Music of the Baduy People of Western Java: Singing is a Medicine by Wim van Zanten is about music and dance of the indigenous group of the Baduy, consisting of about twelve-thousand people living in western Java. It covers music for rice rituals, for circumcisions and weddings, and music for entertainment. The book includes many photographs and several discussed audio-visual examples that can be found on DOI: 10.6084/m9.figshare.c.5170520. Baduy are suppposed to live a simple, ascetic life. However, there is a shortage of agricultural land and there are many temptations from the changing world around them. Little has been published on Baduy music and dance. Wim van Zanten's book seeks to fill this lacuna and is based on short periods of fieldwork from 1976 to 2016.

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.

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.

This book is an in-depth study of the function of music in religious experience according to Rabbi Nahman of Bratzlav. It provides new insights on his unique doctrine of the "Good Points", which represent the core of loving kindness and holiness in the human soul, and the musical context in which they become both a means and a metaphor for spiritual transformation. Drawing on midrashic and kabbalistic sources, the book explores Nahman's perception of different types of "tzadiqim" (religious leaders), including himself, and the special role music plays in their leadership. It highlights the importance of creativity and renewal in the messianic process that involves both music and loving kindness.

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.

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.

In 1851, Stephen C. Foster purchased a blank notebook, in which he wrote original manuscripts for both famous songs such as "My Old Kentucky Home, Good-Night!" and "Old Folks at Home," as well as lesser-known songs such as "The Little Ballad Girl," "Ellen Bayne," and "Jenny's Coming O'er the Green." Never published in its entirety, this first edition of Stephen C. Foster's manuscript book preserves his original notes and marginalia while offering valuable insights into the creative process of America's first professional composer.

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.