Long associated with the pejorative cliches of the drug-trafficking trade and political violence, contemporary Colombia has been unfairly stigmatized. In this pioneering study of the Miami music industry and Miami's growing Colombian community, Maria Elena Cepeda boldly asserts that popular music provides an alternative common space for imagining and enacting Colombian identity. Using an interdisciplinary analysis of popular media, music, and music video, Cepeda teases out issues of gender, sexuality, race, ethnicity, and transnational identity in the Latino/a music industry and among its most renowned rock "en espanol," pop, and "vallenato" stars.

Musical ImagiNation provides an overview of the ongoing Colombian political and economic crisis and the dynamics of Colombian immigration to metropolitan Miami. More notably, placed in this context, the book discusses the creative work and media personas of talented Colombian artists Shakira, Andrea Echeverri of Aterciopelados, and Carlos Vives. In her examination of the transnational figures and music that illuminate the recent shifts in the meanings attached to Colombian identity both in the United States and Latin America, Cepeda argues that music is a powerful arbitrator of memory and transnational identity.

(Amadeus). The New York Philharmonic, from Bernstein to Maazel continues the story of America's oldest orchestra as told in Howard Shanet's Philharmonic: A History of New York's Orchestra . That volume ended with the 1970-71 season, just before the arrival of Pierre Boulez as music director. Obviously, much has happened since. This book begins, however, with a retrospective account of the controversial last years of the tenure of Dimitri Mitropoulos and the ascendancy of Leonard Bernstein to the music directorship. Having been a Philharmonic assistant conductor during Bernstein's tenure, and an inveterate Philharmonic watcher ever since, the author brings some personal insights to the story as well as moments of humor. A sub-theme of the book concerns the way the Philharmonic and its music directors have been treated by the New York press, the Times in particular. Howard Taubman's attacks on Mitropoulos, Harold Schonberg's on Bernstein, and Donal Henahan's on Zubin Mehta are all covered here, as are the writings of various critics on those and other conductors, and on the orchestra itself. The New York Philharmonic is the only orchestra ever to undertake a foreign tour solely on the initiative of its musicians, without benefit or support from management. How this came about is chronicled, as are the opening of Lincoln Center, the Parks Concerts, Promenades, Prospective Encounters, Rug Concerts, tours, and, of course, the subscription seasons. John Canarina shows how the New York Philharmonic weathered extraordinary ups and downs during this period, while remaining a vital component of New York's cultural life.

A History of Russian Music Being An Account Of The Rise And Progress Of The Russian School Of Composers, With A Survey Of Their Lives And A Description Of Their Works. By M. Montagu-Nathan. Originally published in 1914. Many of the earliest books, particularly those dating back to the 1900s and before, are now extremely scarce and increasingly expensive. Obscure Press are republishing these classic works in affordable, high quality, modern editions, using the original text and artwork. Contents include: Introduction, Part 1- The Pre-nationalists. Volkoff- Berezovsky, Bortniansky and Verstovsky, Glinka "A life for the czar," Russian and Ludmilla, Dargomijsky, The stone guest and the five, Seroff and Lvoff. Part 2 - The nationalists. Balakireff, Cesar cui, Borodin, Moussorgsky, Boris Goudounoff, Khovantchina, The last phase, Rimsky Korsakoff. Part 3- The decline of nationalism. Glazounoff, Liadoff and liapounoff, Arensky, Tchaikovsky Rubinstein and the eclectics, Taneieff. Part 4- The present movement. Rachmaninoff, Gliere and Ippolitoff-Ivanoff, Scriabin, Vassilenko and grechaninoff, Akimenko Tcherepnin and Rebikoff, Steinberg Medtner and Catoire, Stravinsky, Operatic and concert enterprises, Appendix I, Appendix II.

