Instrumental Jazz Arranging consists of a systematic presentation of the essential techniques and materials of jazz arranging. Authors Mike Tomaro and John Wilson draw upon 50+ years of combined teaching experience to bring you a book that addresses all of the basic needs for beginning arrangers. Topics include counterpoint/linear writing, jazz harmony, compositional techniques, and orchestration. All topics serve to address issues concerned with true arranging in great detail. The book may be used in both individual and classroom instructional situations. The accompanying CDs - 170 tracks in all! - include many of the examples in the book, plus templates for assignments formatted for Finale .

This book provides an overview of professional musicians working within the healthcare system and explores programs that bring music into the environment of the hospital. Far from being onstage, musicians in the hospital provide musical engagement for patients and healthcare providers focused on life-and-death issues. Music in healthcare offers a new and growing area for musical careers, distinct from the field of music therapy in which music is engaged to advance defined clinical goals. Rather, this volume considers what happens when musicians interact with the clinical environment as artists, and how musical careers and artistic practices can develop through work in a hospital setting. It outlines the specialized skills and training required to navigate safely and effectively within the healthcare context. The contributors draw on their experiences with collaborations between the performing arts and medicine at Boston University/Boston Medical Center, University of Florida/UF Health Shands Hospital, and the Peabody Institute/Johns Hopkins Medicine. These experiences, as well as the experiences of artists spotlighted throughout the volume, offer stories of thriving artistic practices and collaborations that outline a new field for tomorrow's musical artists.

First published in 2006. Routledge is an imprint of Taylor & Francis, an informa company.

This collection considers music within the spheres of production and consumption and pulls together an interdisciplinary collection of music studies from around the world, ranging from an ethnomusicological analysis of the condition of Tibetan music and its role within the Chinese state, the changing reception of anti-apartheid music by white musicians in South Africa according to new configurations of society and its memory of recent history, a lyrical exploration of jazz as a signifier of crime and other nefarious activities within film history, an analysis of how music charts and maps the social network and gender roles in Jamaica and a landmark commentary on how music is framed by David Hemsondalgh. As opposed to other studies which explore music just in terms of its reception or its composition and distribution, this collection should make necessary reading for anybody interested in the wider nexus of music's existence and how it waxes and wanes with ideology, politics, gender, business and much more besides.

Author of the Penderyn Prize-winning The Velvet Mafia Fifty years on from Britain's first Pride march, the long road to LGBT equality continues. Through protest songs and gay club nights, street theatre activism and fundraising concerts, the performing arts have played an influential role in each great stride made. With new interviews with musicians and DJs, performers and activists, including Andy Bell, Jayne County, John Grant, Horse McDonald and Peter Tachell, Pride, Pop and Politics hears from those whose art has been influenced by the campaign for LGBT rights - and helped push it forward. This informative, eye-opening book is the first to focus on the relationship between gay nightlife and political activism in Britain.

The Beatles Finally Let It Be includes the January 1969 rehearsals and recording sessions; the unreleased "Get Back" albums; "Let It Be" and "Let It Be...Naked;" along with American; British and Canadian perspectives. This volume also includes a detailed breakdown of every song released from those sessions as well as firsthand stories from lucky fans who were there for the Beatles final public performance on the roof of Apple Studios; January 30, 1969.

Music in Television is a collection of essays examining television's production of meaning through music in terms of historical contexts, institutional frameworks, broadcast practices, technologies, and aesthetics. It presents the reader with overviews of major genres and issues, as well as specific case studies of important television programs and events. With contributions from a wide range of scholars, the essays range from historical-analytical surveys of TV sound and genre designations to studies of the music in individual programs, including South Park and Dr. Who.

Scottish Dance Beyond 1805 presents a history of Scottish music and dance over the last 200 years, with a focus on sources originating in Aberdeenshire, when steps could be adapted in any way the dancer pleased. The book explains the major changes in the way that dance was taught and performed by chronicling the shift from individual dancing masters to professional, licensed members of regulatory societies. This ethnographical study assesses how dances such as the Highland Fling have been altered and how standardisation has affected contemporary Highland dance and music, by examining the experience of dancers and pipers. It considers reactions to regulation and standardisation through the introduction to Scotland of percussive step dance and caller-facilitated ceilidh dancing. Today's Highland dancing is a standardised and international form of dance. This book tells the story of what changed over the last 200 years and why. It unfolds through a series of colourful characters, through the dances they taught and the music they danced to and through the story of one dance in particular, the Highland Fling. It considers how Scottish dance reflected changes in Scottish society and culture. The book will be of interest to scholars and postgraduates in the fields of Dance History, Ethnomusicology, Ethnochoreology, Ethnology and Folklore, Cultural History, Scottish Studies and Scottish Traditional Music as well as to teachers, judges and practitioners of Highland dancing and to those interested in the history of Scottish dance, music and culture.

