Disability and Music Performance examines discriminatory social practices in music conservatoria, orchestras, music festivals and music competitions, which limit disabled people's access to music performance at a professional level. Of particular interest are the disabling barriers that musicians with an intellectual, physical, sensory or neurological disability-or an acquired brain injury-encounter in the world of Western classical music, both as students and as professional performers. This book collects data in the form of semi-structured interviews and video and audio recordings to explore the voice, concerns and suggestions expressed by musicians with disabilities. It examines their perceptions of both inclusive and discriminatory practices in music institutions as well as the representation of, and audio-visual recordings by, key musical figures with disabilities. Its findings aim to contribute to the wellbeing of musicians with impairments by challenging disabling social practices that see them as inferior. This publication offers performers, teachers and researchers new perspectives for exploring some of the most common social dynamics in encounters between normative audiences, musicians and music critics, and musicians with disabilities. It invites the reader to recognise disability as a rightful identity category in music performance and to dismantle the disabling barriers that limit the participation of disabled people in music-making.

Juby Mayet was a force of life. Her autobiography takes us from life as a youngster growing up in Fietas, Johannesburg, through marriage, life as a ‘girl reporter’ for first The Golden City Post, then Drum magazine, and on through apartheid and her resistance to it.

Written in her inimitable style, thumbing a nose always at convention or those in authority, it gives a unique insight into one of the only women writers at Drum – and one who could drink just as hard as Can Themba or Nat Nakasa.

The Enjoyment of Music, Essential Listening Edition, weaves together a concise text and rich media resources in a compact and affordable package that gives students all they need for an enriched listening experience. The new Fourth Edition features enhanced pedagogy built around new listening objectives and Listening Challenge online activities, a revised repertory that includes popular teaching pieces and streamlined Listening Guides that make it easier for students to identify the important things to listen for in each selection.

Quo are the most successful band in British history after the Beatles and the Rolling Stones. From 1973 to the mid-80s they had a string of hits, including 'Down, Down', 'Rockin' All Over the World', 'Again and Again', 'What You're Proposing' - all classic rock anthems. When the band imploded, and the other members left, Rossi and Parfitt reinvented Quo for the 90s and kept going, touring constantly and winning new fans. The story of Status Quo is essentially the story of two people: Francis Rossi and Rick Parfitt. It is the story of two outwardly very different characters - Rossi, the moody insecure one, Parfitt, the smiling, permanantly at ease golden boy - who against the odds forged an unlikely yet enduring bond that would see them through the dizzying highs and terrifying lows of a forty-year career. Rossi and Parfitt admit that in the past they've hidden some of the truth about their lives, unable to admit how out of control things were even to themselves. Now they tell it all - the drug-taking, the marriage breakdowns, Parfitt's brush with death when he was forced to undergo by-pass surgery. From their early days as a sixties 'boy band' through the massive international success of the seventies to the present day, this is an explosive no-holds-barred autobiography from two of Britain's most enduring rock stars.

The tensions between utopian dreams and dystopian anxieties permeate science fiction as a genre, and nowhere is this tension more evident than in Star Trek. This book breaks new ground by exploring music and sound within the Star Trek franchise across decades and media, offering the first sustained look at the role of music in shaping this influential series. The chapters in this edited collection consider how the aural, visual, and narrative components of Star Trek combine as it constructs and deconstructs the utopian and dystopian, shedding new light on the series' political, cultural, and aesthetic impact. Considering how the music of Star Trek defines and interprets religion, ideology, artificial intelligence, and more, while also considering fan interactions with the show's audio, this book will be of interest to students and scholars of music, media studies, science fiction, and popular culture.

Sounds of the Pandemic offers one of the first critical analyses of the changes in sonic environments, artistic practice, and listening behaviour caused by the Coronavirus outbreak. This multifaceted collection provides a detailed picture of a wide array of phenomena related to sound and music, including soundscapes, music production, music performance, and mediatisation processes in the context of COVID-19. It represents a first step to understanding how the pandemic and its by-products affected sound domains in terms of experiences and practices, representations, collective imaginaries, and socio-political manipulations. This book is essential reading for students, researchers, and practitioners working in the realms of music production and performance, musicology and ethnomusicology, sound studies, and media and cultural studies.

