"Meant to be a field guide for further research, it pitches to the most erudite echelons of Elvis fandom without going over the heads of the masses. It is also easily the coolest, most reasonable book about the Kink yet." Booklist

The first and only collection of its kind, "Sacred Symphony" contains 100 transcriptions of muscial excerpts from the chanted sermons of contemporary black preachers. In his introduction to the pieces that follow, author John Michael Spencer argues that there is an observable correlation between the chanted sermons of today's black preachers and the antebellum spiritual. He shows that the pieces collected here, each of which spontaneously evolved during the course of a sermon or prayer service, are themselves spirituals containing similar musical components--melody, rhythm, call and response, counterpoint, harmony, form, and improvisation.

(Amadeus). In 65 perceptive pieces, including some of the work that earned him the Pulitzer Prize for Criticism in 1997, Page offers what he calls "a collection of illumined moments," now gathered in a single volume for the wider audience who will treasure their insights.

In his memoir, Dr. George E. Allen looks back at a career spanning more than five decades of teaching music to Philadelphia students. Early on in life, he learned about many styles of music, and he took his love of the art to college, where he earned multiple degrees before joining the Philadelphia School District. There, he earned the respect of students, fellow music teachers, and music administrators. It wasn't easy, but he did it his way and enjoyed positive results. He inspired the same type of dogged effort in his students, relying on a phrase that he placed at the beginning of all his syllabi: "It is better to know than to think you know." He first heard that on the phone from Ellis Marsalis, the father of jazz musician Wynton and a well-known musician in his own right. Allen adopted the phrase as one of his own mantras, never allowing his students to say "I think" or "I can't." Whether you are someone who loves music, an education professional, or someone thinking about becoming a teacher, you can find inspiration in Allen's love for music, education, and his students. It was time for me to begin serious work on writing about my experience as a music educator in Philadelphia because I did it differently with satisfying results.

The International Who's Who in Classical Music 2023 is a vast source of biographical and contact information for singers, instrumentalists, composers, conductors, managers and more. Each entrant has been given the opportunity to update his or her information for the new improved 2023 edition. Each biographical entry comprises personal information, principal career details, repertoire, recordings and compositions, and full contact details where available. Appendices provide contact details for national orchestras, opera companies, music festivals, music organizations and major competitions and awards. International Who's Who in Classical Music includes individuals involved in all aspects of the world of classical music: composers, instrumentalists, singers, arrangers, writers, musicologists, conductors, directors and managers. Key Features: - about 8,000 detailed biographical entries - covers the classical and light classical fields - includes both up-and-coming musicians and well-established names. This book will prove valuable for anyone in need of reliable, up-to-date information on the individuals and organizations involved in classical music.

This volume looks forward and re-examines present day education and pedagogical practices in music and dance in the diverse cultural environments found in Oceania. The book also identifies a key issue of how teachers face the prospect of taking a reflexive view of their own cultural legacy in music and dance education as they work from and alongside different cultural worldviews. This key issue, amongst other debates that arise, positions Intersecting Cultures as an innovative text that fills a gap in the current market with highly appropriate and fresh ideas from primary sources. The book offers commentaries that underpin and inform current pedagogy and bigger picture policy for the performing arts in education in Oceania, and in parallel ways in other countries.

Claudio Arrau was one of the most distinguished and influential concert pianists of the twentieth century. His particular approach to the creation of sound was legendary. Concert pianist Ruth Nye studied with Arrau in New York and maintained a very active professional and personal relationship with the maestro until his death some 30 years later. Ruth Nye's performance career continued for many years until she developed Dupuytren's contracture of the fifth finger of her left hand, which left her unable to play professionally. Ruth Nye, MBE, FRCM, is now one of the most highly regarded piano teachers in the UK. This is the story of her life and her musical philosophy.

Dave Lamb's collection of poetry and song lyrics, i'll be alright, contains love songs, fun songs, and poems of beauty and the heart filled with descriptions of life experiences to which everyone can relate. His songs have inspired listeners with passionate rhythm and heartfelt lyrics painting portraits of love, despair, anger, laughter, and solitude. Seasons of Life In the spring of life with all its bloom So much ahead, no wall of doom And in the spring you're blossoming You bring new buds of hope you think The summer time with all its splendor Life is filled with excitement and grandeur And in the summer you progress Do what you like improve your quest The fall of life comes far too fast The ride downhill runs like a dash And in the fall when leaves change color There's one gray hair after another The blustery winter wind blows cold Time will pass you by till old And in the winter feel the ice Time passes by with such a price

