Musical floodgates were opened after the Beatles' first appearance on "The Ed Sullivan ShoW" on February 9, 1964. Suddenly, the U.S. record charts, radio, and television were overrun with British rock and pop musicians. Although this British Invasion was the first exposure many Americans had to popular music from the United Kingdom, British pop -- and more specifically British rock and roll -- had been developing since the middle of the 1950s. Author James Perone here chronicles the development of British rock, from the 1950s imitators of Elvis Presley and other American rockabilly artists, to the new blends of rockabilly, R&B, Motown, and electric blues that defined the British Invasion as we recognize it today. Die-hard fans of the Beatles, the Who, and the Kinks will all want a copy, as will anyone interested in the 1960s more generally.

May 1964 saw major gang-style battles break out in British resort communities between the Mods and the Rockers. The tensions between the two groups had been developing for several years, with each group claiming their own sense of culture and style. The Mods wore designer clothing, rode Vespa motor scooters, and shared an affinity for black American soul music, while the Rockers favored powerful motorcycles, greased-back hair, and 1950s American rock and roll. It was within this context that the sounds of the British Invasion developed.

"Mods, Rockers, and the Music of the British Invasion" chronicles the development of British rock through the iconic artists who inspired the movement, as well as through the bands who later found incredible success overseas. In addition to analyzing the music in the context of the British youth culture of the early 1960s, Perone analyzes the reasons that the British bands came to so thoroughly dominate the record charts and airwaves in the United States.

The contributions of Cliff Richard, Billy Fury, Johnny Kidd and the Pirates, Tommy Steele, the Tornados, Tony Sheridan, Blues Incorporated, and others to the development of British rock and roll are examined, as are the contributions and commercial and artistic impact of major British Invasion artists such as the Beatles, the Rolling Stones, the Dave Clark Five, the Yardbirds, Manfred Mann, the Who, the Kinks, and others. After investigating these groups and their influences upon one another, Perone concludes by examining the commercial and stylistic impact British rock musicians had on the American music of the time.

This set of four volumes draws together extended material from across the topics of music in Britain in the long nineteenth century, particularly focussing on documents not readily accessible or not commonly quoted in the literature. Together they will form an important resource for students and scholars of music and culture. The general introduction explores the state of research into music in nineteenth-century Britain from a historiographical perspective, as well as an assessment of the most pressing themes for the immediate future of the discipline. Introductions to each thematic section briefly review the relevant literature and the most important points of concern, while a short preface to each document points out particular points of note, context, and explanations of any unusual phrases. Each sub-topic includes four or five documents drawn from newspapers, journals, pamphlets and, where possible, archival material. Documents will span the full length of the nineteenth century and a significant number will be drawn from the writings of Scottish, Welsh and Irish authors.

This book presents an overview of the emerging field of emotion in videogame soundtracking. The emotional impact of music has been well-documented, particularly when used to enhance the impact of a multimodal experience, such as combining images with audio as found in the videogames industry. Soundtracking videogames presents a unique challenge compared to traditional composition (for example film music) in that the narrative of gameplay is non-linear - Player dependent actions can change the narrative and thus the emotional characteristics required in the soundtrack. Historical approaches to emotion measurement, and the musical feature mapping and music selection that might be used in video game soundtracking are outlined, before a series of cutting edge examples are given. These examples include algorithmic composition techniques, automated emotion matching from biosensors, motion capture techniques, emotionally-targeted speech synthesis and signal processing, and automated repurposing of existing music (for example from a players own library). The book concludes with some possibilities for the future.

Over the past six years personal computers have carved a deep niche in the music world. This widespread popularity is largely due to the establishment of the MIDI (Musical Instrument Digital Interface) standard in 1983. This communications protocol allows computers to send, receive, and store digital information generated by various electronic musical instruments. In addition to numerous writings exploring the possibilities of present and future technology, this annotated bibliography offers educators many introductory sources, articles on how to evaluate and purchase equipment, and directories of available software. Specifically, it provides a collection of source material, an overview of significant publications in the field, and serves as a point of departure for further inquiry. Part I of the bibliography is divided into seven sections, each devoted to information regarding a specific computer. Articles written about two or more popular computers or models not covered elsewhere are detailed in part II. Music education is the subject of Part III and Part IV lists and annotates significant books. The appendix contains information on associations involved with the musical applications of personal computers and brief descriptions of several popular online services. Author and subject indexes are also included. Music and the Personal Computer covers a variety of topics that will be of interest to practicing musicians, music educators, and computer enthusiasts with interests in music.