Way more than just the bass-ics Whatever you're playing--funk, soul, rock, blues, country--the bass is the heart of the band. Bassists provide a crucial part of driving force and funky framework that other members of any and work off. From John Paul Jones of Led Zeppelin, to "The Pixies'' Kim Deal, to James Brown's favored bassist, Jimmy Nolan, bass players have made big names for themselves and commanded respect throughout music history. In Bass Guitar For Dummies, Patrick Pfeiffer--who coached U2's Adam Clayton, among others--is your friendly guide to laying down the low end. Starting from the beginning with what bass and accessories to buy, the book shows you everything from how to hold and position your instrument to how to read music and understand chords. You'll develop your skills step-by-step until you're confident playing your own solos and fills. Sharpen skills with instructional audio and video Discipline your play with exercises Understand chords, scales, and octaves Care for your instrument Whether you're new to the bass or already well into the groove, Bass Guitar For Dummies gives you the thorough balance of theory and practice that distinguishes the titanic Hall of Famer from the just so-so. P.S. If you think this book seems familiar, you're probably right. The Dummies team updated the cover and design to give the book a fresh feel, but the content is the same as the previous release of Bass Guitar For Dummies (9781118748800). The book you see here shouldn't be considered a new or updated product. But if you're in the mood to learn something new, check out some of our other books. We're always writing about new topics!

VFILES was started for the kids in the line, the kids at the fashion shows and concerts who are always pushing culture forward. A ubiquitous social media platform at the crossroads of art, design, popular culture, and street savvy, VFILES represents what s happening on the streets right now. Known for creating one of the buzziest shows of New York Fashion Week, VFILES regularly launches the next big talents in all areas of the music and fashion worlds. The pages of VFILES: Style, Fashion, Music showcase the most exciting moments from VFILES s creations and collaborations over the last ten years. The authors look at the young innovators shaping contemporary culture and highlight their influence on some of the biggest names of today. With photos of such style arbiters as Rihanna, Cardi B, Janelle Monae, Solange, and Erykah Badu wearing VFILES designs, this book celebrates all aspects of street culture, from hair and makeup to art, design, and lingo. A visual feast of street style, along with glamorous runway and editorial images of hip hop celebrities in their distinctive looks, these pages celebrate the intersection between music and fashion. This book embodies the VFILES credo that you can t have fashion without music or music without fashion. And you can t have either without the street.

This book brings theory from popular music studies to an examination of identity and agency in youth films while building on, and complementing, film studies literature concerned with genre, identity, and representation. McNelis includes case studies of Hollywood and independent US youth films that have had commercial and/or critical success to illustrate how films draw on specific discourses surrounding popular music genres to convey ideas about gender, race, ethnicity, sexuality, and other aspects of identity. He develops the concept of 'musical agency', a term he uses to discuss the relationship between film music and character agency, also examining the music characters listen to and discuss, as well as musical performances by the characters themselves

This book from Jürgen Claus is a milestone among the books dedicated to the planet sea A knowledgeable overview of marine architectures from both the Pacific and Atlantic regions Discusses the seascape as a fluid studio for visual artists

Japanese folk performing arts incorporate a body of entertainments that range from the ritual to the secular. They may be the ritual dances at Shinto shrines performed to summon and entertain deities; group dances to drive away disease-bearing spirits; or theatrical mime to portray the tenets of Buddhist teachings. These ritual entertainments can have histories of a thousand years or more and, with such histories, some have served as the inspiration for the urban entertainments of no, kabuki and bunraku puppetry. The flow of that inspiration, however, has not always been one way. Elements taken from these urban forms could also be used to enhance the appeal of ritual dance and drama. And, in time, these urban entertainments too came to be performed in rural or regional settings and today are similarly considered folk performing arts. Professor Terence Lancashire provides a valuable introductory guide to the major performance types as understood by Japanese scholars.

The Gorillaz Art Book is here! Featuring brand new artwork by Jamie Hewlett, who has invited more than 40 creators to offer new interpretations of 2D, Murdoc Niccals, Noodle, and Russel Hobbs in one expansive volume of original artwork. Contributing artists include Ruff Mercy, Kim Jung Gi, Robert Smith, Kerbscrawler Ghost, Robert Valley, Craig McCracken and Tim McCourt & Max Taylor. Celebrating 20 years of Gorillaz, this latest Z2 partnership sees Hewlett expand the band’s collaborative vision to fellow visual artists in The Gorillaz Art Book, a stunning visual feast of 306 pages.