Moving from the aftermath of Reconstruction through the AIDS crisis, a new cultural history of the United States shows how artists, intellectuals, and activists turned political disappointment-the unfulfilled desire for change-into a basis for solidarity. Sara Marcus argues that the defining texts in twentieth-century American cultural history are records of political disappointment. Through insightful and often surprising readings of literature and sound, Marcus offers a new cultural history of the last century, in which creative minds observed the passing of moments of possibility, took stock of the losses sustained, and fostered intellectual revolutions and unexpected solidarities. Political Disappointment shows how, by confronting disappointment directly, writers and artists helped to produce new political meanings and possibilities. Marcus first analyzes works by W. E. B. Du Bois, Charles Chesnutt, Pauline Hopkins, and the Fisk Jubilee Singers that expressed the anguish of the early Jim Crow era, during which white supremacy thwarted the rebuilding of the country as a multiracial democracy. In the ensuing decades, the Popular Front work songs and stories of Lead Belly and Tillie Olsen, the soundscapes of the civil rights and Black Power movements, the feminist poetry of Audre Lorde and Adrienne Rich, and the queer art of Marlon Riggs and David Wojnarowicz continued building the century-long archive of disappointment. Marcus shows how defeat time and again gave rise to novel modes of protest and new forms of collective practice, keeping alive the dream of a better world. Disappointment has proved to be a durable, perhaps even inevitable, feature of the democratic project, yet so too has the resistance it precipitates. Marcus's unique history of the twentieth century reclaims the unrealized desire for liberation as a productive force in American literature and life.

While many books, films and documentaries claim to have captured the phenomenon that was Swinging London, just one magazine was present in the capital during the 1960s to illustrate this extraordinary moment as it unravelled. London Life emerged in October 1965 and, over the next fifteen months, would document the capital's action at its absolute zenith. With imagery from the likes of David Bailey, Duffy and Terence Donovan, designs from Peter Blake, David Hockney, Gerald Scarfe and fledgling artist Ian Dury plus words and opinions from those riding high on the city`s cutting-edge, London Life remains the coolest document from the capital's most exciting period.

Two decades after the fall of communism in Eastern Europe and one decade into the twenty-first century, European music remains one of the most powerful forces for shaping nationalism. Using intensive fieldwork throughout Europe -- from participation in alpine foot pilgrimages to studies of the grandest music spectacle anywhere in the world, the Eurovision Song Contest -- Philip V. Bohlman reveals the ways in which music and nationalism intersect in the shaping of the New Europe. Focus: Music, Nationalism, and the Making of the New Europe begins with the emergence of the European nation-state in the Middle Ages and extends across long periods during which Europe's nations used music to compete for land and language, and to expand the colonial reach of Europe to the entire world. Bohlman contrasts the "national" and the "nationalist" in music, examining the ways in which their impact on society can be positive and negative -- beneficial for European cultural policy and dangerous in times when many European borders are more fragile than ever. The New Europe of the twenty-first century is more varied, more complex, and more politically volatile than ever, and its music resonates fully with these transformations.

Robert Crumb first began drawing record covers in 1968 when Janis Joplin, a fellow Haight Ashbury denizen, asked him to provide a cover for her album Cheap Thrills. It was an invitation the budding artist couldn't resist, especially since he had been fascinated with record covers-particularly for the legendary jazz, country, and old-time blues music of the 1920s and 1930s-since he was a teen. This early collaboration proved so successful that Crumb went on to draw hundreds of record covers for both new artists and largely forgotten masters. So remarkable were Crumb's artistic interpretations of these old 78 rpm singles that the art itself proved influential in their rediscovery in the 1960s and 1970s. Including such classics as Truckin' My Blues Away, Harmonica Blues, and Please Warm My Weiner, Crumb's opus also features more recent covers done for CDs. R. Crumb: The Complete Record Cover Collection is a must-have for any lover of graphics and old-time music.

The Pearson Edexcel AS/A level Anthology of Music introduces the AS and A level set works to a new generation of musicians and will inspire them to develop their music knowledge, understanding and skills and will help them prepare for their assessment. Published in partnership with Edition Peters and Faber Music, and edited by Julia Winterson, the printed Anthology contains: * printed music scores of all 53 new set works in a single volume * a preface to each score, setting the piece in context, highlighting key themes * listening awareness points and suggestions for wider listening * glossary of key terms used in each set work.

