The most successful weekend show on Radio 2, Sounds of the Sixties has over 3.5 million listeners every Saturday morning. Presented by Brian Matthew, the programme has become an institution. This new book contains fascinating facts about memorable hits from key Sixties artists, hard-to-find tracks alongside many hidden gems that have never before been made available on any CD or compilation album since their initial Sixties release plus fascinating stories and behind-the-scenes info from producer Phil The Collector Swern. This is a comprehensive collection that music fans and hardened Sixties collectors will cherish.

The third in Garry Bushell's series based around the year 1979. This is the amazing story of his eye witnessing the birth of the new wave of British heavy metal. Featuring his writings 'as it happened' (mainly for the weekly Sounds). This is a unique insight into the birth of a genre! Unlike the other two volumes which were published previously this is the first time these amazing writings have been collected together in book form. Bands featured Include Iron Maiden, Saxon, Def Leopard, UFO, Blackmayne, Tank, Oral, Venom, Rainbow and Motorhead. Also included is Garry's Top 10 New Wave of British Heavy Metal Albums.

For many centuries, Germany has enjoyed a reputation as the 'land of music'. But just how was this reputation established and transformed over time, and to what extent was it produced within or outside of Germany? Through case studies that range from Bruckner to the Beatles and from symphonies to dance-club music, this volume looks at how German musicians and their audiences responded to the most significant developments of the twentieth century, including mass media, technological advances, fascism, and war on an unprecedented scale.

Audio Drama and Modernism traces the development of political and modernist sound drama during the first 40 years of the 20th Century. It demonstrates how pioneers in the phonograph age made significant, innovative contributions to sound fiction before, during, and after the Great War. In stunning detail, Tim Crook examines prominent British modernist radio writers and auteurs, revealing how they negotiated their agitational contemporaneity against the forces of Institutional containment and dramatic censorship. The book tells the story of key figures such as Russell Hunting, who after being jailed for making 'sound pornography' in the USA, travelled to Britain to pioneer sound comedy and montage in the pre-Radio age; Reginald Berkeley who wrote the first full-length anti-war play for the BBC in 1925; and D.G. Bridson, Olive Shapley and Joan Littlewood who all struggled to give a Marxist voice to the working classes on British radio.

This book examines the trope of echo in early modern literature and drama, exploring the musical, sonic, and verbal effects generated by forms of repetition on stage and in print. Focusing on examples where Echo herself appears as a character, this study shows how echoic techniques permeated literary, dramatic, and musical performance in the period, and puts forward echo as a model for engaging with sounds and texts from the past. Starting with sixteenth century translations of myths of Echo from Ovid and Longus, the book moves through the uses of echo in Elizabethan progress entertainments, commercial and court drama, Jacobean court masques, and prose romance. It places the work of well-known dramatists, such as Ben Jonson and John Webster, in the context of broader cultures of performance. The book will be of interest to scholars and students of early modern drama, music, and dance.

Cosmopolitanism and Transatlantic Circles in Music and Literature traces the transatlantic networks that were constructed between a select group of composers, including Edvard Grieg, Edward MacDowell, and Percy Grainger, and the writers with whom they shared cosmopolitan affinities, including Arne Garborg, Hamlin Garland, Madison Grant, and Lathrop Stoddard. Each overlapping case study surveys the diachronic transmission of cosmopolitanism as well as the synchronic practices that animated these modernist ideas. Instead of taking a strictly chronological approach to organization, each chapter offers an examination of the different layers of identity that expanded and contracted in relation to a mutual interest in Nordic culture. From the burgeoning "universal" ambitions around 1900 to the darker racialized discourse of the 1920s, this study offers a critical analysis of both the idea and practice of cosmopolitanism in order to expose its common foundations as well as the limits of its application.

This book examines the domestic evolution and international connections of post-war fascists in the UK. It argues that post-war British fascism became transnational as the radicals increasingly exchanged ideas, money and culture with like-minded foreigners. Using interviews with key figures in several countries, this book traces the history of the National Front (NF) and British National Party (BNP), focusing on the political parties' youth, music and international outreach. It explores how British fascism grew into an international movement, how fascist youth developed skinhead music as a conduit for their ideas, and how some of those key figures made international connections with people in Iraq, Libya, Syria and the United States. Moreover, it also draws from rare internal party documents, law enforcement records and membership lists to track foreign funding and the parties' domestic electoral growth. For the first time, this book gained access to both the leadership and rank-and-file of the BNP and NF to explore its culture and international connections. In doing so, it shows the successes, failures and changes that have made British fascism a force in the international extremist subculture.