'The Wrong Outfit' by Al Gregg, is a powerful novel about a boy called Adam Nedman, who grows up through the 1970's and 80's and is greatly affected by both Football and Punk. 'At times, a journey into Punk Rock's own "Heart of Darkness," Al realistically captures the moment Punk Rock finally implodes. If you want to know what it was like to be a young Punk Rocker, on the ground, at the time - you won't find a better/sharper book than this.' Dave Parsons (Sham 69) 'A brilliantly talented new writer.' Honey Bane 'Replete with childlike wonderment and an aficionado's knowledge, Al Gregg might just as well do for Chelsea (and Punk Rock), as what Nick Hornby did for Arsenal (and Bruce Springsteen). A must for all purveyors of the Punk movement. An absolute must for all football fans.' David Marx (Forward writer for Alex Ogg's - 'No More Heroes')

This second volume of The Paris Opera offers descriptions of balletic and lyrical compositions and biographical sketches of famous vocalists, dancers, choreographers, composers, and librettists. Each entry pertaining to an opera or ballet identifies its composer, librettist, choreographer, costumer, set designer, and the performers contributing to its creation and important revivals. Contents of scenarios and librettos are reported scene by scene or act by act. Basic bibliographies are provided with page references furnished for important books and periodicals. The appendix lists all lyric and choreographic works extant and first performed at the Opera between 1715 and 1815. The creators of each work are listed along with its title, genre, and the date of its world premiere or initial performance at the Opera.

"No cabe duda de que las obras orquestales, si bien es cierto no tienen la profundidad e intimidad de los cuartetos clasicos de cuerda, en cambio poseen un basto horizonte de sonoridades que nos llevan en arrebatos emocionales de esa placidez de que solo supo Bach o a ese delirio que entrega en el campo del dolor Tchaikowsky al final de su Sinfonia Patetica. Las familias de instrumentos hacen alarde de sus virtudes y, en paleta colorista, nos presentan los mas bellos timbres de las maderas, metales y cuerdas percusivas." -Dr. Adalberto Garcia de Mendoza

The German church cantata of the eighteenth century was the culmination of a long tradition of Lutheran "sermon music" that used the proclamation, amplification, and interpretation of scripture to teach and persuade the listener. Bach's cantatas also served this didactic purpose and typically incorporate numerous allusions to scriptural passages or themes in their librettos. Unfortunately, many of these passages remain obscure to the twentieth-century musician because they demand a much closer familiarity with the Bible than is common today. The Handbook to Bach's Sacred Cantata Texts identifies scriptural references for the wording, imagery, and themes that Bach's listeners would have known. In addition, the religious or literary theme of each text is summarized within the specific context of the cantata as a whole. With interlinear translations and a full complement of indexes.

Fleetwood Mac's distinctive sound, first really captured in the 1977 record Rumours, launched the group into the commercial stratosphere, and over the past three decades they have never looked back. All along the way their dysfunctional relationships have informed their professional success, as well as their personal downfalls. By writing and singing about their problems, Fleetwood Mac has transformed what breaks them apart into what keeps them together. They have turned their dark relationship dilemmas into glittering entertainment. In this highly entertaining chronicle, author Donald Brackett provides readers with a special opportunity to review the band's complicated history and reconsider the personal, dynamic sources of their classic albums and enduring hits. The band drummer Mick Fleetwood and bassist John McVie started in 1967 has gone through more personnel changes and stylistic innovations than any other pop group in our cultural history. The story of the group began when John Mayall and Alexis Korner, the band's mentors, launched a mid-'60s British blues revival. Ex-Mayall players Fleetwood and McVie then went on to form an incendiary band of psychedelic blues under the name Fleetwood Mac. But it was not until hearing a little-known 1973 record from Lindsey Buckingham and Stevie Nicks that Mick Fleetwood heard the future sound and true pop potential of his own group.