For anyone who listens reverentially in the half-light to Robert Johnson, Nick Drake, or Morrisey, who wait anxiously for new albums from The Cure, Leonard Cohen, or The Blue Nile, who buy up catalogs of Nina Simone, Johnny Cash, or Scott Walker, who search the Web for rarities by Radiohead, Elliot Smith, and Miles Davis, this is the book they've been waiting for. "This Will End in Tears" is both a compendium of the greatest sad songs and artists of the modern era and a collection of essays that attempts to explain what exactly draws us to sad music, and how sad music actually makes us happy. Adam also makes an argument, based partly on the structure of operating systems and popular sites like Pandora, for the existence of a miserablist genre, one that's becoming increasingly more important than traditional genres such as blues, rock, country, etc., one that's organized around the rather more amorphous principle of cosmic grief. Specifically, "This Will End in Tears" will include an A-Z list of entries of the masters of melancholy (from Samuel Barber to Patsy Cline, George Jone to Joy Division, Nico to Hank Williams), a top-100 list of the saddest songs of all time, essays explaining the power of particular songs and artists, and essays explaining particular types of sad music and their effects on the listener. There will also be recommended playlists throughout.

This set reissues a host of previously out-of-print books that focus on the phenomenon of popular music in all its many guises. From the early days of professional songwriting, to the innovations of jazz and blues then the cultural revolution of rock 'n' roll, this set forms an essential reference collection that takes us up to the modern art/style/music culture crossovers, including a detailed analysis of the visual portrayal of music via its videos.

Twenty-five years after the publication of A Dictionary of the Avant-Gardes, the distinguished critic and arts historian Richard Kostelanetz returns to his favorite subject for a third edition. Rewriting earlier entries, adding hundreds of new ones, Kostelanetz provides intelligence and information unavailable anywhere else, no less in print than online, about a wealth of subjects and individuals. Focused upon what is truly innovative and excellent, he ranges widely with insight and surprise, including appreciations of artistic athletes such as Muhammad Ali, Johan Cruyff, and the Harlem Globetrotters and such collective creations as Las Vegas and his native New York City. Continuing the traditions of cheeky high-style Dictionarysts, honoring Samuel Johnson and Nicolas Slonimsky (both with individual entries), Kostelanetz offers a "reference book" to be enjoyed not only in bits and chunks, but continuously as one of the dozen books someone would take if they planned to be stranded on a desert isle.

Relevance and Marginalisation in Scandinavian and European Performing Arts 1770-1860: Questioning Canons reveals how various cultural processes have influenced what has been included, and what has been marginalised from canons of European music, dance, and theatre around the turn of the nineteenth century and the following decades. This collection of essays includes discussion of the piano repertory for young ladies in England; canonisation of the French minuet; marginalisation of the popular German dramatist Kotzebue from the dramatic canon; dance repertory and social life in Christiania (Oslo); informal cultural activities in Trondheim; repertory of Norwegian musical clocks; female itinerant performers in the Nordic sphere; preconditions, dissemination, and popularity of equestrian drama; marginalisation and amateur staging of a Singspiel by the renowned Danish playwright Oehlenschlager, also with perspectives on the music and its composers; and the perceived relevance of Henrik Ibsen's staged theatre repertory and early dramas. By questioning established notions about canon, marginalisation, and relevance within the performing arts in the period 1770-1860, this book asserts itself as an intriguing text both to the culturally interested public and to scholars and students of musicology, dance research, and theatre studies.

'A fascinating deep dive' Jeremy Deller From the illicit reggae blues dances and acid-rock free festivals of the 1970s, through the ecstasy-fuelled Second Summer of Love in 1988, to the increasingly corporate dance music culture of the post-Covid era, Party Lines is a groundbreaking new history of UK dance music, exploring its pivotal role in the social, political and economic shifts on which modern Britain has been built. Taking in the Victorian moralism of the Thatcher years, the far-reaching restrictions of the Criminal Justice Act in 1994, and the resurgence of illegal raves during the Covid-19 pandemic, Party Lines charts an ongoing conflict, fought in basement clubs, abandoned warehouses and sunlit fields, between the revolutionary potential of communal sound and the reactionary impulses of the British establishment. Brought to life with stunning clarity and depth, this is social and cultural history at its most immersive, vital and shocking.

Earshot: Perspectives on Sound awakens an understanding of the decisive role that sound has played in history and culture. Although beginning with reference to antiquity, the primary focus is the changing status of sound and hearing in Western culture over the last six hundred years, covering the transition from the medieval period to the contemporary world. Since mythic times, sound has been an essential element in the formation of belief systems, personal and community identities and the negotiations between them. The varied case studies included in the book cover major reference points in the changing politics of sound, particularly in relation to the status of the other major conduit of social transactions, vision. Earshot is not a work of cultural theory but is anchored in social practices and material culture and is therefore a valuable resource for conveying sound to both undergraduate students as well as the general reader.

