in other authenticity research, and for other music genres such as punk, rock and roll, country, and blues that share similar issues surrounding contested artist authenticity.

This new study of the intersection of romance novels with vocal music records a society on the cusp of modernisation, with a printing industry emerging to serve people's growing appetites for entertainment amidst their changing views of religion and the occult. No mere diversion, fiction was integral to musical culture and together both art forms reveal key intellectual currents that circulated in the early nineteenth-century British home and were shared by many consumers. Roger Hansford explores relationships between music produced in the early 1800s for domestic consumption and the fictional genre of romance, offering a new view of romanticism in British print culture. He surveys romance novels by Ann Radcliffe, Matthew Lewis, Sir Walter Scott, James Hogg, Edward Bulwer and Charles Kingsley in the period 1790-1850, interrogating the ways that music served to create mood and atmosphere, enlivened social scenes and contributed to plot developments. He explores the connections between musical scenes in romance fiction and the domestic song literature, treating both types of source and their intersection as examples of material culture. Hansford's intersectional reading revolves around a series of imaginative figures - including the minstrel, fairies, mermaids, ghosts, and witches, and Christians engaged both in virtue and vice - the identities of which remained consistent as influence passed between the art forms. While romance authors quoted song lyrics and included musical descriptions and characters, their novels recorded and modelled the performance of songs by the middle and upper classes, influencing the work of composers and the actions of performers who read romance fiction.

Since the 1980s, music videos have been everywhere, and today almost all of the most-viewed clips on YouTube are music videos. However, in academia, music videos do not currently share this popularity. Music Video After MTV gives music video its due academic credit by exploring the changing landscapes surrounding post-millennial music video. Across seven chapters, the book addresses core issues relating to the study of music videos, including the history, analysis, and audiovisual aesthetics of music videos. Moreover, the book is the first of its kind to truly address the recent changes following the digitization of music video, including its changing cycles of production, distribution and reception, the influence of music videos on other media, and the rise of new types of online music video. Approaching music videos from a composite theoretical framework, Music Video After MTV brings music video research up to speed in several areas: it offers the first account of the research history of music videos, the first truly audiovisual approach to music video studies and it presents numerous inspiring case studies, ranging from classics by Michel Gondry and Chris Cunningham to recent experimental and interactive videos that interrogate the very limits of music video.

Music and Irish Identity represents the latest stage in a life-long project for Gerry Smyth, focusing here on the ways in which music engages with particular aspects of Irish identity. The nature of popular music and the Irish identity it supposedly articulates have both undergone profound change in recent years: the first as a result of technological and wider industrial changes in the organisation and dissemination of music as seen, for example, with digital platforms such as YouTube, Spotify and iTunes. A second factor has been Ireland's spectacular fall from economic grace after the demise of the "Celtic Tiger", and the ensuing crisis of national identity. Smyth argues that if, as the stereotypical association would have it, the Irish have always been a musical race, then that association needs re-examination in the light of developments in relation to both cultural practice and political identity. This book contributes to that process through a series of related case studies that are both scholarly and accessible. Some of the principal ideas broached in the text include the (re-)establishment of music as a key object of Irish cultural studies; the theoretical limitations of traditional musicology; the development of new methodologies specifically designed to address the demands of Irish music in all its aspects; and the impact of economic austerity on musical negotiations of Irish identity. The book will be of seminal importance to all those interested in popular music, cultural studies and the wider fate of Ireland in the twenty-first century.

While attention has been paid to various aspects of music education in China, to date no single publication has systematically addressed the complex interplay of sociopolitical transformations underlying the development of popular music and music education in the multilevel culture of China. Before the implementation of the new curriculum reforms in China at the beginning of the twenty-first century, there was neither Chinese nor Western popular music in textbook materials. Popular culture had long been prohibited in school music education by China's strong revolutionary orientation, which feared 'spiritual pollution' by Western cultures. However, since the early twenty-first century, education reform has attempted to help students deal with experiences in their daily lives and has officially included learning the canon of popular music in the music curriculum. In relation to this topic, this book analyses how social transformation and cultural politics have affected community relations and the transmission of popular music through school music education. Ho presents music and music education as sociopolitical constructions of nationalism and globalization. Moreover, how popular music is received in national and global contexts and how it affects the construction of social and musical meanings in school music education, as well as the reformation of music education in mainland China, is discussed. Based on the perspectives of school music teachers and students, the findings of the empirical studies in this book address the power and potential use of popular music in school music education as a producer and reproducer of cultural politics in the music curriculum in the mainland.

