Made in the Low Countries: Studies in Popular Music serves as a comprehensive and thorough introduction to the history, sociology, and musicology of twentieth and twenty-first century popular music of the Dutch-speaking region comprising the Netherlands and Flanders as a region of federal Belgium. The volume consists of essays by leading scholars and publicists in this field, and covers the major issues, genres, and contexts of popular music. Each essay provides adequate context so readers understand why the issue or genre under discussion is of lasting significance to this transnational region. The book first presents a general description of the history and background of popular music made in the region, followed by essays that are organized into four thematic sections: I: Framing and Facilitating; II: Creation and Curation; III: Close Encounters; IV: Changes and Choices.

'Every Sound There Is': Revolver and the Transformation of Rock and Roll assesses and celebrates the Beatles' accomplishment in their 1966 masterpiece. The essays of Every Sound There Is examine Revolver from a large number of complementary starting points that help us to understand both the album's contemporary creation and reception and the ways in which it continues to shape the creation and reception of popular music in the twenty-first century. Responding to the incredible diversity of Revolver, this gathering of international scholars focuses on the Beatles' 1966 album as one of rock and roll history's threshold moments. Bringing to bear approaches from the disciplines of musicology, cultural studies, poetics, gender studies, these essays address matters as diverse as the influence of American R&B on Revolver as well as its influence on Pink Floyd, each Beatle's contributions to the album, the musicological significance of the Beatles' harmonies and chord progressions, its status and coherence as a work of art, the technological and marketing significance of Revolver's recording and distribution, and its influence on the development of rock music.

Acoustic Blues Guitar Styles is an introduction to fingerstyle acoustic blues guitar, the style made popular by Robert Johnson, Bill Broonzy, and Mance Lipscomb. Following the success of the popular Acoustic Guitar Styles, Larry Sandberg's Acoustic Blues Guitar Styles is an instructional book geared towards the intermediate guitar player, not only to teach fingerstyle blues technique, but also to approach the music creatively and with feeling and rhythm. Part One teaches you the preliminaries, such as reading a chord chart and working out a 12-bar blues in different keys. Part Two teaches you touch, timing, and basic fingerpicking technique. Part Three teaches you how to play stylistically, with lessons on how to incorporate bends, vibrato, alternating bassnotes, and rhythmic variations into your playing. All musical exercises are presented in both standard notation and tablature, and are supported by audio tracks. Customers purchasing the eBook version of this title will be able to download the supporting audio tracks. Instructions on downloading the files can be found on the contents page.

Written for Introductory Sociology and Sociology of Popular Music courses, this book uses popular music to illustrate fundamental social institutions, theories, sociological concepts, and processes. The authors use music, a social phenomenon of great interest, to draw students in and bring life to their study of social life.

Popular musicians acquire some or all of their skills and knowledge informally, outside school or university, and with little help from trained instrumental teachers. How do they go about this process? Despite the fact that popular music has recently entered formal music education, we have as yet a limited understanding of the learning practices adopted by its musicians. Nor do we know why so many popular musicians in the past turned away from music education, or how young popular musicians today are responding to it. Drawing on a series of interviews with musicians aged between fifteen and fifty, Lucy Green explores the nature of pop musicians' informal learning practices, attitudes and values, the extent to which these altered over the last forty years, and the experiences of the musicians in formal music education. Through a comparison of the characteristics of informal pop music learning with those of more formal music education, the book offers insights into how we might re-invigorate the musical involvement of the population. Could the creation of a teaching culture that recognizes and rewards aural imitation, improvisation and experimentation, as well as commitment and passion, encourage more people to make music? Since the hardback publication of this book in 2001, the author has explored many of its themes through practical work in school classrooms. Her follow-up book, Music, Informal Learning and the School: A New Classroom Pedagogy (2008) appears in the same Ashgate series.

