This is the first comprehensive history of goth music and culture. Across more than 500 pages, John Robb explores the origins and legacy of this enduring scene, which has its roots in the post-punk era. Drawing on his own experience as a musician and journalist, Robb covers the style, the music and the clubs that spawned the culture, alongside political and social conditions. He also reaches back further to key historic events and movements that frame the ideas of goth, from the fall of Rome to Lord Byron and the romantic poets, European folk tales, Gothic art and the occult. Finally, he considers the current mainstream goth of Instagram influencers, film, literature and music. The Art of Darkness features interviews with Siouxsie and the Banshees, The Cure, The Damned, Nick Cave, Southern Death Cult, Einstürzende Neubauten, Bauhaus, Killing Joke, Throbbing Gristle, Danielle Dax, Lydia Lunch and many more. It offers a first-hand account of being there at the gigs and clubs that made the scene happen. -- .

Over ten years since his death, Biggie Smalls, also known as The Notorious B.I.G., is considered one of the most influential rappers of all time, a credit continually given by numerous hip-hop artists. Raised in Brooklyn during the crack-cocaine boom of the late 1970s and early 1980s, Smalls (born Christopher Wallace) worked as a drug dealer before ultimately deciding to become a rapper. With Sean "Puffy" Combs and Bad Boy Entertainment, Biggie rocketed to fame as one of hip hop's most popular artists. But with the success came controversy: the friendship-turned-feud between Biggie and Tupac fueled the rivalry between East Coast and West Coast hip hop, a gangsta-rap battle that many believe led to the murder of both rappers. While still unsolved, the murder of Biggie in 1997 sparked numerous investigations, litigation, and the dismantling of a Los Angeles Police Department task force in what is considered the largest scandal in LAPD history. Ten years later, Biggie is celebrated as the King of East Coast hip hop. In this biography author Holly Lang recounts the life, music, and legacy of Biggie and investigates the events surrounding his murder.

Lady Gaga, Adele, Amy Winehouse, Dua Lipa, Bruno Mars, Miley Cyrus, the Barbie soundtrack—Mark Ronson’s musical fingerprints are everywhere in our pop culture. Now comes his electrifying memoir, which captures the music, characters, escapades, and raw emotional journey of his DJ days in ’90s New York.

‘What happens when your music obsession catapults you beyond your wildest dreams? The answer is Night People – the most life-affirming coming-of-age story I’ve read in an age, with a soundtrack to die for. You know how your favourite record sounds? That’s how Mark Ronson writes.’ Pete Paphides, author of Broken Greek

Mark Ronson was born a night person. With hedonistic creatives for parents, parties became his playground. Yet, having moved to New York City from London at a young age, he always felt like a bit of an outsider, until discovering himself in the pulsing, unifying joy of the city’s parties and hip-hop scene. Each night brought a heady mix of music, ambition, danger, delight, and possibilities. Having well and truly caught the DJing bug, he worked to find his place and make his name in the city that never sleeps.

Night People conjures the undeniable magic of '90s New York. It evokes the rush of a time and place where fashionistas and rappers on the rise danced alongside club kids and 9-to-5'ers – and invites us into the tribe of creatives and partiers who came alive when the sun went down. A heartfelt coming-of-age tale, Night People is the definitive account of a cultural moment and the making of a musical mastermind.

Granville Bantock's letters to the Scottish composer William Wallace and the music critic Ernest Newman provide a fascinating window into British music and musical life in the early twentieth century and the 'dawn' of musical modernism. British music and musical life before the Great War have been relatively neglected in discussions of the idea of the 'modern' in the early twentieth century. This collection of almost 300 letters, written by Granville Bantock (1868-1946) to the Scottish composer William Wallace (1860-1940) and the music critic Ernest Newman (1868-1959) places Bantock and his circle at the heart of this debate. The letters highlight Bantock's and Wallace's development of the modern British symphonic poem, their contribution (with Newman) to music criticism and journalism, and their attempts to promote a young generation of British composers - revealing an early frustration with the musical establishment. Confirming the impact of visits to Britain by Richard Strauss and Sibelius, Bantock offers opinions on a range of composers active around the turn of the twentieth century, identifying Elgar and Delius as the future for English music. Along with references to conductors, entertainers and contemporary writers (Maeterlinck, Conrad), there are fascinating details of the musical culture of London, Liverpool and Birmingham - including programming strategies at the Tower, New Brighton, and abortive plans to relaunch the New Quarterly Musical Review. Fully annotated, the letters provide a fascinating window into British music and musical life in the early twentieth century and the 'dawn' of musical modernism. MICHAEL ALLIS is Professor of Musicology at the School of Music, University of Leeds.

One of the major frustrations of my professional musical life has been the continual reminder of how few talented young string players, even those with exceptional instrumental skill, seem to truly understand the importance of reflecting their very own personal emotional experiences within the fabric of their musical interpretations and performances. Consequently I have devoted a great deal of my teaching efforts to helping these potential artists better understand the critical importance of this element and to develop the skills necessary to facilitate the natural merging of their inner-most emotions with their instrumental facility. My original purpose for authoring this book was to create a lasting way in which to share my resulting theories and methodologies with regards to this ever so critical ingredient to the process of successful musical communication. Interestingly, after a reasonable amount of academic research, it quickly became apparent to me that in spite of the existence of numerous available publications dealing with the need for musicians to play their instruments in an expressive manner... and a myriad of additional books and articles attempting to describe and analyze the elements of "sensuality" ...no one had previously made any detailed connection or addressed, in writing, the impact of "sensuality" on music performance from either a technical or musical perspective. Now that this project is complete I must agree with the opinion of a number of my trusted colleagues and friends: "many theories, concepts and methods described in this book could indeed provide benefits to a far broader audience than those exclusively focused on string playing."I am hopeful that performers from all of the arts as well as any interested and receptive individuals from all walks of life may find the thoughts I have expressed in this publication helpful in achieving the lives of their dreams.

