Magnificently well researched, hugely entertaining and thought provoking, This Ain't Rock 'n' Roll explores one of the last remaining taboos in pop culture and asks why the Nazis, fascism and the Third Reich feature so prominently in the iconography of the artists that defined the twentieth century.

"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

This reference provides a detailed overview of the work of Betty Comden and Adolph Green, who for over fifty years have collaborated on skits, musicals, revues, and films. The book begins with a biography and a chronology, which serve as a summary of the major events in their lives and careers. Then there are six sections detailing their work on Broadway. Other sections then document their radio and film work. The sections contain entries for all of the productions with which Comden and Green were involved, and the entries provide full information about the performances, including cast lists, plot summaries, reviews, and commentaries. These sections are followed by an extensive bibliography and an appendix that lists the awards and nominations that Comden and Green and their works have received. A thorough index adds to the usefulness of the book.

The digital broadcasting of performances to cinemas, or 'livecasting', burst onto the world scene in 2006. This book explores the reasons for its rise by examining the aesthetics of filming theatre and opera performances, as well as exploring who the audiences are and what they want.

In Music in the Holocaust Shirli Gilbert provides the first large-scale, critical account in English of the role of music amongst communities imprisoned under Nazism. She documents a wide scope of musical activities, ranging from orchestras and chamber groups to choirs, theatres, communal sing-songs, and cabarets, in some of the most important internment centres in Nazi-occupied Europe, including Auschwitz and the Warsaw and Vilna ghettos. Gilbert is also concerned with exploring the ways in which music--particularly the many songs that were preserved--contribute to our broader understanding of the Holocaust and the experiences of its victims. Music in the Holocaust is, at its core, a social history, taking as its focus the lives of individuals and communities imprisoned under Nazism. Music opens a unique window on to the internal world of those communities, offering insight into how they understood, interpreted, and responded to their experiences at the time.

Protest songs are united by the fact they all have something to say, something to dispute, or something to rile against, whether it be political, social, or personal. "Story Behind the Protest Song" features 50 of the most influential musical protests and statements recorded to date, providing pop-culture viewpoints on some of the most tumultuous times in modern history. Among the featured: songs about the Vietnam War, the civil rights movement, the most recent upheaval over policy in the Middle East, as well as teenage rebellion, animal rights, criticisms of mass media, and even protest songs that lambaste other protest songs.

This indispensable guide tackles it all: the behind-the-scenes stories of the most influential protest songs in American popular culture, examining the subjects they address, the legacy they left, and the fabric of the songs themselves. Chronically arranged entries cover nearly 70 years of music and offer an expansive range of genres, including rock, punk, pop, soul, hip-hop, country, folk, indie, heavy metal, and more.

Each entry discusses the songwriter(s); the inspiration behind the song; and the social, cultural, and political context in which the song was released. Following a detailed musical and lyrical analysis, the entries explain the songs' impact and relevance today. Among the featured:

The Unknown Soldier (The Doors)

Masters of War (Bob Dylan)

Say It Loud-I'm Black and I'm Proud (James Brown)

Get Up, Stand Up (The Wailers)

Big Yellow Taxi (Joni Mitchell)

Their Law (Prodigy)

American Idiot (Green Day)

Sweet Home Alabama (Lynrd Skynrd)

Born in the USA (Bruce Springsteen)

Southern Man (Neil Young)

Entries are accompanied by further readings and a select discographies as well as a comprehensive resource guide at the end of the book. A must-read for students of music, history, and politics, this volume offers a unique reflection on the most significant and moving protest songs in American history.

Explores the range of vibrant cultural production and political activism of youth in Africa today, as expressed through art, music, theater, and online media. This edited collection focuses on the links between youth and African popular culture. Contributions by a distinguished group of scholars explore popular culture produced and consumed by young people in contemporary Africa. Essays cover a variety of cultural representations--visual, oral, written, performative, fictional, social, and virtual--created by African youth, mostly about their lives and their immediate societies, and for themselves, but also consumed by the larger public and shared locally and globally. The volume examines the range of music, art, and media African youth produce, under what conditions or contexts they produce such work, and the aesthetic dimensions of these texts as cultural artifacts. Essays further explore why these textual practices matter as social facts, as interpretive acts, and as symbols of the cultural activism of young people in a rapidly changing world-a world where the global cultural economy is the prime terrain for the relentless struggles over the meanings that come to shape political-economic and social systems.

