Bruce Springsteen's career has been covered many times over, yet many of the complexities and apparent contradictions of his music remain unresolved. Rob Kirkpatrick provides a comprehensive and coherent look at the work of this thoroughly complex and persistently captivating artist. After a brief biographical treatment, Kirkpatrick considers all of Springsteen's significant albums in chronological order. These include Born to Run, which was voted the most popular album of all time in a recently published Zagat survey; Born in the U.S.A., which sold more than 20 million copies; and The Rising, regarded by many as the most poignant artistic reaction to 9/11. In addition to a probing musical analysis, the book offers a guide to Springsteen's lyrical themes and motifs, allowing readers insight into the complicated nature of the artist's underlying concerns, influences, and ideas. Rounding out the volume is a consideration of The Boss's legacy as a songwriter and musician, as well as appendices including a bibliography and a complete discography. The Words and Music of Bruce Springsteen provides a comprehensive and coherent look at the work of a thoroughly complex and persistently captivating artist. Springsteen enjoys a popularity that has transcended generations. His 1975 album Born to Run was voted the most popular album of all time in a recently published Zagat survey; his 1984 album Born in the U.S.A. spawned seven Top Ten singles while selling more than 20 million copies; and his 2002 album The Rising was regarded by many critics as the most poignant artistic reaction to 9/11. Springsteen, now in his 50s, has evolved from an over-hyped version of the next Bob Dylan, to the future of rock and roll in the mid-1970s, to a pop culture icon in Reagan America, to a 21st-century populist voice. His career has been covered many times over, yet many of the complexities and apparent contradictions of his music remain unresolved. These include his hard-rock influenced musical background; his movement from themes of rebellion and isolation in his early work to those of a more populist complexion later on; and his contribution in the 1980s to a conservative patriotism—despite his albums' close association with the music and ideas of Woody Guthrie. After a brief biographical treatment, Kirkpatrick considers all of Springsteen's significant albums in chronological order. In addition to this probing musical analysis, he offers a guide to Springsteen's lyrical themes and motifs, allowing readers a coherent insight into the complicated nature of the artist's underlying concerns, influences, and ideas. Rounding out the volume is a consideration of The Boss's legacy as a songwriter and musician, as well as appendices including a bibliography and a complete discography. In sum, The Words and Music of Bruce Springsteen provides a comprehensive and coherent look, previously unavailable in a single volume, at the work of a thoroughly complex and persistently captivating artist.

Through its Decca 5000 series of the 1930s and 1940s, the American Decca recording company became the most influential record label in the burgeoning hillbilly music category, the forerunner of today's country and western music. This unique discography provides for the first time in print a systematic numerical listing and cross-referencing of all released recordings in the 5000 and 17000 Cajun series as well as records released under Decca's Champion 45000 and Montgomery Ward series, also devoted to hillbilly music. A total of 1514 discs are covered ranging from records released by such major hillbilly music stars as Jimmie Davis, the Sons of the Pioneers, and Ernest Tubb to those by less well-known solo artists and groups, including the Corn Cob Crushers and the Happy Hollow Hoodlums. Based on painstaking research in the original session books, ledgers, and label copy books as well as interviews with musicians and singers who participated in Decca recording sessions, this discography of one of the most remarkable record series of the 20th century makes a major contribution to the study of contemporary American music. The volume begins with an introduction which traces the early history of the Decca Record Company and its impact on hillbilly music of the 1930s and 1940s. Cary Ginell demonstrates that the Decca 5000 and other hillbilly series had a major role not only in documenting the history of hillbilly music but also in affecting its course by influencing future recording artists in the genre. Following a brief section which describes how to use the discography and the indexes, the discography itself is divided into four separate numerical listings: Decca 5000, Decca 17000, Decca/Champion 45000, and Montgomery Ward recordings. Each listing includes information about recording dates, master numbers, unissued titles, song titles and legends, songwriter credits, and release dates. Five indexes--artist, matrix and location, release dates, composer credits, and title--provide enhanced access to the main listings. Scholars and researchers of American country and folk music, both once included under the hillbilly banner--will find this discography an indispensable resource.