How and why do listeners come over time to 'feel the nation' through particular musical works? This book develops a comparative analysis of the relationship between western art music, nations and nationalism. It explores the influence of emergent nations and nationalism on the development of classical music in Europe and North America and examines the distinctive themes, sounds and resonances to be found in the repertory of each of the nations. Its scope is broad, extending well beyond the period 1848-1914 when national music flourished most conspicuously. The interplay of music and nation encompasses the oratorios of Handel, the open-air music of the French Revolution and the orchestral works of Beethoven and Mendelssohn and extends into the mid-twentieth century in the music of Prokofiev, Shostakovich and Copland. The book addresses the representation of the national community, the incorporation of ethnic vernacular idioms into art music, the national homeland in music, musical adaptations of national myths and legends, the music of national commemoration and the canonisation of national music. Bringing together insights from nationalism studies, musicology and cultural history, it will be essential reading not only for musicologists but for cultural historians and historians of nationalism as well. MATTHEW RILEY is Reader in Music at the University of Birmingham. The late ANTHONY D. SMITH was Professor Emeritus of Nationalism andEthnicity at the London School of Economics.

(Book). Jazz fans get the inside story of New York's legendary club. At age 83, Lorraine Gordon is a jazz icon who has lived more than a few lives: downtown bohemian, uptown grande dame, music business pioneer, wife, lover, mother, and finally at a point when most women her age were just settling into grandmotherhood owner of the most famous jazz club in the world, the Village Vanguard. The trajectory of her journey has been remarkable. The details are a Jackson Pollock-like swirl of fierce colors shot through with larger-than-life creative figures: not just jazz figures but luminaries from every point on the political, social and entertainment spectrum: from Mike Nichols, Elaine May, Miles Davis and Thelonious Monk to Lenny Bruce, Norman Mailer and Barbra Streisand. * The legendary Village Vanguard has been an international jazz mecca since 1935. According to New York Magazine, "A musician hasn't truly arrived in the jazz world until he's played at the 'Carnegie Hall of Cool, ' the Village Vanguard." * There have been over 100 "Live at the Village Vanguard" recordings by premier artists from John Coltrane to Wynton Marsalis.

Covering four decades of music history, this engaging book explores a genre of pop music that has been overlooked, under-reported, and ineffectively characterized—but which nevertheless remains immensely popular. The very qualities that made glam unusual and undervalued are now being reintroduced into our culture through video, music, and cyber and computer mediums, while artists such as Lady Gaga have made glam popular once more. Carefully explaining this misunderstood genre, The Twisted Tale of Glam Rock explores glam's attraction and the reasons it has endured. With the help of copious examples, the book covers the style from the pre-glam British invasion of 1964-69 through the classical glam era (1970-75); the metamorphosis into glam goth, glam metal, and glam new-romanticism (1976-90); and the style's reemergence (1990-present). It provides a theoretical basis for musicians' attraction to this highly visual and theatrical form of pop music and sets glam in a historical context, following the format through MTV, videos, and vibrant stage and theatre presentations. Finally, the book explores the hybridization of glam with other styles, illustrating how the genre has progressively reemerged as a premier form of performance pop.

From Ani DiFranco to Bob Dylan to Woodie Guthrie, American folk music comprises a truly diverse and rich tradition—one that's almost impossible to define in broad terms. This book explains why folk music is still highly relevant in the digital age. From indigenous music to Pete Seeger and Bruce Springsteen singing "This Land Is Your Land" side-by-side at the pre-inaugural concert for our first African American president, folk music has been at the center of America's history. Thomas Jefferson wooed his bride-to-be with fiddle playing. Stephen Foster captured the mood of our country in transition. The Carter Family adapted music from across the pond to Appalachia. Paul Robeson carried folk music of many lands to the world stage. Woody Guthrie's dust bowl ballads spoke to the common man, while Sixties protest music put folk on the map, following the Kingston Trio's hit, "Tom Dooley." Folk music has evolved with America's changing landscape, celebrating its multi-cultural traditions. From Irish step dancers to rap, parlor songs to Dixieland, blues to classical, Discovering Folk Music presents the genre as surprisingly diverse, every bit the product of our national melting pot. Demonstrating continuing relevance of folk music in our everyday lives, the book spotlights an amazing array of personalities, with special emphasis on the folk revival era when Dylan, Baez, Odetta, and Peter, Paul and Mary sang out. These and others influenced such contemporary performers as Shawn Colvin and Ani DiFranco. Those on today's "fringes of folk" scene continue to look to these deep roots while embracing alternative sounds. Included are interviews with such legendary artists as Janis Ian, Tom Paxton, and Jean Ritchie. Nora Guthrie, Woody's daughter, also weighs in. Discovering Folk Music is a ground-breaking look at 21st-century folk music in our rapidly changing digital world, family friendly while ripe for rediscovery by the Woodstock generation.

