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Books > Music > General
Get ready to master the bass guitar faster than you can say
"amplifier." A staple of almost every genre of music out there, the
bass guitar is a fundamental (and fun!) instrument that can now be
easily learned by musicians of any experience level with Bass
Guitar Exercises For Dummies. Complete with a bonus downloadable
content, this book gives bassists a variety of tips and drills to
help you strike a chord with any performance (even if it's only for
an audience of one). This book is an easy how-to that every bass
player can appreciate. Bass Guitar Exercises For Dummies Features a
wide variety of 300+ exercises and technique-building practice
opportunities tailored to bass guitar Offers exercises and chords
for a variety of genres including funk, rock, blues, and reggae
bass patterns Shows you proper hand and body posture as well as
fingering and hand positions Concludes each lesson with a music
piece for you to try Comes with an audio CD that includes practice
pieces to accompany the exercises and drills presented in each
section Helps you build your strength, endurance, and dexterity
when playing bass Whether you're a beginner bass player or you're
looking to give John Paul Jones a run for his money, Bass Guitar
Exercises For Dummies is the book for you! Pick up your copy today.
P.S. If you think this book seems familiar, you're probably right.
The Dummies team updated the cover and design to give the book a
fresh feel, but the content is the same as the previous release of
Bass Guitar Exercises For Dummies (9780470647226). The book you see
here shouldn't be considered a new or updated product. But if
you're in the mood to learn something new, check out some of our
other books. We're always writing about new topics!
This volume brings together academics, executives and practitioners
to provide readers with an extensive and authoritative overview of
the classical music industry. The central practices, theories and
debates that empower and regulate the industry are explored through
the lens of classical music-making, business, and associated
spheres such as politics, education, media and copyright. The
Classical Music Industry maps the industry's key networks,
principles and practices across such sectors as recording, live,
management and marketing: essentially, how the cultural and
economic practice of classical music is kept mobile and alive. The
book examining pathways to professionalism, traditional and new
forms of engagement, and the consequences of related issues-ethics,
prestige, gender and class-for anyone aspiring to 'make it' in the
industry today. This book examines a diverse and fast-changing
sector that animates deep feelings. The Classical Music Industry
acknowledges debates that have long encircled the sector but today
have a fresh face, as the industry adjusts to the new economics of
funding, policy-making and retail The first volume of its kind, The
Classical Music Industry is a significant point of reference and
piece of critical scholarship, written for the benefit of
practitioners, music-lovers, students and scholars alike offering a
balanced and rigorous account of the manifold ways in which the
industry operates.
The complete lyrics from cultural icon and bestselling author Nick
Cave, spanning his entire career to date, with a new foreword by
Andrew O'Hagan From Nick Cave's writing for The Birthday Party,
through highly acclaimed albums like Murder Ballads, Henry's Dream,
DIG, LAZARUS, DIG!!! and Ghosteen, this is a must-have book for all
fans of the dark, the beautiful and the defiant - for all fans of
the songs of Nick Cave. 'The greatest living songwriter' NME 'A
glowing wire, a mainline to meaning ad feeling and art' New Yorker
'Nick Cave is a true lyrical master. He can conjure empathy and
hope out of thin air, light out of darkness' Cillian Murphy 'His
lyrics - so rich in the toils of love, so committed to memory and
everlasting presence - are the best-made of his generation' Andrew
O'Hagan 'A poetic craftsman' Will Self 'Alternative rock legend'
Billboard 'Cave's genius rings loud and clear' Evening Standard
Cover art by Aleksandra Waliszewska
Eudaimonia: Perspectives for Music Learning asserts the fertile
applications of eudaimonia-an Aristotelian concept of human
flourishing intended to explain the nature of a life well lived-for
work in music learning and teaching in the 21st century. Drawing
insights from within and beyond the field of music education,
contributors reflect on what the "good life" means in music,
highlighting issues at the core of the human experience and the
heart of schooling and other educational settings. This pursuit of
personal fulfillment through active engagement is considered in
relation to music education as well as broader social, political,
spiritual, psychological, and environmental contexts. Especially
pertinent in today's complicated and contradictory world,
Eudaimonia: Perspectives for Music Learning is a concise compendium
on this oft-overlooked concept, providing musicians with an
understanding of an ethically-guided and socially-meaningful
music-learning paradigm.
Musicians' Migratory Patterns: American-Mexican Border Lands
considers the works and ideologies of an array of American-based,
immigrant Mexican musicians. It asserts their immigrant status as a
central force in nourishing, informing, and propelling musical and
artistic concerns, uncovering pure and fresh forms of expression
that broaden the multicultural map of Mexico. The text guides
readers in appreciation of the aesthetic and technical achievements
of original works and innovative performances, with artistic and
pedagogical implications that frame a vivid picture of the
contemporary Mexican as immigrant creator in the United States. The
ongoing displacement of Mexicans into the United States impacts not
only American economic conditions but the country's social,
cultural, and intellectual configurations as well. Artistic and
academic voices shape and enrich the multicultural diversity of
both countries, as immigrant Mexican artists and their musics prove
instrumental to the forming of a self-critical society compelled to
value and embrace its diversity. Despite conflicting political
reactions on this complex subject of legal and illegal immigration,
undeniable is the influence of Mexican musical expressions in the
United States and Mexico, at the border and beyond.