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Is there a recording of the songs from "Smile"? How many scores by Sondheim have been recorded in the past ten years? Answers to these and other such questions can be found in this unique volume. All shows are listed alphabetically, and essential information is included for each song, as well as other recordings of the same score and who recorded them. There are performer, composer, lyricist, and musical director indexes, making this a user-friendly reference. This volume, along with the author's previous discographies (Greenwood 1987, 1989, 1990), provides a definitive reference source for recorded musicals--from Broadway, Hollywood, television, or merely hoping-to-be-produced--up to 1995. The work is useful not only to scholars and students but also to the collector of musical show recordings.

Show recordings are listed by title in alphabetical order. Each song is listed in the order it was recorded on the album or CD, and the performer of the song is given. The recording is identified by composer, lyricist, and musical director, as well as the date of original production and date of this particular recording. There is a chronology of all shows included in this volume, and there are two indexes: one by performer and one by composer, lyricist, and musical director.

Music, Popular Culture, Identities is a collection of sixteen essays that will appeal to a wide range of readers with interests in popular culture and music, cultural studies, and ethnomusicology. Organized around the central theme of music as an expression of local, ethnic, social and other identities, the essays touch upon popular traditions and contemporary forms from several different regions of the world: political engagement in Italian popular music; flamenco in Spain; the challenge of traditional music in Bulgaria; boerenrock and rap in Holland; Israeli extreme heavy metal; jazz and pop in South Africa, and musical hybridity and politics in Cote d'Ivoire. The collection includes essays about Latin America: on the Mexican corrido, the Caribbean, popular dance music in Cuba, and bossanova from Brazil. Communities of a cultural diaspora in North America are discussed in essays on Somali immigrant and refugee youth and Iranians in exile in the US. Grounded in cultural theory and a specialized knowledge of a particular popular musical practice, each author has written a critical study on the mix of music and identity in a particular social practice and context.

Presenting the life and professional career of "The Dean of Afro-American Composers," this is the first comprehensive book on the writings by and about Still, the compositions with manuscript sources, the performances of Still's works, and the reviews of those performances. It includes a touching personal reminiscence by his daughter Judith Anne. The full resources of the extensive collection known as The William Grant Still and Verna Arvey Papers at the University of Arkansas Libraries, Fayetteville, give this book the distinction of being the first one about Still that utilizes diaries, letters, scrapbooks, and family papers to provide information on his works and performances. Still performed, composed, and arranged in the commercial music field before he began to write orchestral works and opera. He is called the "Dean of Afro-American Composers" because of his pioneering efforts on behalf of American music and his achievements as an African American. Still was the first African American to write a symphony that was performed by a major symphony orchestra in the United States, the first to conduct a major symphony orchestra, the first to conduct a major symphony in the Deep South, the first to direct a white radio orchestra, the first to have an opera produced by a major company, and the first to have an opera televised over a national network. His career tells an important story about the development of an American style of music.

In 1999, as the end of an old century loomed, five musicians entered a recording studio in Paris without a deadline. Their band was widely recognized as the best and most forward-thinking in rock, a rarefied status granting them the time, money, and space to make a masterpiece. But Radiohead didn't want to make another rock record. Instead, they set out to create the future. For more than a year, they battled writer's block, inter-band disagreements, and crippling self-doubt. In the end, however, they produced an album that was not only a complete departure from their prior guitar-based rock sound, it was the sound of a new era, and embodied widespread changes catalyzed by emerging technologies just beginning to take hold of the culture. What they created was Kid A. At the time, Radiohead's fourth album divided critics. Some called it an instant classic; others, including the U.K. music magazine Melody Maker, deemed it "tubby, ostentatious, self-congratulatory... whiny old rubbish." But two decades later, Kid A sounds like nothing less than an overture for the chaos and confusion of the 21st century. Acclaimed rock critic Steven Hyden digs deep into the songs, history, legacy, and mystique of Kid A, outlining the album's pervasive influence and impact on culture, in time for its 20th anniversary in 2020. Deploying a mix of criticism, journalism, and personal memoir, Hyden skillfully revisits this enigmatic, alluring LP and investigates the many ways in which Kid A shaped and foreshadowed our world.