A fun, fact-filled, and thoroughly researched journey of country and western dancing from the roots of Western Swing to Hank Williams, the Urban Cowboy two-step of John Travolta, and the nationwide sensation of country line dancing. Country & Western Dance turns the spotlight on a uniquely American form of dance, one that has been scuffing the floorboards for nearly a century but is often overlooked. Fun, lively, and thoroughly researched, this revealing volume tells the full story of country and western dance music from the days of Bob Wills and Tulsa to Oklahoma's Cain's Ballroom to John Travolta and Gilley's of Houston, Texas. Each chapter provides information on the historical roots of the most popular country and western dances as well as the pioneers of the music of a particular era, all in the context of changing cultural, social, political, and economic forces in America. The book also examines the seminal impact of radio, television, and the movies in helping spread the music, the moves, and the good times on the country dance floor.

Unique and exciting, this ethnographic study is the first to address a little-known subculture, which holds a fascination for many. The first decade of the twenty-first century has displayed an ever increasing fixation with vampires, from the recent spate of phenomenally successful books, films, and television programmes, to the return of vampire-like style on the catwalk. Amidst this hype, there exists a small, dedicated community that has been celebrating their interest in the vampire since the early 1990s. The London vampire subculture is an alternative lifestyle community of people from all walks of life and all ages, from train drivers to university lecturers, who organise events such as fang fittings, gothic belly dancing, late night graveyard walks, and 'carve your own tombstone'.Mellins presents an extraordinary account of this fascinating subculture, which is largely unknown to most people. Through case study analysis of the female participants, "Vampire Culture" investigates women's longstanding love affair with the undead, and asks how this fascination impacts on their lives, from fiction to fashion. "Vampire Culture" includes photography from community member and professional photographer SoulStealer, and is an essential read for students and scholars of gender, film, television, media, fashion, culture, sociology and research methods, as well as anyone with an interest in vampires, style subcultures, and the gothic.

'I love it. A practical, spiritual, nurturing book.' - Russell Brand

Since its first publication, The Artist's Way has inspired the genius of Elizabeth Gilbert, Tim Ferriss, Reese Witherspoon and millions of readers to embark on a creative journey and find a deeper connection to process and purpose. Julia Cameron guides readers in uncovering problems and pressure points that may be restricting their creative flow and offers techniques to open up opportunities for self-growth and self-discovery.

A revolutionary programme for personal renewal, The Artist's Way will help get you back on track, rediscover your passions, and take the steps you need to change your life.