This book, the first full-length text on the subject, explores the everyday use of music listening while driving a car. It presents the relationship between cars and music in an effort to understand how music behaviour in the car can either enhance driver safety or place the driver at increased risk of accidents. A great deal of work has been done to investigate and reduce driver distraction and inattention, but this book is the first to focus on in-cabin aural backgrounds of music as a contributing factor to human error and traffic violations. Driving With Music begins by outlining the automobile, its relationship to society, and the juxtaposition of music with the automobile as a complete package. It then highlights concepts from the fields of music perception and cognition, and, within this framework, looks at the functional use of background music in our everyday lives. Driver music behaviours - both adaptive and maladaptive - are explored, with the focus on contradictions and ill-effects of in-car music listening.

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.

Why, despite the number of high profile female rock musicians, does rock continue to be understood as masculine? Why is rock generally assumed to be created and performed by men? Marion Leonard explores different representations of masculinity offered by, and performed through, rock music, and examines how female rock performers negotiate this gendering of rock as masculine. A major concern of the book is not specifically with men or with women performing rock, but with how notions of gender affect the everyday experiences of all rock musicians within the context of the music industry. Leonard addresses core issues relating to gender, rock and the music industry through a case study of 'female-centred' bands from the UK and US performing so called 'indie rock' from the 1990s to the present day. Using original interview material with both amateur and internationally renowned musicians, the book further addresses the fact that the voices of musicians have often been absent from music industry studies. Leonard's central aim is to progress from feminist scholarship that has documented and explored the experience of female musicians, to presenting an analytic discussion of gender and the music industry. In this way, the book engages directly with a number of under-researched areas: the impact of gender on the everyday life of performing musicians; gendered attitudes in music journalism, promotion and production; the responses and strategies developed by female performers; the feminist network riot grrrl and the succession of international festivals it inspired under the name of Ladyfest.

The definitive account of Whitney Houston's astonishing life, ground-breaking career and tragic death - complete with never-before-seen photographs - from the only one who truly knows the story behind the headlines: her mother, Cissy Houston. Cissy has said little publicly about Whitney's heart-breaking death. Now, for the first time, she opens up and shares the unbelievable story of her daughter's life, as well as her own, and addresses Whitney's brightest and darkest moments. A legendary Grammy Award-winning gospel singer in her own right, Cissy Houston shows how the lessons from her own musical journey helped to shape Whitney's career - from teaching Whitney to use her voice, to keeping her level-headed throughout her meteoric rise to fame. With candour and respect, she sets the record straight about Whitney, exploring both her turbulent marriage and her misunderstood struggles with drug abuse. Cissy goes behind the tabloid headlines to show fans around the world the true, human side of a strong, successful - yet flawed - musical icon who died much too young. Includes a Foreword by Dionne Warwick.

The first narrative biography of the Bee Gees, the phenomenally popular vocal group that has sold more than 200 million records worldwide--sales in the company of the Beatles and Michael Jackson. "The Bee Gees" is the epic family saga of brothers Barry, Robin, and Maurice Gibb, and it's riddled with astonishing highs--especially as they became the definitive band of the disco era, fueled by "Saturday Night Fever" and crashing lows, including the tragic drug-fueled downfall of youngest brother, Andy. In recent years, a whole new generation of fans has rediscovered the undeniable grooves and harmonies that made the Bee Gees and songs like "Stayin' Alive," "How Deep is Your Love," "To Love Somebody," and "I Started a Joke" timeless.

Made in Brazil: Studies in Popular Music serves as a comprehensive and thorough introduction to the history, sociology, and musicology of twentieth-century Brazilian popular music. The volume consists of essays by scholars of Brazilian music, and covers the major figures, styles, and social contexts of pop music in Brazil. Each essay provides adequate context so readers understand why the figure or genre under discussion is of lasting significance to Brazilian popular music. The book first presents a general description of the history and background of popular music in Brazil, followed by essays that are organized into thematic sections: Samba and Choro; History, Memory, and Representations; Scenes and Artists; and Music, Market and New Media.