The first bibliography devoted to a single jazz genre or era, Fire Music is concerned with the music of the jazz avant-gardists such as John Coltrane, Ornette Coleman, Cecil Taylor, and Sun Ra. It makes accessible the most extensive and up-to-date scholarship of the New Jazz beginning in the 1950s. Included are materials on such topics as jazz collectives and the New York loft scene, as well as jazz in specific countries and regions and a lengthy section of biographical and critical studies on more than 400 artists and ensembles from around the world. Organized by subject and artist, the over 7,100 sources are further divided by type of materials, including films, video, and audio cassettes as well as books, dissertations, and journal and newspaper articles in all major Western languages. A New Jazz Chronology places events in the jazz world in a social, political, and musical context; and a section on African-American Cultural History and the Arts provides background materials. Appendixes offer general reference sources, a directory of archives and research centers, and lists that classify artists by country and instrument. Indexes of artists, subjects, and authors complete the work.

Van Morrison is primal but sophisticated; he's accessible but inscrutable; he's a complex songwriter and a raw blues shouter; he's a steady influence on the musical scene but wildly unpredictable as well, and it's these complex and often conflicting qualities that make him such a compelling subject for the Singer-Songwriter series. Journalist Erik Hage here eschews a cold, empirical study of structures and influence, and seeks instead more natural and intuitive means of appreciating all that is unique, eclectic, and surprising about Van Morrison's impressive output. In addition to covering almost all of Van Morrison's musical work and offering new readings of many iconic songs, Hage also provides a biographical introduction and a complete discography that can help listeners find new perspective on Morrison's body of work.

Even in his darkest and most naked moments-in "Astral Weeks" for instance-Van Morrison's songs can still suggest something uplifting. Sometimes these two poles are present simultaneously, and at other times they each find distinct expression in a different musical moment. Even on his first solo album, "Blowin' Your Mind" (which contained the iconic Brown-Eyed Girl) Van Morrison was wrestling with something thornier and deeper, as evidenced by the wrenching T.B. Sheets - a nine-minute opus about the discomfort of visiting a lover in a small room as she lies in bed, wracked with Tuberculosis. Those two songs, at artistic odds with each other and on the same album, are representative of the oppositional forces that fuel much of his work. Hage here provides a guide through all the layers of emotional meaning and musical resonance present in Morrison's work.

We communicate multimodally. Everyday communication involves not only words, but gestures, images, videos, sounds and of course, music. Music has traditionally been viewed as a separate object that we can isolate, discuss, perform and listen to. However, much of music's power lies in its use as multimodal communication. It is not just lyrics which lend songs their meaning, but images and musical sounds as well. The music industry, governments and artists have always relied on posters, films and album covers to enhance music's semiotic meaning. Music as Multimodal Discourse: Semiotics, Power and Protest considers musical sound as multimodal communication, examining the interacting meaning potential of sonic aspects such as rhythm, instrumentation, pitch, tonality, melody and their interrelationships with text, image and other modes, drawing upon, and extending the conceptual territory of social semiotics. In so doing, this book brings together research from scholars to explore questions around how we communicate through musical discourse, and in the discourses of music. Methods in this collection are drawn from Critical Discourse Analysis, Social Semiotics and Music Studies to expose both the function and semiotic potential of the various modes used in songs and other musical texts. These analyses reveal how each mode works in various contexts from around the world often articulating counter-hegemonic and subversive discourses of identity and belonging.

This work is a revealing chronicle of Hip Hop culture from its beginnings three decades ago to the present, with an analysis of its influence on people and popular culture in the United States and around the world. From Grandmaster Flash and the Furious Five's "The Message," to Jay-Z, Diddy, and 50 Cent, Hip Hop Culture is the first comprehensive reference work to focus on one of the most influential cultural phenomena of our time. Scholarly and streetwise, backed by statistics, documents, and research, it recounts three decades of Hip Hop's evolution, highlighting its defining events, recordings, personalities, movements, and ideas, as well as society's response. How did an inner-city subculture, all but dismissed in the early 1980s, become the ruler of the world's airwaves and iPods? Who are the players who moved Hip Hop from the record bins to the pinnacles of entertainment, business, and fashion? Who are the founders, innovators, legends, and major players? Authoritative and authentic, Hip Hop Culture provides a wealth of information and insights for students, educators, and anyone interested in the ways pop culture reflects and shapes our lives.