Cultural Histories of Noise, Sound and Listening in Europe, 1300-1918 presents a range of historical case studies on the sounding worlds of the European past. The chapters in this volume explore ways of thinking about sound historically, and seek to understand how people have understood and negotiated their relationships with the sounding world in Europe from the Middle Ages through to the early twentieth century. They consider, in particular: sound and music in the later Middle Ages; the politics of sound in the early modern period; the history of the body and perception during the Ancien Regime; and the sounds of the city in the nineteenth century and sound and colonial rule at the fin de siecle. The case studies also range in geographical orientation to include considerations not only of Britain and France, the countries most considered in European historical sound studies in English-language scholarship to date, but also Bosnia-Herzegovina, British Colonial India, Germany, Italy and Portugal. Out of this diverse group of case studies emerge significant themes that recur time and again, varying according to time and place: sound, power and identity; sound as a marker of power or violence; and sound, physiology and sensory perception and technologies of sound, consumption and meaning.

There is a growing awareness around the world of the pressing need to archive the material remnants of popular music so as to safeguard the national and local histories of this cultural form. Current research suggests that in the past 20 or so years there has been an expansion of DIY heritage practice, with the founding of numerous DIY popular music institutions, archives and museums around the world. This edited collection seeks to explore the role of DIY or Pro-Am (Professional-Amateur) practitioners of popular music archiving and preservation. It looks critically at ideas around "DIY preservationism," "self-authorised" and "unauthorised" heritage practice and the "DIY institution," while also unpacking the potentialities of bottom-up, community-based interventions into the archiving and preservation of popular music's material history. With an international scope and an interdisciplinary approach, this is an important reference for scholars of popular music, heritage studies and cultural studies.

Mabel Daniels (1877-1971): An American Composer in Transition assesses Daniels within the context of American music of the first half of the twentieth century. Daniels wrote fresh sounding works that were performed by renowned orchestras and ensembles during her lifetime but her works have only recently begun to be performed again. The book explains why works by Daniels and other women composers fell out of favor and argues for their performance today. This study of Daniels's life and works evinces transition in women's roles in composition, the professionalization of women composers, and the role that Daniels played in the institutionalization of American art music. Daniels's dual role as a patron-composer is unique and expressive of her transitional status.

The Music of the Netherlands Antilles: Why Eleven Antilleans Knelt before Chopin's Heart is not your usual musical scholarship. In October 1999, eleven Antilleans attended the service held to commemorate the 150th anniversary of Frederic Chopin's death. This service, held in the Warsaw church where the composer's heart is kept in an urn, was an opportunity for these Antilleans to express their debt of gratitude to Chopin, whose influence is central to Antillean music history. Press coverage of this event caused Dutch novelist and author Jan Brokken to start writing this book, based on notes he took while living on Curacao from 1993 to 2002. Anyone hoping to discover an overlooked chapter of Caribbean music and music history will be amply rewarded with this Dutch-Caribbean perspective on the pan-Caribbean process of creolization. On Curacao, the history and legacy of slavery shaped culture and music, affecting all of the New World. Brokken's portraits of prominent Dutch Antillean composers are interspersed with cultural and music history. He puts the Dutch Caribbean's contributions into a broader context by also examining the nineteenth-century works by pianist Louis Moreau Gottschalk from New Orleans and Manuel Saumell from Cuba. Brokken explores the African component of Dutch Antillean music-examining the history of the rhythm and music known as tambu as well as American jazz pianist Chick Corea's fascination with the tumba rhythm from Curacao. The book ends with a discussion of how recent Dutch Caribbean adaptations of European dance forms have shifted from a classical approach to contemporary forms of Latin jazz.