Although academic study of the Grateful Dead began shortly after the group's formation, the dramatic growth of scholarly literature only occurred after the band's formal retirement of the name in 1995. One major incubator of much of this work has been the Grateful Dead area of the Southwest/Texas Popular Culture and American Culture Association. Inaugurated as a separate section in 1998 and nicknamed the Grateful Dead Scholars Caucus, it has produced almost three hundred papers over fifteen years, nearly a third of which have been revised for publication. Caucus presenters have also edited a dozen books and periodical volumes, all of which have drawn on Caucus presentations, some almost exclusively. Studying the Dead: The Grateful Dead Scholars Caucus provides an informal history of the Caucus and sketches its significance as a scholarly community, focusing on its increasing self-awareness, its ability to span diverse disciplinary and theoretical perspectives, and most of all, its contribution to our understanding of the Grateful Dead phenomenon. For the academy as a whole, the Caucus is a fascinating model for the development of discourse communities, from the role of orality to its interrogation of the texts that are derived from them. Remarkable for its interdisciplinary dialogue, the Caucus demonstrates how the nature of the art-and the phenomenon that it studies-can shape these discourses. Though ostensibly aimed at scholars of the Grateful Dead, others who will find this book of interest include students and teachers of popular culture, as well as fans of the band.

Relatively little has been written about film scores and soundtracks outside of Hollywood cinema. Hollywood Theory, Non-Hollywood Practice addresses this gap by looking at the practices of film soundtrack composition for non-Hollywood films made after 1980. Annette Davison argues that since the mid-1970s the model of the classical Hollywood score has functioned as a form of dominant ideology in relation to which alternative scoring and soundtrack practices may assert themselves. The first part of the book explores some of the key theoretical issues and debates in film studies and film music studies. The second part comprises a series of case studies of non-Hollywood scores. Starting with Jean Luc Godard's Prenom: Carmen (1983), Davison argues that the film's score offers a deconstruction of the relationship between sound and image proposed by classical Hollywood film. Derek Jarman's The Garden (1990) takes the debate a step further in its exploration of the possibility that a film's soundtrack may be liberated from slavery to the image track. Wings of Desire (1987) directed by Wim Wenders offers, Davison believes, a negotiation between classical and alternative scoring and soundtrack practices; while David Lynch's Wild at Heart (1990) actually fully integrates scoring and soundtrack practices so that sounds and dialogue are used in musical ways. Seeking to stimulate debate about the aesthetics and interpretation of film scores and soundtracks in general, this book develops an important synthesis of film studies and musicology.

Scouse Pop is a journey into the personalities and music of the successful pioneering Liverpool pop bands of the late seventies and eighties. It examines their motivations, their uniqueness and the routes to success which made them into enduring musical innovators. It looks at the reasons why art-pop bands such as OMD, China Crisis, Echo and the Bunnymen, Black and Frankie Goes to Hollywood managed to combine art and commerce with such spectacular success. The bands experienced their own 'revolutions in the head, ' internal revolutions than eventually made many of them household names. The development of these suburban romantics from Liverpool represented a period of intensive creativity and musical romanticism that still resonates today. The spirit of (internal) revolution at the heart of these bands retains a strong fascination for those interested in artistic creation and popular culture. Given the bleak and uninspiring context within which the bands surfaced, how did these musicians achieve great success? Scouse Pop explores this question in detail, and examines the factors that facilitated the transformation of Liverpool teenage dreams into commercial and cultural impact. The music industry, radio and DJs, producers and engineers, the record-buying public and the bands themselves comprise the heart of this account.

He is one of the greatest musical talents Britain has ever produced. But even as the principle songwriter and lead guitarist for The Who, it would be unjust to define Pete Townshend's life simply through his achievements with bandmates Daltrey, Moon and Entwistle. Noting that he has sold over 100 million records over a fifty-year period goes some way to quantifying his accomplishments, but numbers only scratch the surface of his contribution to popular culture. An avid student of his profession, during his career he has been credited with the creation of the concept album, worked as a literary editor, developed scripts for television and the stage, and written songs that have defined a generation. The thinking man's rock star with a dedication to his craft unlike any other in the business, he continues to inspire new generations of performers and writers with a continuing commitment to his art. Now, in one of the most eagerly awaited autobiographies of recent times, this icon tells about his incredible life and elaborates on the turbulences of time spent as one of the world's most respected musicians - being in one of rock's greatest ever bands, and wanting to give it all up. Incredibly, as a man who has achieved so much, this truly unique story of ambition, relentless perfectionism and rock and roll excess will be regarded as one of his greatest achievements.