The Asian continent is composed of multiple political systems, huge populations, and different religions and histories. Yet, the undercurrents of politics and political affairs and how societies function in this vast region are not well known, and in fact often misunderstood. The role of music and its impact on political affairs is just one of these unknown or misunderstood factors about this region. Unlike initial political communication studies, the present book is not about examining established political structures such as parliament or congress and the presidency; political processes such as elections, campaign advertising and voter education; or even political behavior and participation such as voting and the performance of other civic duties. Rather, it recognizes and explores the impact and intersection of music and politics in society, in this case, various societies in the Asian continent. The book is projected to be an invaluable research tool specifically in the hands of researchers and students of Asian politics in the aforementioned fields, and people who are interested in understanding and investigating the intersection of music and politics globally. Therefore, suggested potential targets for the envisaged edited book include such researchers and students across multiple disciplines in the arts and humanities, as well as libraries and research institutes across the globe.

Four Parts, No Waiting investigates the role that vernacular, barbershop-style close harmony has played in American musical history, in American life, and in the American imagination. Starting with a discussion of the first craze for Austrian four-part close harmony in the 1830s, Averill traces the popularity of this musical form in minstrel shows, black recreational singing, vaudeville, early recordings, and in the barbershop revival of the 1930s. In his exploration of barbershop, Averill uncovers a rich musical tradition - a hybrid of black and white cultural forms, practiced by amateurs, and part of a mythologized vision of small-town American life.

Fight songs, alma maters, and other school songs are as numerous and varied as the colleges and universities in the United States to which they belong. Robert F. O'Brien has compiled a long-needed directory of school songs to serve as a reference work for those who must perform, arrange, or research school songs in the course of their day-to-day work.

O'Brien has arranged the songs alphabetically by state, and, within the state, by the name of the institution. Wherever possible, information is provided on the composer, the tune, and the publisher or copyright status. Arrangers are listed whenever possible and lyricist adaptations are also noted. If the song is not an original composition, the original title is shown in the entry. Alphabetical lists of school names, song sources, references, and song publishers are provided. An index of song titles helps to access the wealth of information in this volume. College music teachers, band directors, orchestral conductors, composers, librarians, and alumni will welcome this informative directory.

The Beatles meet Sigmund Freud. Bob Marley trades ideas with Carl Rogers, and Joni Mitchell shares thoughts with psychological great Erik Erikson. Those aren't actual face-to-face meetings, but a reflection of the fascinating interplay developed for this book by Barry Farber. In a novel look at rock 'n' roll lyrics, Columbia University professor Farber shows us those lyrics that rise above the rest because they are not only clever but also wise in their psychological themes and conclusions. These great lyrics embody enduring truths about topics as diverse as love, identity, money, sex, religion, aging, social justice, and the search for meaning. Join psychologist Farber in a fun and informative journey across rock 'n' roll history to see how we can learn about significant areas of life through the medium of psychologically wise rock 'n' roll lyrics. No other book has treated rock 'n' roll lyrics so seriously, as a source of both creativity and wisdom. No other book has used rock lyrics to help us understand who we are and why we do what we do. This is a fascinating work that will make readers think about their lives and consider where they have been, as well as where they are going. Featured artists include Bob Dylan, The Beatles, The Eagles, Joni Mitchell, Billy Joel, Stevie Wonder, Alanis Morissette, and more. Rock lyrics from every decade since the 1950s are featured, and intertwined with the theories of such psychological luminaries as Freud, Rogers, Erikson, and John Bowlby. The wisest rock lyrics, says Farber, can teach us something about ourselves that even the greatest psychological figures have sometimes failed to do.

Paul Simon is commonly acknowledged to be one of the most successful singer-songwriters of the pop-rock era. His work has flourished in the context of Simon and Garfunkel as well as in his own solo career. Starting with the folk-rock style that marked his earliest significant success, he has drawn on a wide variety of influences, including many American traditions and, later, many international ones as well. He has won multiple Grammy awards in both the duo and the solo phases of his career. His songwriting has also provided the impetus for brief forays into film and musical theatre. After providing a brief biographical overview, this work examines Simon's songwriting work in depth, providing a critical discussion of each song as a fusion of text and music so as to help the reader to identify elements that enhance appreciation. A particularly valuable contribution in this context is the discussion of the wide variety of musical elements that contribute significantly to the value of Simon's work. These include such easily-understandable issues as verse-chorus structure, melodic variation, selection of particular instruments and even performers, variation of musical style within a song, general harmonic characteristics, relationships among keys, rhythm and pacing of text, etc. While the book proceeds chronologically through Simon's recorded output, specific threads are developed throughout, and the discussion of individual songs takes place in the context of these threads, both drawing on them and developing them further. The diversity of Paul Simon's work reflects his very American background, and no discussion of American music is complete without accounting for his influence.