Genetic Soul Brothers is an adventure into a human unknown. It is a story about a baby boy being carried by and born to four different women in four different places at the same time, and raised separately by these 'mothers'. The/se baby/s has/have the same identical genes and share a common or multi-soul. As the child/ren grow/s and has/have dreams of an identical youth playing in non-recognizable settings, he/they begin/s to realize that he/they is/are one of four IDENTICALS. He/they each grow/s up in very different environments, develop professions, marry, and have children. Eventually, after a long, difficult, and frustrating quest which includes a unique night time spirit/soul communication, they find each other. As they learn how they came to be, four identical quadruplets from four different mothers, the question arises: should they take the culprit fertility clinic to court for causing this tragedy? - they are giant freaks. Should they do nothing; or should they sue the clinic for big money and become famous, which would certainly disgrace their 'parents' and friends. If they reach a four family agreement concerning anonymity or notoriety, but before the final decision is implemented one or more dies or is killed, then what happens to their common soul, or are there partial souls? Where does/do it/they go? Is there a waiting area near heaven or hell for partial souls? Is it possible that all of these 'lives' and 'arrangements' are totally controlled by soul maestros? And if so, why and how do they do this?

With his passport confiscated by the Russian Government and owing creditors in both Russia and Germany RICHARD WAGNER with his wife MINNA head for the Russian Border in an attempt to reach France to have his first opera produced. The plan is to escape from Russia to Germany where he is also a wanted man and secretly board a ship bound for England then cross the channel to France where he hopes to have his traditional opera Rienzi produced. Shortly thereafter a major breakthrough occurs as his second opera influenced by his daring escape by sea, Flying Dutchman is a great success in Germany and Wagner becomes famous. Getting involved in a revolution to overthrow the Monarchy was Wagner's big downfall. He barely escapes capture for treason and moves to Switzerland in exile. While in exile in Zurich, Wagner writes an opera about the German Teutonic hero LOHENGRIN, who arrives with a SWAN towing his boat to save a woman accused of witchcraft. . Prince LUDWIG of Bavaria at age 15 is fascinated by the swan in the Lohengrin Opera. He asks his governess for the libretti of Wagner's Operas. Years go by in exile and Wagner becomes completely destitute with creditors again chasing him. He longs for his homeland Germany, his love life is in shambles and he lives in hiding. King Max of Bavaria dies and his now19 year old son Crown Prince Ludwig II becomes King of Bavaria. Within 14 days, he summons Richard Wagner to the Palace. King Ludwig II befriends Richard Wagner and lets him know he will never have to worry about money again. He encourages Richard to work on The Ring Cycle, a four Opera drama to be performed in a Theatre built to Wagner's own specifications.

This volume describes the traditional vocal and instrumental music of the Lao-speaking people living in Northeast Thailand. Beginning with a description of the cultural and historical contexts of this music, Miller continues with an overview of Northeast Thai music, its instruments, concepts, and certain proto-musical genres. Individual chapters deal separately with the non-technical aspects, including the history, texts, economics, and performance practices of both kaen playing and mawlum singing. Another chapter discusses all technical matters concerning the vocal genres, including the tonal nature of the Lao language, the relationship between melody and linguistic tone, scales, rhythm and meter, form, and tempo. The final two chapters deal specifically with the kaen--a bamboo mouth organ with 6, 14, 16, or 18 tubes, each with a free-reed. This volume is generously illustrated with musical examples transcribed from field recordings made in Northeast Thailand, numerous photographs, and line drawings. Miller concludes with a series of translations of texts from musical examples; an extensive glossary which includes two forms of romanization, the Thai spelling, and a brief description; and, finally, a bibliography, discography, and index.