" THE MIGHTY KUCHKA " Teen prodigy NIKOLAI RIMSKY-KORSAKOV is brought by his piano teacher to the home of composer and music instructor MILI BALAKRIEV (antagonist) who recognizes the talent of the young man immediately. Mili's quest is to intentionally deprive his pupils of the musical knowledge of Mozart, Beethoven, Bach and Europeans in order that his circle of composers would write pure Russian Music without outside influence. After a tour with the Russian Navy to New York City, Rio de Janerio a few Mediterranean ports, Nikolai returns to St. Petersburg as a mature Naval Officer and rejoins Mili's circle of five composers which include MODEST MOUSSORGSKY, ALEXANDER BORODIN and CAESAR CUI. After awhile, Modest, Alexander and Nikolai realize they have been categorized as pupils by Mili and feel a certain coolness as they grow more independent. Nicolai has written his first two symphonies. Nikolai falls in love with NADEZHDA a talented pianist, they get married and travel to many romantic spots in Europe on their honeymoon. Nadezhda is a wonderful influence on Nikolai's music. PETER TCHAIKOVSKI becomes their friend and visits the couple occasionally when in St. Petersburg. One day Nadezhda sees Nikolai in tears claiming "Everything I have composed is wrong " "I have wasted my life with Mili Balakriev." Nikolai realizes that he has been deprived of the knowledge of the European Masters. Nikolai feeling betrayed suffers a complete nervous breakdown. . .. Peter Tchaikovski credits Nadzhda with nursing Nikolai back to health. Now stronger than ever he completes more than 20 Operas. The Suites, Sheherazade, Easter Overture, Capriccio Espagnol are on repertoires around the world. Nikolai teaches his own group of pupils which include the younger ALEXANDER GLAZANOV and IGOR STRAVINSKY. See Other Books By This Author and when finished, Click here to return to www.JPRoach.org

Facing the Music investigates the practices and ideas that have grown from some five decades of cultural diversity in music education, developments in ethnomusicology, and the rise of 'world music'. Speaking from rich, hands-on experience of more than thirty years at various levels of music education (music in schools, community organizations and professional training courses), Huib Schippers makes a powerful case for the crucial role of learning music in shaping rich and diverse musical environments for the 21st century, both in practical terms and at a conceptual level: "what we hear is the product of what we believe about music."
Advocating a contemporary, positive and realistic approach to cultural diversity in music education and transmission, Schippers advocates taking into account and celebrating the natural dynamics of music. He argues that "most music travels remarkably well," and regards every musical act as an expression of the 'here and now', as do many of the musicians and scholars he quotes. In this way, he challenges stifling directives to recreate 'authentic contexts', which in fact constantly change (and have always changed) in the cultures of origin as well. This liberates music educators to seek with integrity appropriate ways of presenting music at all levels of education: in schools, community settings, and professional training.
In seven succinct chapters that each approach the issues from a different angle, Schippers gradually unfolds the complexities of learning and teaching music 'out of context' in an accessible manner, and presents a coherent model to approach these, as well as lucid suggestions for translating the resulting ideas in practice. While mapping the various factors that determine all acts of music transmission, he also comes to surprising insights into the nature and preconceptions underlying much formal music education settings across the world, including those focusing on western classical music.
Facing the Music provides a rich resource for reflection and practice for all those involved in teaching and learning music, from policy maker to classroom teacher.

This book reviews the current practices of traditional musics in various cultures of all continents, and examines the impact and significance of traditional musics in the modern world. A diverse group of experts of musicology and music education collaborate to expose the current practices and challenges of transmission and evolution of traditional musics in order to seek sustainable development, so that traditional musics can take the place they deserve in the modern world and continue to contribute to human civilization. This volume contains three main sections that include transmission of traditional musics, authenticity and evolution, as well as challenges in future. Based on the chapters, the editor proposes four major trends of transmission of traditional musics, namely, formalization, politicization, Westernization and modernization in transforming contexts.

Alan Rawsthorne was a British composer, film scorer, music editor, author, and radio talk show presenter. At the heart of his musical contribution was a unique blend of European and English 20th-century techniques which concentrated on instrumental rather than vocal music. While most of this volume is dedicated to Rawsthorne's original musical works, the reader's attention is also drawn to his articles, radio talks, and arrangements of works of other composers. His disposition placed his career in the background of others who were more public; his preference was to write music for its own sake rather than for notoriety and monetary gain. Through the guiding direction of other composers and radio leadership personnel, Rawsthorne created music for the next age as much as for his current time.

This bibliography is comprised of a listing of all known works (completed and uncompleted), premieres and selected other performances (highlighting venues, dates, and performers' names), a discography of both commercially available discs and archival tapes and discs, a 1500-item annotated set of citations of reviews, sections of books, articles and the like regarding the works, Rawsthorne's life and recordings, five appendices (song cycle and multi-section works components, alphabetical works list, Manchester manuscript collection details, chronological works list, works of other composers dedicated to Rawsthorne) and a 25-page index to the book.