The chapters collected in this volume shed light on the areas of interaction between film studies and heavy metal research, exploring how the audio-visual medium of film relates to, builds on and shapes metal culture. At one end of the spectrum, metal music serves as a form of ambient background in horror films that creates an intense and somewhat threatening atmosphere; at the other end, the high level of performativity attached to the metal spectacle is emphasized. Alongside these tendencies, the recent and ongoing wave of metal documentaries has taken off, relying on either satire or hagiography.

This title was first published in 1983.

"Everybody has to start somewhere. Businessmen start on the ground floor and try to work their way up the corporate ladder. Baseball players bide their time in the minor leagues wishing for an opportunity to move up and play in the majors. Musical compositions aren't very different-some songs just don't climb the charts the first time they're recorded. However, with perseverance, the ideal singer, the right chemistry, impeccable timing, vigorous promotion, and a little luck, these songs can become very famous." So writes Bob Leszczak in the opening pages of Who Did It First? Great Rhythm and Blues Cover Songs and Their Original Artists Here readers will discover the little-known history behind legendary rhythm and blues numbers on their way to the majors. As Leszczak points out, the version you purchased, danced to, romanced to, and grew up with is often not the first version recorded. Like wine and cheese, some tunes just get better with age, and behind each there is a story. Who Did It First? contains interesting facts and amusing anecdotes, often gathered through Leszczak's vast archive of personal interviews with the singers, songwriters, record producers, and label owners who wrote, sang, recorded, and distributed either the original cut or one of its classic covers. The first in a series devoted to the story of great songs and their revivals, Who Did It First? is the perfect playlist builder. Whether quizzing friends at a party, answering a radio station contest, or simply satisfying an insatiable curiosity to know who really did do it first, this book is a must-have.

Warren Zevon was one of the most original songwriters to emerge from the prolific 1970s Los Angeles music scene. Beyond his most familiar song-the rollicking 1978 hit "Werewolves of London"-Zevon's smart, often satirical songbook is rich with cinematic, literary, and comic qualities; dark narratives; complex characters; popular culture references; and tender, romantic ballads of parting and longing. Warren Zevon: Desperado of Los Angeles is the first book-length, critical exploration of one of popular music's most talented and tormented antiheroes. George Plasketes provides a comprehensive chronicle of Zevon's 40-year, 20-record career and his enduring cultural significance. Beginning with Zevon's classical training and encounters as a youth with composers Robert Craft and Igor Stravinsky, Plasketes surveys Zevon's initiation into the 1960s through the Everly Brothers, the Turtles, and the film Midnight Cowboy. Plasketes then follows Zevon from his debut album with Asylum Records in 1976, produced by mentor Jackson Browne, through his successes and struggles from a Top Ten album to record label limbo during the 1980s, through a variety of music projects in the 1990s, including soundtracks and scores, culminating with a striking trio of albums in the early 2000s. Despite his reckless lifestyle and personal demons, Zevon made friends and alliances with talk show host David Letterman and such literary figures as Hunter S. Thompson and Carl Hiaasen. It was only after his death in 2003 that Zevon received Grammy recognition for his work. Throughout this book, Plasketes explores the musical, cinematic, and literary influences that shaped Zevon's distinctive style and songwriting themes and continue to make Zevon's work a telling portrait of Los Angeles and American culture.

This highly original and accessible book draws on the author's personal experience as a musician, producer and teacher of popular music to discuss the ways in which audio technology and musical creativity in pop music are inextricably bound together. This relationship, the book argues, is exemplified by the work of Trevor Horn, who is widely acknowledged as the most important, innovative and successful British pop record producer of the early 1980s. In the first part of the book, Timothy Warner presents a definition of pop as distinct from rock music, and goes on to consider the ways technological developments, such as the transition from analogue to digital, transform working practices and, as a result, impact on the creative process of producing pop. Part two analyses seven influential recordings produced by Trevor Horn between 1979 and 1985: 'Video Killed the Radio Star' (The Buggles), 'Buffalo Gals' (Malcolm McClaren),'Owner of a Lonely Heart' (Yes), 'Relax' (Frankie Goes to Hollywood), 'Slave to the Rhythm' (Grace Jones), and albums by The Art of Noise and Propaganda. These records reveal how the creative use of technology in the modern pop recording studio has informed Horn's work, a theme that is then explored in an extensive interview with Horn himself.