UNIVERSALLY ACCLAIMED AS A MUSICAL GENIUS, MILES DAVIS WAS ONE OF THE MOST IMPORTANT AND INFLUENTIAL MUSICIANS IN THE WORLD. HERE, MILES SPEAKS OUT ABOUT HIS EXTRAORDINARY LIFE.

"M""iles: The Autobiography, "like Miles himself, holds nothing back. He speaks frankly and openly about his drug problem and how he overcame it. He condemns the racism he encountered in the music business and in American society generally. And he discusses the women in his life. But above all, Miles talks about music and musicians, including the legends he has played with over the years: Bird, Dizzy, Monk, Trane, Mingus, and many others.

The man who gave us some of the most exciting music of the twentieth century here gives us a compelling and fascinating autobiography, featuring a concise discography and thirty-two pages of photographs.

In Long Players, fifty of our finest authors write about the albums that changed their lives, from Deborah Levy on Bowie to Daisy Johnson on Lizzo, Ben Okri on Miles Davis to David Mitchell on Joni Mitchell, Sarah Perry on Rachmaninov to Bernardine Evaristo on Sweet Honey in the Rock. Part meditation on the album form and part candid self-portrait, each of these miniature essays reveals music's power to transport the listener to a particular time and place. REM's Automatic for the People sends Olivia Laing back to first love and heartbreak, Bjork's Post resolves a crisis of faith and sexuality for a young Marlon James, while Fragile by Yes instils in George Saunders the confidence to take his own creative path. This collection is an intoxicating mix of memoir and music writing, spanning the golden age of vinyl and the streaming era, and showing how a single LP can shape a writer's mind. Featuring writing from Ali Smith, Marlon James, Deborah Levy, George Saunders, Bernardine Evaristo, Ian Rankin, Tracey Thorn, Ben Okri, Sarah Perry, Neil Tennant, Rachel Kushner, Clive James, Eimear McBride, Neil Gaiman, Daisy Johnson, David Mitchell, Esi Edugyan, Patricia Lockwood, among many others.

Ewe dance-drumming has been extensively studied throughout the history of ethnomusicology, but up to now there has not been a single study that addresses Ewe female musicians. James Burns redresses this deficiency through a detailed ethnography of a group of female musicians from the Dzigbordi community dance-drumming club from the rural town of Dzodze, located in South-Eastern Ghana. Dzigbordi was specifically chosen because of the author's long association with the group members, and because it is part of a genre known as adekede, or female songs of redress, where women musicians critique gender relations in society. Burns uses audio and video interviews, recordings of rehearsals and performances and detailed collaborative analyses of song texts, dance routines and performance practice to address important methodological shifts in ethnomusicology that outline a more humanistic perspective of music cultures. This perspective encompasses the inter-linkages between history, social processes and individual creative artists. The voices of Dzigbordi women provide us not only with a more complete picture of Ewe music-making, they further allow us to better understand the relationship between culture, social life and individual creativity. The book will therefore appeal to those interested in African Studies, Gender Studies and Oral Literature, as well as ethnomusicology. Includes documentary on the downloadable resources.

Grounded in the fields of Ethnomusicology, Anthropology, Popular Music Studies, and Japanese Studies, this book explores the underground Tokyo hardcore scene, ultimately asking what play as resistance through performance of the scene tells us about Japanese society in general. Matsue highlights the complicated positioning of young adult Japanese in contemporary Japan as they negotiate both increasing social demands and increasing problems in society at large. Further drawing on theories of play, identity building, and the construction of gender, all informed by the increasingly influential field of Performance Studies, this book offers a highly interdisciplinary look at the importance of musical scenes for expressing resistance at the turn of the 21st century. Within the underground Tokyo hardcore scene this resistance is expressed through play with individual and collective identity, in intimate and potentially illicit spaces, with an arguably challenging sound and performance style.

'Once you start reading this utterly fascinating book it is nigh impossible to put it down ... This is a gem' Dame Evelyn Glennie Vic Tandy was a level-headed scientist, but there was no denying it: at this late hour in his lonely lab at Coventry University, he kept seeing a grey apparition out of the corner of his eye. Bathed in a cold sweat, his heart pounding in his chest, he questioned his own rational mind - could this really be a supernatural encounter? What on Earth could be sending such an eerie shudder through his body? Strange frequencies are all around us - in fact, there may be no limit to the marvellous power of vibration. So catch a wave with musical adventurer Richard Mainwaring and take a wild ride across the keys of his infinite piano. Along the way, you'll join the quest for the world's loneliest whale, whose tragically out-of-tune song has haunted oceanographers for decades. You'll discover what strange melodies are hidden in rats' whiskers and rainbows. And you'll find out how vibrations good and bad govern more or less everything around you.

