America's Gilded Age was a time of great musical evolution. As the country continued to develop a musical style apart from Europe, its church and religious music and opera took on new forms. Music-as-entertainment also evolved, with marching bands at public events and the new musicals in theaters. This volume presents the composers, musicians, songwriters, instruments and musical forms that uniquely identify the Gilded Age. Chapters include: Concerts and Symphony orchestras; Grand Opera; Composers, Critics, and Conservatories; Amateurs and Music at Home; Sacred Music, Black and White; Ragtime, Vaudeville, and the American Musical Stage; Music, Politics, and the Progressive Movement; and Music Industries and Technology

This book presents a comprehensive overview of the basics of Hindustani music and the associated signal analysis and technological developments. It begins with an in-depth introduction to musical signal analysis and its current applications, and then moves on to a detailed discussion of the features involved in understanding the musical meaning of the signal in the context of Hindustani music. The components consist of tones, shruti, scales, pitch duration and stability, raga, gharana and musical instruments. The book covers the various technological developments in this field, supplemented with a number of case studies and their analysis. The book offers new music researchers essential insights into the use the automatic concept for finding and testing the musical features for their applications. Intended primarily for postgraduate and PhD students working in the area of scientific research on Hindustani music, as well as other genres where the concepts are applicable, it is also a valuable resource for professionals and researchers in musical signal processing.

This exhaustive and complete discography of Indian music issued on microgroove discs and cassettes provides information on over 2,700 recordings of classical and semiclassical music of the Indian subcontinent. It covers the period from the early 1950s to the end of 1983 and also contains information on recordings from the early 1930s onward that were originally issued at 78 RPM and have been reissued on microgroove discs. The main text of the discography is divided into five sections: Hindustani Instrumental, Hindustani Vocal, Karnatic Instrumental, Karnatic Vocal, and Anthologies. Artists are listed alphabetically and brief biographical information is provided when possible. The recordings are indexed by Raga and Tala (the melody and the rhythm), thus allowing comparison between different recordings of the same piece. An instrumental index is included as are indexes to several styles of vocal performance.

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Encouragement I would like my poetry to be Inspirational and start a conversation With the new and old generation In hope it will open More communication and dedication To inspire and encourage all people Across the nation to read I've written these poems within my heart So you can read and understand Right from the start I hope my poems inspire you so And will give you the attitude to grow The poems I found within me I hope it will continue And encourage you to read

Explaining new and innovative methods of promoting music and products for entertainment, distance teaching, valorizing archives, and commercial and non-commercial purposes, this reference profiles new services for those connected via personal computers, mobile, and other devices, for both sighted and print-impaired customers.

An ethnographic study of gender, place and belonging, Affective Intensities introduces readers to the embodied sensations, flows and experiences of being in extreme music scenes in Australia and Japan.

The Sounds of Silent Films is a unique collection of investigatory and theoretical essays that, for the first time, unite up-to-date research on the complex historical performance practices of silent film accompaniment with in-depth analyses of relevant case studies.

A Book of the Year in Rolling Stone, Uncut, Mojo, The Telegraph and the Glasgow Herald This troubadour life is only for the fiercest hearts, only for those vessels that can be broken to smithereens and still keep beating out the rhythm for a new song. Last Chance Texaco is the first-ever no-holds-barred account of the life of two-time Grammy Award-winner Rickie Lee Jones, in her own words. It is a tale of desperate chances and impossible triumphs, an adventure story of a girl who beat the odds and grew up to become one of the most legendary artists of her time, turning adversity and hopelessness into timeless music. With candour and lyricism, the 'Duchess of Coolsville' (Time) takes us on a singular journey through her nomadic childhood, to her years as a teenage runaway, through her legendary love affair with Tom Waits, and ultimately her longevity as the hardest working woman in rock and roll. Rickie Lee's stories are rich with the infamous characters of her early songs - 'Chuck E's in Love,' 'Weasel and the White Boys Cool,' 'Danny's All-Star Joint' and 'Easy Money' - but long before her notoriety in show business, there was a vaudevillian cast of hitchhikers, bank robbers, jail breaks, drug mules, a pimp with a heart of gold, and tales of her fabled ancestors. In this electrifying and intimate memoir by one of the most remarkable, trailblazing and tenacious women in music are never-before-told stories of the girl in the raspberry beret, a singer-songwriter whose music defied categorization and inspired pop culture for decades.

A continuation of the 40-year recording career of one of the most popular country music performers of our time, this second volume (the first published by Greenwood in 1985) follows Johnny Cash's recording activity from 1984 through 1993. New to this volume are the Billboard Chart Listings, which follow the popularity of any one Cash release, and the combined Sessions Index for 1954 through 1993. An Appendix details several pre-1984 sessions not contained in the first volume. The index serves as a quick cross-reference of song titles, musicians, composers, producers, and studio locations. This volume is designed so that each section will complement and act as a cross-reference to the others. For example, the Sessions section will give session date, location, list of musicians, producers, composers, song titles, and first release information, as it pertains to singles, albums, and CDs. Then follows a Releases section, which gives a wider view as to the number of releases and contents. This listing will include domestic as well as foreign issues. The Billboard Chart Listings chapter is a tool for following the popularity of a single and/or album (CD) on both the Pop and Country charts week by week. Appendix B is an alphabetical listing of all singles and albums (CD) that have appeared on the Billboard charts from 1954 through 1993, making it easy to locate a certain entry in the listings section. The Sessions Index includes sessions from the 1985 volume as well as those pre-1984 sessions from Appendix A. The two volumes serve as a 40-year history for music historians, students of country music, and fans of Johnny Cash.