From the Nordic countries (Denmark, Norway, Sweden and Finland) comes an exciting source of theoretical approaches, epidemiological findings, and real-life examples regarding the therapeutic and health-enhancing effects of music. Experts across fields including psychology, neurology, music therapy, medicine, and public health review research on the benefits of music in relieving physiological, psychological, and socioemotional dysfunction. Chapters link musical experiences (listening and performing, as well as involvement in movement, dance, and theatre) to a wide range of clinical and non-clinical objectives such as preventing isolation, regulating mood, reducing stress and its symptoms, and treating dementia. And the book's section on innovative music-based interventions illustrates opportunities for incorporating musical activities into public health programs. Among the topics covered are: * Associations between the use of music, cultural participation and health-related outcomes in adult Scandinavian populations * Music practice and emotion handling * How music translates itself biologically in the body * Music as a forum for social-emotional health * Participation and partnership as core concepts in music and public health * Music therapy as health promotion for mothers and children at a public health clinic Music and Public Health will gain interested readers among researchers, teachers, students, and clinicians in the fields of music education and therapy, as well as researchers and students of public health who are interested in the influence of culture and the arts. The book also will be relevant to administrators in public health services.

This comprehensive reference book provides succinct information on almost thirteen hundred musical stage works written and produced from the 1870s to the 1990s involving contributions by black librettists, lyricists, composers, musicians, producers, or performers or containing thematic materials relevant to the black experience. Organized alphabetically, they include tent and outdoor shows, vaudeville, operas and operettas, comedies, farces, spectacles, revues, cabaret and nightclub shows, children's musicals, skits, one-act musicals, one-person shows, and even a musical without songs. In addition to the hundreds of shows independently created, produced, and performed by black writers and theatrical artists, it presents hundreds more representing a collaboration of black and white talents. An appendix organizes the shows chronologically and highlights those that were most significant in the history of the black American musical stage. An extensive bibliography and indexes of names, songs, and subjects complete the work.

Sound waves propagate through various media, and allow communication or entertainment for us, humans. Music we hear or create can be perceived in such aspects as rhythm, melody, harmony, timbre, or mood. All these elements of music can be of interest for users of music information retrieval systems. Since vast music repositories are available for everyone in everyday use (both in private collections, and in the Internet), it is desirable and becomes necessary to browse music collections by contents. Therefore, music information retrieval can be potentially of interest for every user of computers and the Internet. There is a lot of research performed in music information retrieval domain, and the outcomes, as well as trends in this research, are certainly worth popularizing. This idea motivated us to prepare the book on Advances in Music Information Retrieval.

It is divided into four sections: MIR Methods and Platforms, Harmony, Music Similarity, and Content Based Identification and Retrieval. Glossary of basic terms is given at the end of the book, to familiarize readers with vocabulary referring to music information retrieval.

This book traces the role played by music within asylums, the participation of staff and patients in musical activity, and the links drawn between music, health, and wellbeing. In the first part of the book, the author draws on a wide range of sources to investigate the debates around moral management, entertainment, and music for patients, as well as the wider context of music and mental health. In the second part, a series of case studies bring to life the characters and contexts involved in asylum music, selected from a range of public and private institutions. From asylum bands to chapel choirs, smoking concerts to orchestras, the rich variety of musical activity presents new perspectives on music in everyday life. Aspects such as employment practices, musicians' networks and the purchase and maintenance of musical instruments illuminate the 'business' of music as part of moral management. As a source of entertainment and occupation, a means of solace and self-control, and as a device for social gatherings and contact with the outside world, the place of music in the asylum offers valuable insight into its uses and meanings in nineteenth-century England.

The young John Zaradin felt driven to make his life in music against all 'sensible' career advice offered by his peers and parents. An interest in philosophy led him to a circle of creative people dedicated to self-development. They demonstrated to him that a life in the arts was indeed possible, if he worked with some tried and tested guidelines. These included - in addition to all aspects of music, its performance and the business of survival - a rigorous self-examination and a continual re-focusing on his stated aim. His choice to both listen and act on what he was absorbing helped him to make his first steps on the way to living and shaping his life as a musician. Many years later, a conversation with a friend resulted in the writing of his Personal Journey, in which he reveals the story of how he transformed his own life and developed his career as musician, guitarist and composer.