These lively, informative essays, all related to music, are as accessible as a chatty bedside reader. A central theme is listener response, and the techniques and structures that mold it. The story starts with sound waves, the ear, and the brain. Did song come before speech? Was it a factor in evolution? Some think singing helps complete the wiring of that organic work-in-progress, the infant brain. Check out the frequency doubling that built our familiar scale. Learn where the word 'organizing' came from. Follow development of the instruments as they achieved volume, accurate intonation, range, and consistent timbre. There is criticism, but little disparagement. Any willing audience deserves respect. Musical examples come from Tin Pan Alley as often as the opera. Whether at a jazz club or the concert hall, the writer cannot hide his impatience with artists seeking to educate or intimidate. Music can be recreation or vocation. Does your instrument match your personality or some physical attribute? We instantly distinguish a bell, a piano, and a guitar; why not a clarinet, flute, or violin? What does the conductor do? A Language of Emotion embraces such matters. The relatively imprecise science of Psychology examines music working its magic. We all have favorites. Is it hype and marketing and peer influence, or do our choices make personal statements? Music, politics, religion, and social forces are twisted threads in the fabric of civilization. Nothing reflects the spirit of an era better than the works of its most creative individuals. In most cases, they blend smoothly in sequence. Monteverdi, Beethoven, and Stravinsky, to name just three, clearly got ahead of the curve and helped define the world around them.

The Forty-Eight Preludes and Fugues of J.S .Bach By Cecil Gray Originally published in 1934, this is an exhaustive examination of one of Bach's greatest works. Many of the earliest books, particularly those dating back to the 1900s and before, are now extremely scarce and increasingly expensive. Obscure Press are republishing these classic works in affordable, high quality, modern editions, using the original text and artwork.

In the World War II era, big bands and swing music reached the heights of popularity with soldiers as well as friends and loved ones back home. Many entertainers such as Glenn Miller also served in the military, or supported the war effort with bond drives and entertaining the troops at home and abroad. In addition to big band and swing music, musicals, jazz, blues, gospel and country music were also popular. Chapters on each, along with an analysis of the evolution of record companies, records, radios, and television are included here, for students, historians, and fans of the era.

Includes a timeline of the music of the era, an appendix of the Broadway and Hollywood Musicals, 1939-1945, and an appendix of Songs, Composers, and lyricists, 1939-1945. An extensive discography and bibliography, along with approximately 35 black and white photos, complete the volume.

Combining a student-friendly presentation with cutting-edge digital resources, Wright/Candelaria's LISTENING TO MUSIC, 9th EDITION, equips you with the tools to actively listen to and inspire a lifelong appreciation for music. Known for its clear, conversational style, LISTENING TO MUSIC, 9th EDITION, guides you -- even if you have no music background -- about what to listen for and why it is important to the piece. The music clips are curated and clipped to keep you focused and engaged on a few musical elements at a time. The text is organized chronologically and discusses musical examples from each era in its social context, describing the construction and culture of each piece. LISTENING TO MUSIC is fully integrated with MindTap to better help you develop your listening skills and maximize your course success. Online resources include interactive exercises, streaming music, Directed Listening Guides, chapter and listening quizzes.