Revisit favorite arrangements, discover new ones, and inspire your jazz ensemble with sound and adventurous music to play. This new book recommends and analyzes sixty-seven quality jazz arrangements recommended by eighteen of the foremost jazz experts in the field today, including directors and professors from high schools and colleges across the country, including the Houston High School for the Performing and Visual Arts, Bloomington High School, Fiorello La Guardia Performing Arts High School, Juilliard School, Berklee College of Music, and Harvard University. Listed alphabetically, each analysis includes information on instrumentation, ranges, playability, and requirements for rendering the score. This book includes eight indexes of musical features to help instructors select repertoire and teaching topics, five indexes for quick navigation and reference, three appendices on survey data results, a glossary, a bibliography, a list of jazz ensemble music publishers, and a general index.

Today, the saxophone is an emblem of "cool" and the instrument most closely associated with jazz. Yet not long ago it was derided as the "Siren of Satan," and it was largely ignored in the United States for well over half a century after its invention. When it was first widely heard, it was often viewed as a novelty noisemaker, not a real musical instrument. In only a few short years, however, saxophones appeared in music shops across America and became one of the most important instrumental voices. How did the saxophone get from comic to cool?
Bandleader Tom Brown claimed that it was his saxophone sextet, the Six Brown Brothers, who inaugurated the craze. While this boast was perhaps more myth than reality, the group was indisputably one of the most famous musical acts on stage in the early twentieth century. Starting in traveling circuses, small-time vaudeville, and minstrel shows, the group trekked across the United States and Europe, bringing this new sound to the American public. Through their live performances and groundbreaking recordings--the first discs of a saxophone ensemble in general circulation--the Six Brown Brothers played a crucial role in making this new instrument familiar to and loved by a wide audience.
In That Moaning Saxophone, author and cornet player Bruce Vermazen sifts fact from legend in this craze and tells the remarkable story of these six musical brothers--William, Tom, Alec, Percy, Vern, and Fred. Vermazen traces the brothers' path through minstrelsy, the circus, burlesque, vaudeville, and Broadway musical comedy. Cleverly weaving together biographical details and the context of the burgeoning entertainment business, the author draws fascinating portraits of the pre-jazz world of American popular music, the theatrical climate of the period, and the long, slow death of vaudeville.
Delving into the career of one of the key popularizers of the saxophone, That Moaning Saxophone not only illuminates the history of this novel instrument, but also offers a witty and vivid portrayal of these forgotten musical worlds.

Reissued for the 40th Anniversary of the Oscar-winning, Sissy Spacek-starring film of the same name, COAL MINER'S DAUGHTER recounts Loretta Lynn's astonishing journey to become one of the original queens of country music. Loretta grew up dirt poor in the mountains of Kentucky, she was married at fifteen years old, and became a mother soon after. At the age of twenty-four, her husband, Doo, gave her a guitar as an anniversary present. Soon, she began penning songs and singing in front of honky-tonk audiences, and, through years of hard work, talent, and true grit, eventually made her way to Nashville, the Grand Ole Opry, eventually securing her place in country music history. Loretta's prolific and influential songwriting made her the first woman to receive a gold record in country music, and got her named the first female Entertainer of the Year by the Country Music Association. This riveting memoir introduces readers to all the highs and lows on her road to success and the tough, smart, funny, and fascinating woman behind the legend.

As soon as Bill Wyman was given a camera as a young boy, he quickly developed a passion for photography. After joining what would become the world's greatest rock 'n' roll band, Wyman continued his hobby. When he didn't have his bass, he had his camera. The result is an arresting, insightful and often poignant collection of photographs, showing his exclusive inside view of the band. From travelling to relaxing, backstage and on, Stones From the Inside is a unique view captured by a man who was there, every step of the way. Along with the images of the band at work and play, Wyman includes remarkable images of those along for the ride, from John Lennon, Eric Clapton, David Bowie and Iggy Pop to John Belushi and Dan Aykroyd. To accompany his photographs, Wyman offers up wonderful insights, anecdotes and behind-the-photo stories, giving all us a front-row seat and backstage pass to what it was like to be there, as music history was made as a member of The Rolling Stones. Limited to just 300 copies, this slipcased edition is accompanied by a print.