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Though the term Irish music typically evokes images of fiddles, flutes, and "Riverdance," Ireland and its culture have also given rise to a wealth of orchestral music, including compositions ranging from string quartets to operas. In this important new work, author Axel Klein provides much more than a mere discography: he documents and promotes a largely unknown aspect of Irish culture in a unique combination of discographical and biographical information.

Featuring ninety-three recorded Irish composers and forty-three international composers influenced by Irish music, the volume offers the means for scholars and general readers alike to familiarize themselves with a subject to which most of the world, until now, has not been exposed. As most of the music described is currently available on compact disc, Klein's compilation serves as an invaluable resource guide for both academics and amateur enthusiasts.

With a political agenda foregrounding collaborative practice to promote ethical relations, these individually and joint written essays and interviews discuss dances often with visual art, theatre, film and music, drawing on continental philosophy to explore notions of space, time, identity, sensation, memory and ethics.

Bringing together scholars from the fields of musicology and international history, this book investigates the significance of music to foreign relations, and how it affected the interaction of nations since the late 19th century. For more than a century, both state and non-state actors have sought to employ sound and harmony to influence allies and enemies, resolve conflicts, and export their own culture around the world. This book asks how we can understand music as an instrument of power and influence, and how the cultural encounters fostered by music changes our ideas about international history.

From advertising to zydeco, this volume provides a guide to scholarly literature on the popular music of the world. It covers non-biographical aspects of the field, including genres, the industry, social and cultural contexts, musical practices, geographical locations and theory and method.

This book offers a comprehensive assessment of the music of George Harrison, revealing him as one of the most gifted and authentic singer-songwriters of his generation. The Words and Music of George Harrison is an in-depth appreciation of this often underappreciated musician, following Harrison's development as a singer-songwriter from his earliest songs with The Beatles through his final album, Brainwashed, released after his 2001 death from brain cancer. The Words and Music of George Harrison sheds new light on Harrison's 40-year career, examining his music output in the context of the enormous personal and professional changes he underwent, from the early days in Liverpool and the global explosion of Beatlemania through a solo career marked by spiritual concerns, political activism, and high-profile collaborations. As the book shows, at every stage, George Harrison's songs posed questions, provided commentaries, and looked for solutions, with results that add up to a remarkable music legacy.

The Oxford Handbook of Preservice Music Teacher Education in the United States identifies the critical need for change in Pre-K-12 music education. Collectively, the handbook's 56 contributors argue that music education benefits all students only if educators actively work to broaden diversity in the profession and consistently include diverse learning strategies, experiences, and perspectives in the classroom. In this handbook, contributors encourage music teachers, researchers, policy makers, and music teacher educators to take up that challenge. Throughout the handbook, contributors provide a look at ways music teacher educators prepare teachers to enter the music education profession and offer suggestions for ways in which new teachers can advocate for and adapt to changes in contemporary school settings. Building upon students' available resources, contributors use research-based approaches to identify the ways in which educational methods and practices must transform in order to successfully challenge existing music education boundaries.

Demarco was still rambling when Jeremy put one hand up in his face in the gesture of 'talk to the hand' and said sharply, "Look I am so tired of this whole scene right now. Are you going to tell her who I really am or do I need to tell her myself?" Demarco instantly fell silent, his eyes big as saucers as he looked pleadingly at Jeremy. Hearing Jeremy's nasally voice and seeing his suddenly magnified feminine gestures really woke me up with a jolt. Whatever denial I had been experiencing the last few minutes was now gone. I was immediately very aware of the situation that was before me. I looked at Jeremy, then Demarco. I felt my chest start to tighten and my breathing became short and sporadic. I started to back away from them both saying, "Nooooo, noooo this can't be, this is not happening " As I repeatedly shook my head no, I could feel the tears falling down my face. I screamed at Demarco, "You lied You lied to me I asked you if you were gay. You swore to me that you weren't, I can't believe this is happening " Like most little girls I always fantasized about my knight in shining armor riding in on his white horse and carrying me off into the sunset. Instead of my dream man I got a down-low gay man, a cocaine-addicted famous rapper and a psycho maniac stalker. Yes, you read right. I know that there are other women out there who can relate because they may have experienced at least one of these situations. It is very rare and next to impossible to find a woman who has gone through all three situations, but I did. This is the true story of my life with these three men. As you read my autobiographical memoir you will see that due to bad judgment, bad decisions and loving the wrong man time and time again my life has had many mind-blowing and incredulous episodes. I hope that through reading my story I save the next woman from inevitable heartbreak and devastation disguised as true love.