Piano GUIDED Sigh t Re ading A Ne v Approach to Piano Studv by LEONHARD E EUTSCH NELSON-HALL COMPANY CHIC AG O Acknowledgements For the constructive criticism and final editing of my manu script I wish to express my gratitude and appreciation to Miss Lillian Cooper, New York City. For the patient reading of the first drafts and helpful suggestions my thanks go to the late Mrs. Sophia Steinbach, New York City Miss Ruth Norden, New York City and Mr. Mrs. Horace Champney, Yellow Springs, Ohio. Finally, I have to thank Crown Publishers for the last retouches. For their adherence to my ideas abroad and in this country I thank my former Vienna colleagues and co-workers Dr. Alexander Klahr, New York City Mr. Victor Popper, Evans ton, Illinois Mrs. Maria Treuer, Yellow Springs, Ohio and Dr. Margaret Wolf, Brooklyn, N. Y. I feel greatly indebted to my wife, Mrs. Danica Deutsch, for her most active support of my work from its very beginning. She also assisted me in applying experiences from her own field, including her study of left-eyedness, to the psychological and emotional problems of my students. LEONHARD DEUTSCH Table of Contents Foreword xi The Story of the Sight-Reading Method 3 The Problems of Sight-Reading 13 What is the correct way to practice sight-reading 14 How is the ability to practice sight-reading in this - man-ner developed 15 What is the effect of sight-reading exercises 17 The Basis of Pianistic Skill 19 1. Musical Ear and Manual Dexterity 19 What is musical ear 20 How is musical ear developed 22 What is manual dexterity 25 How does manual skill develop 26 2. Notes and Keys 27 Why is the alphabetical method, applied to music reading, ineffective 29 How to break away frompiecemeal reading 31 3. Time and Rhythm 32 Why are the usual expedients ineffective 32 How does a student learn to keep time 33 vn TABLE OF CONTENTS 4. Fingering 34 Unnecessary finger marks 36 Complicated fingering 36 5. Velocity 38 How does repetition work 39 How does the dissecting method work 41 How is velocity developed 42 6. Finger Agility and Technical Exercises 43 The piano hand 44 Planning of finger movements 45 Relaxation 47 Finger control 48 7. Expressive Playing 49 Colorful tone or colorful performance 49 The sources of expressive playing 50 Analytical approach 50 Romantic approach 51 Psychological approach 52 8. Pianistic Memory 53 What is pianistic memory 54 How is pianistic memory developed 55 Sight-Reading versus Repertoire 57 Rich study material 58 Approaching the whole 58 Concentrated effort 60 How does natural talent develop 61 Building up talent by means of instruction 62 Gypsy method 63 Self-Instruction 64 Sight-reading program, 67 Repertoire Study 73 VIII TABLE OF CONTENTS Suggestions for the Teacher 76 1. Guiding Your Student 79 2. New Students and Problem Students 82 3. Elementary Instruction 88 Melody 89 Bass parts 91 Fingering and hand positions 91 Touch and expression 92 Sharps and flats 92 Chords 93 Jumps 93 Playing with both hands 94 Time values 95 Embellishments 96 Rhythmical subdivision 96 4. Study Material 98 5. Homework 99 6. Playing by Ear and Written Exercises 100 7. Approach to Children 101 Ear training 102 Special handicaps 103 Maturity level of the child 104 Ambition 105 IX Foreword A NEW approach to piano study Why the reader may well ask. Hasnt the old approach produced hundreds and thousands of excellent pianists True, for such successfulstudents, usually professional mu sicians, no change is necessary but for the others, less fortunate, the legions of lay musicians, playing the piano can acquire a new meaning. Formerly the non-professional pianist had the same mission as the virtuoso to share his musicianship with an audience. And usually he was just as eager for publicity. He labored many hours over technical exercises and spent years building a reper toire of pieces carefully prepared for performance. Nowadays such toil hardly seems worth while...

There is an epigram in this book from the Phil Ochs song, "Crucifixion," about the Kennedy assassination, that states: I fear to contemplate that beneath the greatest love, lies a hurricane of hate. On February 11th 1963, the Beatles recorded "There's a Place," a dazzling, unheralded tune which was included on their electrifying debut album, "Please Please Me." This song firmly laid the foundation on which a huge utopian dream of the sixties would be built. Within that dream, however, also lay the seeds of a darker vision that would emerge out of the very counterculture that the Beatles and their music helped create. Thus, even as their music attracted adoring fans, it also enticed the murderous ambitions of Charles Manson; and though the Beatles may have inspired others to form bands, their own failed hopes ultimately led to their breakup.

The disillusionment with the sixties, and the hopes associated with the group, would many years later culminate in the assassination of John Lennon and the attempted slaying of George Harrison by deranged and obsessive fans. In this incisive examination, author Kevin Courrier ("Dangerous Kitchen: the Subversive World of Zappa, Randy Newman's American Dreams") examines how the Fab Four, through their astonishing music and comically rebellious personalities, created the promise of an inclusive culture built on the principles of pleasure and fulfillment. By taking us through their richly inventive catalogue, Courrier illustrates how the Beatles' startling impact on popular culture built a bond with audiences that was so strong, people today continue to either cling nostalgically to it, or struggle -- and often struggle violently -- to escape its influence.