When 'You Really Got Me' exploded on Swinging London in 1964, the Kinks forever changed the course of rock 'n' roll. Ray Davies and Joe Penhall's Olivier Award-winning Sunny Afternoon (2014) covers the band's formative years of 1964-7, when four working- class North London lads broke through to become one of the most unlikely and influential rock bands of the 1960s. Mixing the comic adventures of 'Dave the Rave' with the touching introspection of Ray's sometimes fragile psyche, Joe Penhall's script weaves Ray Davies' songs, both the hits and lesser-known works, into one of the finest jukebox musicals of the new millennium. Drawing on a wealth of background material, John Fleming examines the blend of events and songs selected, reconsidering the relationship between biography and drama to shed new light on the Kinks and the musical that tells their story.

MTV is the third major breakthrough in music broadcasting, and the first since the late 1960s. "Top Forty" radio was initiated in the 1950s, and along with "free form" or "progressive" rock molded rock music exposure for nearly twenty years. Many observers credit MTV with resurrecting the music industry from the throes of the Great Depression of 1979. Few would dispute its impact on contemporary film, fashion, and radio.

"Inside MTV "examines the world of cablecasting, the evolution of WASEC, MTV, VH-1, and some of their competitors. The strategies, personalities, promotions, and the contents that placed MTV on the road to its dominant position are described. The many controversies surrounding the channel are thoroughly detailed, and a good deal of the misinformation on the subject is corrected.

It is a mere five years since MTV began as the third of four Warner-Amex Satellite Entertainment Company (WASEC) channels, created by two of America's largest conglomerates. Since then, it has become a major force. Before MTV was conceived the relationship between television and rock music was weak, at best. As the new partnership .developed, a story of genius, luck, and discrimination began to unfold, and a corporate innovation of major proportions and psychodemographic success emerged.

MTV is now the most profitable 24-hour cable outlet beamed from a satellite. It reaches 30.8 million households. How all this happened is chronicled in this major new book from a leading authority on the American music business.

The International Who's Who in Popular Music 2017 gives biographical information and contact details for some of the most talented and influential artists and individuals from the world of popular music. Now in its nineteenth edition, there are over 7,000 biographies charting the careers and achievements of artists in pop, rock, folk, jazz, dance, world, country music and much more. Key Features: - each entry includes full biographical information: principal career details, recordings and compositions, honours and contact information where available - each entrant is given the opportunity to update his or her information - spans the full range of the popular music industry, from rock to jazz and dance to country - provides information on established names as well as up-and-coming artists - a directory section provides details of music festivals, awards, organizations within the industry, and digital music sources - for ease of reference, the book includes an index of music group members. In one accessible volume this title offers users a vast collection of information on the most famous and influential people in the popular music industry.