This is a reproduction of a book published before 1923. This book may have occasional imperfections such as missing or blurred pages, poor pictures, errant marks, etc. that were either part of the original artifact, or were introduced by the scanning process. We believe this work is culturally important, and despite the imperfections, have elected to bring it back into print as part of our continuing commitment to the preservation of printed works worldwide. We appreciate your understanding of the imperfections in the preservation process, and hope you enjoy this valuable book. ++++ The below data was compiled from various identification fields in the bibliographic record of this title. This data is provided as an additional tool in helping to ensure edition identification: ++++ Memoire Of The Life And Writings Of The Abate Metastasio Charles BURNEY Robinson, 1796

ORGAN - STOPS AND THEIR ARTISTIC REGISTRATION. NAMES, FORMS, CONSTRUCTION, TONALITIES, AND OFFICES IN SCIENTIFIC COMBINATION by GEORGE ASHDOWN UDSLEY. Originally published in 1921. FOREWORD: An attempt has been made in the present work to furnish the organist, and especially the organ student, with a work of ready ref erence respecting the numerous Stops which have been and now are introduced in the Organ giving, so far as is practicable in a necessarily brief and condensed form, their various names in dif ferent languages, peculiarities of formation, tonal characteristics, and value and office in scientific and artistic combination and artistic registration. It is hoped that the work will be accepted as a text-book in Organ Schools and Conservatories of Music, leading toward, and lending help to, a branch of study of the greatest value and impor tance to the organ student but one which, in too many quarters, has been seriously neglected. That a thorough knowledge of the tonal forces of the Organ and their varied powers in scientific and artistic combination and registration, for the production of special and expressive qualities of both compound, unimitative organ, and imitative orchestral tones, is essential to the accomplished organist, admits of no question. Accordingly, it is highly desirable that the student should leave the organ school with, at least, a foundation laid for that thorough knowledge. It is with the earnest desire to contribute effectively to the laying of that foundation that the present work is placed at the command of both teachers and pupils. In another direction, and one of great importance at the present time, this work, if properly understood, will prove ofconsiderable value namely, in giving reliable advice and assistance in the prepa ration of stop appointments and apportionments for new Organs. It will lead away, if read aright, from the present systemless, in sufficient, and largely retrograde prevailing method of stop appoint ment, toward a logical, scientific, and definite artistic system, in FOREWORD which compound tone production in all its desirable Conns can be carried out in accordance with the natural laws of sound. Care has been taken to render correctly all stop-names in the different languages in which they originated and are employed to-day reference to which will prevent the use of the incorrect names, either wrongly spelt or improperly compounded of words in different languages, which are so commonly found on English and American organ-builders draw-stop knobs or tablets. With such a Glossary as is provided in the present work, there need be no mis takes made or incorrect renderings of stop-names perpetrated in new organ consoles, Certain stop-names introduced by organ-builders have been omitted from the Glossary on account of their absurd or meaning less character. These are names which have no relation to anything connected with either the formation or tonality of the pipes forming the stops. All such meaningless names should be condemned by every organist and lover of the Monarch of all Instruments. GEORGE ASHDOWN UDSLEY, BLOOMFIKLD, NEW JERSEY, JANUARY, 1921.

1911. The plots of eighty-eight operas, grand, romantic, and light, actively in the repertoire of the producing managers within the last few years, are retold here in clear, concise form. Data relative to the history, composer, first production, and cast of characters of each opera are included. The work is designed both for opera-goers and for those living outside of the large cities who wish to have a knowledge of the standard productions.

The Beach Boys are one of the most long-lived and popular rock groups of the modern era. Their distinctive sound and outlook, which began as smooth Southern California surfing music in the early 1960s, evolved to the point where they became a phenomenon in themselves, the epitome of a rock style that combined the melodious poetry of Robinson Jeffers with the lilting rhythms of Mike Love and Al Jardine. Exuberance was always their trademark. You knew they liked what they were singing about, whether it was surf, cars, or girls. No wonder, then, that the Boys were a major factor in putting Southern California on the landscape of modern rock music. Their many albums span over three decades of tension, turmoil, and upheaval, but their music has somehow survived the years with undiminished spirit and vigor. The Beach Boys remain definitive representatives of the open, generous spirit of the California lifestyle. Golden and Seldis explore the group and their music as a golden example of the pastoral theme. Includes a detailed Discography, Notes, Bibliography, and comprehensive Index.