Radio, the most widely used medium in the world, is a dominant mediator of musical meaning. Through a combination of critical analysis, interdisciplinary theory and ethnographic writing about community radio, this book provides a novel theorisation of democratic aesthetics, with important implications for the study of old and new media alike.

The folk song performer and impresario presents a rollicking account of the historical development and present-day status of an ancient art, including discussions of the contributions of various groups to the American songbag, the principle sources of the American repertory and style, and accounts of the major figures in the American folksong saga.

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This history aims to strike a mean between the abstruse and the elementary, the scientific and the educational. The first topic is the Gregorian Chant followed by surveys of French, Italian, English, and Russian music.

100 years after the Dada soirees rocked the art world, the author investigates the role that music played in the movement. Dada is generally thought of as noisy and unmusical, but The Music of Dada shows that music was at the core of Dada theory and practice. Music (by Schoenberg, Satie and many others) performed on the piano played a central role in the soirees, from the beginnings in Zurich, in 1916, to the end in Paris and Holland, seven years later. The Music of Dada provides a historical analysis of music at Dada events, and asks why accounts of Dada have so consistently ignored music's vital presence. The answer to that question turns out to explain how music has related to the other arts ever since the days of Dada. The music of Dada is the key to understanding intermediality in our time.

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Music is a powerful means of communication. It provides a means by which people can share emotions, intentions, and meanings even though their spoken languages may be mutually incomprehensible. It can also provide a vital lifeline to human interaction for those whose special needs make other means of communication difficult. Music can exert powerful physical effects, can produce deep and profound emotions within us, and can be used to generate infinitely subtle variations of expressiveness by skilled composers and performers. This new addition to the music psychology list brings together leading researchers from a variety of academic and applied backgrounds. It examines how music can be used to communicate and the biological, cognitive, social, and cultural processes which underlie such communication. Taking a broad, interdisciplinary look at all aspects of communication, from the symbolic aspects of musical notation, to the use of music in advertising, the book is the first of its kind. It will be valuable for all those involved in music psychology, music education, and communication studies.

Disability and Music Performance examines discriminatory social practices in music conservatoria, orchestras, music festivals and music competitions, which limit disabled people's access to music performance at a professional level. Of particular interest are the disabling barriers that musicians with an intellectual, physical, sensory or neurological disability-or an acquired brain injury-encounter in the world of Western classical music, both as students and as professional performers. This book collects data in the form of semi-structured interviews and video and audio recordings to explore the voice, concerns and suggestions expressed by musicians with disabilities. It examines their perceptions of both inclusive and discriminatory practices in music institutions as well as the representation of, and audio-visual recordings by, key musical figures with disabilities. Its findings aim to contribute to the wellbeing of musicians with impairments by challenging disabling social practices that see them as inferior. This publication offers performers, teachers and researchers new perspectives for exploring some of the most common social dynamics in encounters between normative audiences, musicians and music critics, and musicians with disabilities. It invites the reader to recognise disability as a rightful identity category in music performance and to dismantle the disabling barriers that limit the participation of disabled people in music-making.

Sonic Thinking attempts to extend the burgeoning field of media philosophy, which so far is defined by a strong focus on cinema, to the field of sound. The contributors urge readers to re-adjust their ideas of Sound Studies by attempting to think not only about sound [by external criteria, such as (cultural) meaning], but to think with and through sound. Series editor Bernd Herzogenrath's collection serves two interconnected purposes: in developing an alternative philosophy of music that takes music serious as a 'form of thinking'; and in bringing this approach into a fertile symbiosis with the concepts and practices of 'artistic research': art, philosophy, and science as heterogeneous, yet coequal forms of thinking and researching. Including contributions by both established figures and younger scholars working on cutting edge material, and weaving artistic responses and interventions in between the more theoretical texts, Herzogenrath's collection provides a lively introduction to a fresh debate.