In 1999, as the end of an old century loomed, five musicians entered a recording studio in Paris without a deadline. Their band was widely recognized as the best and most forward-thinking in rock, a rarefied status granting them the time, money, and space to make a masterpiece. But Radiohead didn't want to make another rock record. Instead, they set out to create the future. For more than a year, they battled writer's block, inter-band disagreements, and crippling self-doubt. In the end, however, they produced an album that was not only a complete departure from their prior guitar-based rock sound, it was the sound of a new era, and embodied widespread changes catalyzed by emerging technologies just beginning to take hold of the culture. What they created was Kid A. At the time, Radiohead's fourth album divided critics. Some called it an instant classic; others, including the U.K. music magazine Melody Maker, deemed it "tubby, ostentatious, self-congratulatory... whiny old rubbish." But two decades later, Kid A sounds like nothing less than an overture for the chaos and confusion of the 21st century. Acclaimed rock critic Steven Hyden digs deep into the songs, history, legacy, and mystique of Kid A, outlining the album's pervasive influence and impact on culture, in time for its 20th anniversary in 2020. Deploying a mix of criticism, journalism, and personal memoir, Hyden skillfully revisits this enigmatic, alluring LP and investigates the many ways in which Kid A shaped and foreshadowed our world.

This updated second edition of A Practical Guide to Teaching Music in the Secondary School provides valuable support, guidance and creative new ideas for students and practising teachers who want to develop their music teaching practice. Written to accompany the successful textbook Learning to Teach Music in the Secondary School, it explores a range of current issues, developments and opportunities within music education. The book supports the reader in undertaking practical enquiries across the breadth of the subject to support their critical reflection and the development of their own context-relevant strategies and understandings. Key themes explored include the pedagogy of: * singing; * composing; * improvising; * performing; * responding; * musical literacy; * music and cross-curricular learning. Using practical examples and reflective activities, this book will help you critically examine ways in which you can place pupils at the centre of learning music. It is an invaluable resource for those involved in teaching music who are seeking to develop their practical and theoretical understanding, whether at a trainee or practising music teacher level.

In both video games and animated films, worlds are constructed through a combination of animation, which defines what players see on the screen, and music and sound, which provide essential cues to action, emotion, and narrative. This book offers a rich exploration of the intersections between animation, video games, and music and sound, bringing together a range of multidisciplinary lenses. In fourteen chapters, the contributors consider similarities and differences in how music and sound structure video games and animation, as well as the animation within video games, and explore core topics of nostalgia, adaptation, gender and sexuality. Offering fresh insights into the aesthetic interplay of animation, video games, and sound, this volume provides a gateway into new areas of study that will be of interest to scholars and students across musicology, animation studies, game studies, and media studies more broadly.

Two of the objectives of the Chinese Copyright Law are to protect the copyright of authors to their literary and artistic works and encourage the creation and dissemination of works. In practice, however, in spite of the existence of the Music Copyright Society of China ('MCSC') that was established to assist with exercising copyright, music creators in China remain in need of help to protect and manage their fragmented copyright. The MCSC was the first collective management organisation ('CMO') in mainland China and is the only CMO in the field of musical works. While there is a large music industry and copyright business in China, the MCSC only had 11,356 members at the end of 2021. The third amendment of the Chinese Copyright Law was initiated in 2011 and came into effect in June 2021 after a long debate for almost ten years. The discussion of the third amendment has highlighted the controversial topic of collective management of copyright. This book explores the adequacy of the MCSC as an intermediary representing rights for music creators. The main argument developed in this study is that the work of the MCSC for individual composers and lyricists is hampered by shortcomings in the regulatory regime as well as by a lack of members' rights to participate in the management of their own rights and by the ineffective international cooperation between the MCSC and other musical CMOs overseas. The analysis is undertaken through a case study approach, comparing the collective management systems of music copyright in China, the United States and Australia and addressing the question of how musical CMOs operate in these countries. Specifically, three perspectives are examined: the regulatory systems designed to limit the misuse of those CMOs' monopoly, members' rights in the organisations, and international cooperation between these CMOs. Overall, the main findings of this book suggest that the MCSC in China could work more effectively to protect music creators' interests. In contrast, although the operational frameworks of the American Society of Composers, Authors and Publishers ('ASCAP') and the Broadcasting Broadcast Music, Inc. ('BMI') in the United States and the Australasian Performing Right Association ('APRA') in Australia are not perfect models, the systems in these two countries may at least provide reference points for potential improvement of the regime of the MCSC. The research recommends three courses of action: strengthening the regulatory design overseeing the MCSC's monopoly, clarifying the relationship between the MCSC and its members while providing the members with the right to manage their own copyright, and improving the international cooperation between the MCSC and CMOs in other countries.