Recent scholarship has offered a veritable landslide of studies about early modern women, illuminating them as writers, thinkers, midwives, mothers, in convents, at home, and as rulers. Musical Voices of Early Modern Women adds to the mix of early modern studies a volume that correlates women's musical endeavors to their lives, addressing early modern women's musical activities across a broad spectrum of cultural events and settings. The volume takes as its premise the notion that while women may have been squeezed to participate in music through narrower doors than their male peers, they nevertheless did so with enthusiasm, diligence, and success. They were there in many ways, but as women's lives were fundamentally different and more private than men's were, their strategies, tools, and appearances were sometimes also different and thus often unstudied in an historical discipline that primarily evaluated men's productivity. Given that, many of these stories will not necessarily embrace a standard musical repertoire, even as they seek to expand canonical borders. The contributors to this collection explore the possibility of a larger musical culture which included women as well as men, by examining early modern women in "many-headed ways" through the lens of musical production. They look at how women composed, assuming that compositional gender strategies may have been used differently when applied through her vision; how women were composed, or represented and interpreted through music in a larger cultural context, and how her presence in that dialog situated her in social space. Contributors also trace how women found music as a means for communicating, for establishing intellectual power, for generating musical tastes, and for enhancing the quality of their lives. Some women performed publicly, and thus some articles examine how this impacted on their lives and families. Other contributors inquire about the economics of music and women, and how in different situations some women may have been financially empowered or even in control of their own money-making. This collection offers a glimpse at women from home, stage, work, and convent, from many classes and from culturally diverse countries - including France, Spain, Italy, England, Austria, Russia, and Mexico - and imagines a musical history centered in the realities of those lives.

*** By the Sunday Times bestselling author of BOHEMIAN RHAPSODY *** From mod folk artist to flower power pixie elfin to the king of glam rockers, Marc Bolan was the ultimate chameleon. His far-reaching musical and stylistic influence is more relevant today than ever with hits such as 'Ride A White Swan', 'Children Of The Revolution', 'Get It On' and 'Hot Love' as fresh and exhilarating as when first released. At the peak of his popularity during his lifetime Bolan was outselling Jimi Hendrix and The Who, and yet relatively little is really known about the hypnotic, enigmatic 20th century boy turned 21st century icon. At last, in the 35th anniversary year of his tragic death, Marc Bolan represents the definite biography. Here rock biographer, Lesley-Ann Jones, paints a meticulous portrait of the T-Rex front man. From his childhood growing up in Hackney to his untimely death at the age of 29, Bolan's life was one of relentless experimentation and metamorphoses. Hallucinogenic drugs, wizardry and levitation, alcoholism, tax evasion and a spectacular fall from grace were to punctuate his short life, as he continued to strive to reinvent himself and his music over and over again. Lesley-Ann has been granted access to those who knew Bolan best, including his partner and the mother of his only son, Gloria Jones and his brother, Harry Feld.

English pop music was a dominant force on the global cultural scene in the decades after World War II - and it served a key role in defining, constructing and challenging various ideas about Englishness in the period. Kari Kallioniemi covers a stunning range of styles of pop - from punk, reggae and psychedelia to jazz, rock, Brit Pop and beyond - as he explores the question of how various artists (including such major figures as David Bowie and Morrissey), genres and pieces of music contributed to the developing understanding of who and what was English in the transformative post-war years. Publication Forum (Finland) lists this book as a Level 2 publication, where 'the highest-level publications are directed as a result of extensive competition and demanding peer-review'.For Intellect's full listings in this catalogue, please click here.

Recounts the life of the first Duke of Buckingham, describes his relationships with James I and Charles I, and examines his role in English politics.

In 1991, five wannabe Mancunian musicians came together and cracked a spark that was to ignite the explosion which became Oasis. The band went from obscurity to become a global phenomenon in the space of a year, achieving world-wide recognition and selling over 70 million records. Pre Oasis, drummer Tony McCarroll joined a band called The Rain, linking up with guitarist Paul 'Bonehead' Arthurs, bassist Paul McGuigan and singer Chris Hutton. Hutton was later replaced by Liam Gallagher who in turn brought brother Noel along. What started out as five young lads with a common dream of becoming rock stars eventually disintegrated into in-fighting, clashes of egos and finanical disputes. In 1995, following the release of Definitely Maybe - the fastest-selling debut of all time - things came to a head and Tony left the band. In this candid and hilarious book, Tony tells one of the most in-depth rock 'n' roll stories of modern times. He reveals the truth about the early years before the band was even formed; he tells of the drinking and drug consumption. Plus, he talks of his much-publicised rift with Noel Gallagher. Tony's recollections include stories involving David Beckham, Prince, Eric Cantona and John McEnroe.