In Search of Beauty in Music A SCIENTIFIC APPROACH TO MUSICAL ESTHETICS by CARL E. SEASHORE PROFESSOR OF PSYCHOLOGY AND DEAN EMERITUS OF THE GRADUATE SCHOOL, THE STATE UNIVERSITY OF IOWA THE RONALD PRESS COMPANY NEW YORK Copyright, 1947, by THE Ro srAij3 PHESS Alt Rights Reserved The text of this publication or any part thereof may not be reproduced in any manner whatsoever - without permission in Writing from the publisher. PRINTED IN THE TUTTED STATES OF AJIESICA This volume is affectionately and gratefully inscribed for my comrades in research in the psychological laboratory which has been dedicated to the pursuit of Insight into the Nature of Mental Lifej Appreciation of its Beauty, and Wisdom in its Control Development of Personality, Scientific Integrity, and the Art of Deliberate and Adequate Statement of Fact Center for Fundamental Science and Service to Mankind Memorial to the Pioneers in Psychology i Hearth for Comrades in Research PREFACE MORE HAS BEEN ACHIEVED in the laying of foundations for science in music in the present century than in all preceding centuries. The chief reason for this is that the applied science of music has had to await the development of such underlying sciences as acoustics, physiology, electrical engineering, anthro pology, experimental education, and experimental psychology. In all these fields phenomenal progress has been made in the instrumentation and standardizing of techniques of measure ment. Naturally to these should be added the development of a body of science-minded musical artists who welcome such scien tific approaches. The progress has been facilitated and rushed at phenomenal speed by the practical aspects of radio, phono photography, phonography, industrial acoustics, and the increas ing demands for the psychology of music in these fields, as well as in education. During this period of extraordinary expansion in the basic sciences which contribute to the scientific foundations of music, it has been my great fortune to be associated with scientists and musicians who have been interested in cultivating a closer affilia tion between science and music through teaching, lecturing, writing, and the direction of research. This volume is designed as an introduction to the science of music for advanced students of music and psychology, music teachers, educators, professional musicians, and general readers interested in the scientific approach to the understanding and appreciation of beauty in music. It is an attempt to integrate my interpretive and popular articles on research in the psychol ogy of music which have more or less direct bearing on the problem of esthetics. Each chapter has appeared in whole or in part in some leading musical, scientific, or educational journal. Since the book opens a large variety of new fields of thought and investigation, the reader is advised to turn to the table of contents for a preliminary orientation by deliberate examination VI PREFACE of the listings of specific topics where he can identify familiar items and new items in which he may be interested. In collecting this material I have aimed to organize these articles into a unified series while retaining as far as possible the original form and setting, whether used in whole or in part or assembled under a single group heading. This has the advan tage of presenting each topic in readable and newsy style, gen erally in direct address tosome specific audience or reading constituency. The need of this becomes evident when it is seen that each of the 35 chapters virtually opens a new avenue of approach to the psychology of music and esthetics and presents masses of research findings which are new to the majority of readers. Each article or unit of an article opens up a new vista for discovery and exploration which must be grasped as a more or less new idea, each in its individual field, and yet with due regard for the unity in the theme of the book as a whole...

It seems excessive…but that doesn’t mean it didn’t happen. The mass of black curls. The top hat. The cigarette dangling from pouty lips. These are the trademarks of one of the world’s greatest and most revered guitarists, a celebrity musician known by one name: Slash. Saul “Slash� Hudson was born in Hampstead to a Jewish father and a black American mother who created David Bowie’s look in The Man Who Fell to Earth. He was raised in Stoke until he was 11, when he and his mother moved to LA. Frequent visitors to the house were David Bowie, Joni Mitchell, Ronnie Wood and Iggy Pop. At this time Slash got into BMX bikes and would eventually turn professional, winning major awards and money, but at 15 his grandmother gave him his first guitar. Sessions with numerous local LA rock bands followed until a fateful meeting with singer W Axl Rose…and the rest was rock history. Guns N’ Roses spent two years builiding their reputation before Appetite for Destruction was unleashed on an unsuspecting world. Chart success and global domination followed but with it came the inevitable fall – addicted to heroin, booze and cigarettes the band imploded in a rift between Axl and Slash that is as deep today as ever. But with a new wife, kids and new band Velvet Revolver, Slash is back on track. As raucous and edgy as his music, Slash sets the record straight and tells the real story as only Slash can.

This volume examines pluralism in light of recent music education research history and pluralistic approaches in practice. Pluralistic research holds the potential to blend frameworks, foundations, methods, and analysis protocols, and leads to a sophisticated understanding of music teaching and learning. This blending could take place in a range of contexts that may span an individual study to a lifelong research agenda. Additionally, pluralistic ideals would guide the addressing of questions as a community. The volume also illuminates the work of innovative music education researchers who are constructing pluralistic research studies and agendas, and advocate for the music education profession to embrace such an approach in order to advance shared research goals. The ramifications of this transformation in music education research are a subject of discussion, including the implications for researcher education and the challenges inherent in conducting and disseminating such research.

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.

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.

A DAILY TELEGRAPH BOOK OF THE YEAR AN IRISH TIMES BOOK OF THE YEAR 'Genuinely eye-popping.' Guardian 'Electrifying.' Kerrang 'Essential.' Classic Rock 'Required reading.' Irish Times The must-read music book of the year, now with a brand new chapter covering the death of Taylor Hawkins and his massive Wembley memorial concert. In Bodies, author Ian Winwood explores the music industry's many failures, from addiction and mental health issues to its ongoing exploitation of artists. Much more than a touchline reporter, Winwood also tells the story of his own mental health collapse, following the shocking death of his father, in which extinction-level behaviour was given perfect cover by a reckless industry. 'This is such a shrewd, funny, psychologically perceptive, frank, well-written, jawdropping book . Absolutely buy and read the hell out of this.' DAVID STUBBS 'Winwood makes a compelling argument and overturns some long-held notions about "rock and roll excess" by deftly tying together a vast amount of information . . . and liberally lacing it with dark, self-deprecating humour.' ALEXIS PETRIDIS

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.

This book examines regional and rural popular music scenes in Europe, Asia, North America and Australia. The book is divided into four parts.  Part 1 will focus on the spatial aspects of regional popular music scenes and how place and locality inform the perceptions and discourses of those involved in such scenes.  Part 2 focuses on the technologies and forms of distribution whereby regional and rural popular music scenes exist and, in many cases co-exist in forms of trans-local connection with other scenes.  Part 3 considers the importance of collective memory in the way that regional and rural popular music scenes are constructed in both the past and the present.  Part 4 examines themes of industry and policy, in relation to culture and music, as these impact on the nature and identity of rural and regional popular music scenes.

'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')

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.