From the Preface: Blending ideas from operations research, music psychology, music theory, and cognitive science, this book aims to tell a coherent story of how tonality pervades our experience, and hence our models, of music. The story is told through the developmental stages of the Spiral Array model for tonality, a geometric model designed to incorporate and represent principles of tonal cognition, thereby lending itself to practical applications of tonal recognition, segmentation, and visualization. Mathematically speaking, the coils that make up the Spiral Array model are in effect helices, a spiral referring to a curve emanating from a central point. The use of "spiral" here is inspired by spiral staircases, intertwined spiral staircases: nested double helices within an outer spiral. The book serves as a compilation of knowledge about the Spiral Array model and its applications, and is written for a broad audience, ranging from the layperson interested in music, mathematics, and computing to the music scientist-engineer interested in computational approaches to music representation and analysis, from the music-mathematical and computational sciences student interested in learning about tonality from a formal modeling standpoint to the computer musician interested in applying these technologies in interactive composition and performance. Some chapters assume no musical or technical knowledge, and some are more musically or computationally involved.

"Queer Voices" sets out both to queer the musicological and to make queer audible, arguing that the voice, particularly the singing voice, opens up a richly queer space. Using case studies from different repertoires, the book demonstrates how queer emerges particularly audibly when the voice is heard to engage with various technologies: the external technologies of music performances and recordings, technologies of power, or the internal technologies of vocal production itself.

This early work is an interesting read for any music enthusiast or historian, but it contains much information that is still useful and practical today. It contains comprehensive drum scores and encyclopaedic entries for diverse percussion instruments. Many of the earliest books, particularly those dating back to the 1900s and before, are now extremely scarce and increasingly expensive. We are republishing these classic works in affordable, high quality, modern editions, using the original text and artwork.

This is how simple the complicated music business can be I was sitting "shooting the bull" with the A&R man at Epic Records one day. He said, "You know what I would really like to find is a white kid that sings the blues like a black guy." I said, "I know a kid like that," or words to that effect. I then told him what I knew about Tim Williams.Tim was starving to death trying to run a Coffee House in Santa Barbara. He was only nineteen-years old, but very good. The problem was that I had no idea what to do with a Blues singer. Suddenly there was an answer to the question. The A&R man said, "Bring him down " which meant to his office in Hollywood.When the day came to go to Hollywood we went in my car. I didn't think he had one that would make it down and back. He showed up in a pair of dark brown corduroy pants and a dark polo-type shirt, both clean, but covered with white lint. I was embarrassed to "showcase" him that way, but it could have been a sensitive subject so away we went. I didn't have a clue what to expect when we arrived at the office. In the now familiar get-to-the-point fashion the man said, "Let's hear something" after a few minutes of visiting. Tim opened his guitar case, took out his twelve string guitar and began playing as if the outcome didn't make a damn bit of difference to him. Mr. A&R man asked him to do some old standard, then something original that Tim had written. Then suddenly he said, "Sounds good, let's do a thing, make a record " Just like that

Griffel has prepared a valuable guide to German opera that can be used profitably by both scholars and amateur devotees of opera. The main body of the dictionary provides a discussion of about 380 operas composed to a German text. The alphabetically organized entries include information on German premieres, as well as first performances in Britain and the US, brief plot summaries, listings of major roles, and occasional historical and analytical remarks. . . . "Operas in German" will, no doubt, serve as one of the major reference sources for any type of research on German opera. Highly recommended. "Choice"

Although a sizable number of opera dictionaries and encyclopedias are available, those devoted to operas in a single language are extremely rare. The present dictionary addresses itself wholly to operas written to a German text. The main body of this dictionary comprises entries on the operas themselves, permitting thorough treatment of some 350 operas. This section is augmented by an appendix of some 800 additional opera titles and annotated listings of composers and librettists. Almost all of the composers represented here were born in German-speaking countries. Among the notable exceptions is the Italian-born Ferruccio Busoni, whose operas were all written to German texts and received premieres in German-speaking cities. Composers such as Kurt Weill who wrote operas in more than one language are represented by their German works only.

The operas are listed alphabetically, excluding the article, which is placed at the end of the title. Each entry includes the title, with the English translation and alternate titles in parentheses; descriptive terms as needed; the number of acts; the composer's name; the librettist's name, the original language, and the original source of the text; the date, place, and cast of the first performance; similar information for the first United States and United Kingdom performances, if applicable; a brief plot summary; the main characters with vocal ranges; citations of especially important or noteworthy numbers; additional information such as comments on special musical problems, techniques, or other significant aspects; and other settings of the text, including non-German ones and/or operas involving the same story or characters. The entry also has a bibliography, a discography, and, in the few instances where they are available, information on video recordings. In addition to the aforementioned appendix, this dictionary contains an alphabetical listing of composers with their places and years of birth and death and an index of their operas included in this volume. The third appendix lists librettists and provides information similar to that in the composer appendix. The fourth and fifth appendices provide characters and performers, respectively, included in the main entries. The volume is completed by a bibliography. This first dictionary devoted exclusively to operas in German belongs in the reference section of music libraries and will also be of interest to scholars and aficionados of opera.