The Latin sound called salsa, or, more correctly, Afro-Hispanic music of the Antilles, is a vital force on the international contemporary music scene. Having followed the same path as did other popular music genres, such as jazz, from ethnic origins to urban underground and on to worldwide acceptance, salsa has recently also become a subject of academic study. Here Figueroa presents materials about salsa and related musical genres that are accessible in the non-Latin world, with an emphasis on English-language sources. Attempting to serve the varied interests of the musicologist and the anthropologist, the journalist and music critic, the musician and the listener, this bibliographical guide documents useful data in books, articles, dissertations, encyclopedia entries, videos, recordings, liner notes, and reviews. Included are certain Hispanic publications, self-published books, and materials for musicians not readily classified in libraries or entered in indexing sources. Entries here are organized by subject and grouped within four broad sections, proceeding from sources covering whole areas or countries, to those on specific styles, genres, and rhythms, to those with biographical information, and to topics related to playing, teaching, or arranging for the various instruments. Author-title and subject indexes complete the work.

What was it like to play music in a teenage rock and roll band in the era of 45-RPM records, dances in the school cafeteria, and the Beatles on AM radio?

"Band Boys" reveals the inner workings of the lives of the Blue Beats - six teenage boys mastering music in a thriving town that embraced them and the music they loved. Sporting Silvertone amplifiers, a pack of electric guitars, a used set of drums, a screaming Farfisa organ, and unbridled enthusiasm, the Blue Beats plunge headlong into the teenage band craze of the 1960s.

Find the band boys dancing as Order of the Arrow braves, working in fast food restaurants, inspired by school music teachers, encouraged by an optimistic Boy Scout leader, and supported by wise council from families.

Uncovering the secret behind forming a band and keeping it alive, "Band Boys" tells more than a story of boys, bands, and music but portrays a legacy created from human relationships and built on events that bind lives together.

To round out "Band Boys," concise biographies of popular musicians and musical instrument developers, plus a unique glossary are provided.

This work is a handy desk reference for academic and public library music reference collections as well as teachers, musicians, and composers. The more than 250 books discussed represent a core bibliography on this late 20th-century phenomenon that is very much in transition as the concepts of electronic and computer merge into a single music, whether acoustic or electronic in origin. Of special interest is an up-to-date listing of on-line sources found on the Internet, including World Wide Web sites and electronic discussion lists. Topics represented include history, literature on synthesis and synthesizers, electronic music instruments and devices, electronic music composition, MIDI (Musical Instrument Digital Interface), the teaching of computer and electronic music, bibliographies and dictionaries. Covered by way of appendices are major dissertations and theses, lists of periodicals that have dealt with the subject, and a compilation of electronic music instrument and device system manuals currently in print.

'A celebration of the city and its enduring love affair with music and musicians, venues and shops, one which will spark the remembrance of unique, high-octane experiences for all of us' - Ian Rankin Discover Edinburgh's hidden music heritage with this eye-opening guide to the city's musical milestones, famous gigs, infamous incidents and colourful characters. From folk to funk, pop to punk, this compilation of bite-sized stories shines a light on the key people, venues and gigs that have shaped the city's music scene. From Bowie to the Bay City Rollers, Edinburgh's Greatest Hits touches on the big names as well as revealing some lesser-known legends and tall tales. Jim Byers, Fiona Shepherd, Alison Stroak and Jonathan Trew share decades of music fandom and journalism between them and are uniquely placed to explore the capital's music scene, past and present.

This reference work is certainly a valuable addition to the study of Russia and its music. . . . The dictionary is, of course, a must for academic and large public libraries or any library where research is done. "Reference Quarterly"

This important new biographical dictionary is the most comprehensive single-volume work on Russian and Soviet composers published outside of the Soviet Union to date. Incorporating contributions by a distinguished group of performers, musicologists, and other scholars, including many specialists in Russian music, it provides detailed, up-to-date information on over 2,000 composers, the majority of whom are not represented in other English-language references.

Entries vary from brief profiles of lesser-known figures to lengthy articles on major Russian and Soviet composers. Each of the longer essays summarizes current scholarship on the composer, offers new insights, and complements or corrects coverage available in standard music references. Commentary on musical style is presented in most entries, and musical influences are clarified through careful documentation of teacher-student relationships. The biographical section is followed by a selective list of compositions arranged according to media and genre. The accompanying bibliography lists works consulted as well as sources of additional information on the individual composer, and an international discography documents the breadth of the repertory committed to phonodisc, tape, and compact disc. Thorough cross-referencing facilitates the location of materials. Reflecting meticulous research and including first-hand information supplied by living Soviet composers, this work makes a significant contribution to music scholarship. This book is recommended for library reference shelves and courses in Russian music.