THE BEATLES DISCOGRAPHY Presents The Beatles Recorded Legacy Like Never Before The Beatles Discography has their US and UK releases side by side with important releases from Germany, France and more plus their solo releases in the same chronological listing, complete with release dates, record labels & numbers, full track listings with composer & producer credits, recording dates, mix variations and song lengths, all in a compact and easy to understand format with many rare images of front & back covers, picture sleeves and record labels. Volume One The 60's covers the period between January 1st, 1961 through December 31st, 1970, from their first recordings with Tony Sheridan and EMI to their final original album Let It Be and the first releases of John, Paul, George and Ringo as solo artists. Section One is a chronological listing with hundreds of full-color images of the LPs, EPs and singles, packed with information about each release including title, release date, producer and more. Section Two is a chronological listing of songs by the date of completion with a complete history of appearances on disc and all related information including mix variations, composers, lengths and more. THE BEATLES DISCOGRAPHY, Volume One The 60's is the ultimate guide to the recorded works of the greatest band in history and an essential part of every Beatles fan's library.

Chips Moman's genius began in the studio, where he instituted technical innovations that forever changed the recording industry, but it expanded from there with an uncanny ability to recognize hit songs when he heard them as rough demos, and then blossomed with an unsurpassed string of hit records. He rescued Elvis Presley's career with his recordings of "Suspicious Minds" and "In the Ghetto," and he provided Willie Nelson with one of his most memorable signature songs, "Always on My Mind." Not bad for a Georgia country boy who dropped out of school in the eighth grade and hitchhiked to Memphis in search of the American Dream. "I think the Chips Moman story has provided me with the best book I have written since Colonel Tom Parker, which was purchased by Warner Bros. for its Elvis film starring Tom Hanks," says author James L. Dickerson. "I anticipate great interest in a movie based on Moman's story. Small wonder. He has been called the "Steve McQueen of the music business.'" By any measure-sales, multi-genre capability, number of hit records, technical innovation, artistry, etc.-Lincoln "Chips" Moman was the most important record producer in American history. With several hundred hits to his credit in pop, country, rhythm & blues, and rock, both from record production and songwriting, Chips Moman is legendary within the music industry. This biography is the story of his life. Early on, Chips Moman was a co-founder of Memphis's Stax Records, along with Jim Stewart and Estelle Axton. Moman found the location for the studio, organized the recording system, recruited the early talent and produced the legendary soul music record label's first two hits-"Gee Whiz" by Carla Thomas and "Last Night," an instrumental by the Mar-Keys. As a record producer, he rescued Elvis Presley's career with hits such as "Suspicious Minds, "In the Ghetto," and "Kentucky Rain." He produced music icons such as Petula Clark and Dionne Warwick. In rock and pop he is associated with the Gentrys ("Keep on Dancing"), the Box Tops ("The Letter"), Neil Diamond's "Sweet Caroline," Sandy Posey ("Born a Woman" and "Single Girl" ), Paul Revere & The Raiders ("Goin' to Memphis"), Dusty Springfield ("Son of a Preacher Man"), Ringo Starr (an unreleased album which the author listened to and considers among Ringo's best; the album ended up in a celebrated court case); B.J. Thomas ("Hooked on a Feeling," "The Eyes of a New York Woman," and "(Hey Won't You Play) Another Somebody Done Somebody Wrong Song." In country music, he produced Willie Nelson's "Always on My Mind" and numerous other albums; he originated the super group the Highwaymen (Johnny Cash, Waylon Jennings, Willie Nelson, and Kristofferson) and produced two of their three albums; Willie Nelson and Merle Haggard (Pancho & Lefty), plus albums with Tammy Wynette, Gary Stewart, Brenda Lee and others. Moman also recorded a country album, as of now unreleased, with actor Robert Duvall, who got permission from Moman to use him as a model for the character he played in Tender Mercies, a role for which he was awarded an Oscar.