What is a fugue? What is the difference between a saxophone and a saxhorn? Who besides Puccini wrote an opera called "La Boheme"? In what year was the National Broadcasting Company Orchestra formed under Arturo Toscanini's direction? These and thousands of similar questions are answered in this comprehensive dictionary that remains unrivaled as a single-volume summary. "A New Dictionary of Music" is a basic reference work for anyone interested in music, whether performer or layman.

It covers orchestral, solo, choral, and chamber music, opera, and (in its musical aspects) the ballet. There are entries for composers (with biographies and details of compositions); works well known by their titles, such as operas and symphonic poems; orchestras, performers and conductors of importance today; musical instruments (including those of the dance and brass bands); and technical terms. English names and terms are used whenever possible, but foreign terms in general use are cross-referenced. Particular importance has been attached to bringing the reader abreast of new musical developments.

The composers and musical works chosen were those most likely to be encountered. Where an opera is given an entry, a brief explanation of the title follows. Similarly explication is provided for other works bearing literary or otherwise allusive titles. Among performers and conductors, only the following are included: those who, although dead, continue to be prominent through recorded performances (e.g., Gigli); the highest-ranking international artists of today, plus a very few apparently on the verge of attaining that rank; a few who, though not necessarily at the very head of their profession, are closely associated with composers in bringing out new works, or are conductors in charge of important orchestras.

"Arthur Jacobs" is well-known both in his native England and in the United States as a critic, author, translator of librettos, lecturer, and broadcaster.

Popular and multimodal forms of cultural products are becoming increasingly visible within translation studies research. Interest in translation and music, however, has so far been relatively limited, mainly because translation of musical material has been considered somewhat outside the limits of translation studies, as traditionally conceived. Difficulties associated with issues such as the 'musicality' of lyrics, the fuzzy boundaries between translation, adaptation and rewriting, and the pervasiveness of covert or unacknowledged translations of musical elements in a variety of settings have generally limited the research in this area to overt and canonized translations such as those done for the opera.

Yet the intersection of translation and music can be a fascinating field to explore, and one which can enrich our understanding of what translation is and how it relates to other forms of expression. This special issue is an attempt to open up the field of translation and music to a wider audience within translation studies, and to an extent, within musicology and cultural studies.

The volume includes contributions from a wide range of musical genres and languages: from those that investigate translation and code-switching in North African rap and rai, and the intertextual and intersemiotic translations revolving around Mahler's lieder in Chinese, to the appropriation and after-life of Kurdish folk songs in Turkish, and the emergence of rock'n roll in Russian. Other papers examine the reception of Anglo-American stage musicals and musical films in Italy and Spain, the concept of 'singability' with examples from Scandinavian languages, and the French dubbing of musical episodes of TV series. The volume also offers an annotated bibliography on opera translation and a general bibliography on translation and music.

Through a series of vivid case studies, Music and Creativity in Healthcare Settings: Does Music Matter? documents the ways in which music brings humanity to sterile healthcare spaces, and its significance for people dealing with major illness. It also considers the notion of the arts as a vessel to explore humanitarian questions surrounding serious illness, namely what it is to be human. Overarching themes include: taking control; security and safety; listening; the normalization of the environment; being an individual; expressing emotion; transcendence and hope and expressing the inexpressible. With an emphasis on service user narratives, chapters are enriched with examples of good practice using music in healthcare. Furthermore, a focus on aesthetic deprivation contributes to debates on the intrinsic and instrumental value of music and the arts in modern society. This concise study will be a valuable source of inspiration for care givers and service users in the health sector; it will also appeal to scholars and researchers in the areas of Music medicine and music Therapy, and the Medical Humanities.

As a sociologist Simon Frith takes the starting point that music is the result of the play of social forces, whether as an idea, an experience or an activity. The essays in this important collection address these forces, recognising that music is an effect of a continuous process of negotiation, dispute and agreement between the individual actors who make up a music world. The emphasis is always on discourse, on the way in which people talk and write about music, and the part this plays in the social construction of musical meaning and value. The collection includes nineteen essays, some of which have had a major impact on the field, along with an autobiographical introduction.