Known for creating classic films including His Girl Friday, The Big
Sleep, Bringing Up Baby, and Gentlemen Prefer Blondes, Howard Hawks
is one of the best-known Hollywood 'auteurs', but the important
role that music plays in his films has been generally neglected by
film critics and scholars. In this concise study, Gregory Camp
demonstrates how Hawks' use of music and musical treatment of
dialogue articulate the group communication that is central to his
films. In five chapters, Camp explores how the notion of 'music' in
Hawks' films can be expanded beyond the film score, and the
techniques by which Hawks and his collaborators (including actors,
screenwriters, composers, and editors) achieve this heightened
musicality.
An experimental account of one woman’s quest to shed addictive
substances and behaviors from her life—which dares to ask if
we’re really better off without them. In January 2021, Freda Love
Smith, acclaimed rock musician and author of Red Velvet
Underground, watched as insurgents stormed the U.S. Capitol. It
felt like the culmination of eight months of pandemic anxiety. She
needed a drink, badly. But she suspected a midday whiskey
wouldn’t cure what was really ailing her—nor would her nightly
cannabis gummy, or her four daily cups of tea, or any of the other
substances she relied on to get through each day. Thus began her
experiment to remove one addictive behavior from her life each
month to see if sobriety was really all it was cracked up to be.
With honesty and humor, Smith describes the effects of withdrawal
from alcohol, sugar, caffeine, cannabis, and social media, weaving
in her reflections on the childhood experiences and cultural norms
that fed her addictions to these behaviors. Part personal history,
part sociological research, and part wry observation on addiction,
intoxication, media, and pandemic behavior, I Quit Everything will
resonate with anyone who has danced with destructive habits—that
is, those who are “sober curious” but not necessarily sober.
Smith’s experiment goes beyond simply quitting these five
addictive behaviors. Moved by the circumstances of the pandemic and
the general state of the world, she ends up leaving an unsatisfying
job for more meaningful work and reevaluating other significant
details of her life, such as motherhood and the music that defined
her career. More than a simple sobriety story, Smith’s book is an
exploration of passion, legacy, and what becomes of our identities
once we’ve quit everything.
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Three Ideophones
Goodiepal, Alejandra Salinas, Aeron Bergman
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R612
Discovery Miles 6 120
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Ships in 12 - 17 working days
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Many listeners first heard “Hound Dog” when Elvis Presley’s
single topped the pop, country, and R&B charts in 1956. But
some fans already knew the song from Big Mama Thornton’s earlier
recording, a giant but exclusively R&B hit. In Hound Dog Eric
Weisbard examines the racial, commercial, and cultural
ramifications of Elvis’s appropriation of a Black woman’s
anthem. He rethinks the history and influences of rock music in
light of Rolling Stone's replacement of Presley’s “Hound Dog”
with Thornton’s version in its 2021 “500 Greatest Songs of All
Time” list. Taking readers from Presley and Thornton to Patti
Page’s “Doggie in the Window,” the Stooges’ “I Wanna Be
Your Dog,” and other dog ditties, Weisbard uses “Hound Dog”
to reflect on one of rock’s fundamental dilemmas: the whiteness
of the wail.
The Creative Reflective Practitioner explores research and practice
through the eyes of people with a wholehearted commitment to
creative work. It reveals what it means to be a reflective creative
practitioner, whether working alone, in collaboration with others,
with digital technology or doing research, and what we can learn
from listening and observing closely. It gives the reader new
insights into the fascinating challenge that having a reflective
creative mindset can bring. Creative reflective practice is seen
through practitioner ideas and works which have informed the
writing at every level, supported by research studies and
historical accounts. The practitioners featured in this book
represent a broad spectrum of interdisciplinary creative activities
producing works in film, music, drama, dance and interactive
installations. Their work is innovative, full of new ideas and
exciting to experience, offering engagement and challenge for
audiences and participants alike. Practitioner interviews give a
direct sense of how they see creative practice from the inside. The
ways in which these different situations of practice stimulate and
facilitate reflection in practice and how we can learn from this
are described. Variations of reflective practice are discussed that
extend the original concepts proposed by Donald Schoen, and a
contemporary dimension is added through the role of the digital in
creative reflective practice as a tool, mediator, medium and
partner. This book is relevant to people who wish to understand
creativity and reflection in practice and how to learn from the
practitioners themselves. This includes researchers in any
discipline as well as students, arts professionals and
practitioners such as artists, curators, designers, musicians,
performers, producers and technologists.
Scottish Dance Beyond 1805 presents a history of Scottish music and
dance over the last 200 years, with a focus on sources originating
in Aberdeenshire, when steps could be adapted in any way the dancer
pleased. The book explains the major changes in the way that dance
was taught and performed by chronicling the shift from individual
dancing masters to professional, licensed members of regulatory
societies. This ethnographical study assesses how dances such as
the Highland Fling have been altered and how standardisation has
affected contemporary Highland dance and music, by examining the
experience of dancers and pipers. It considers reactions to
regulation and standardisation through the introduction to Scotland
of percussive step dance and caller-facilitated ceilidh dancing.
Today's Highland dancing is a standardised and international form
of dance. This book tells the story of what changed over the last
200 years and why. It unfolds through a series of colourful
characters, through the dances they taught and the music they
danced to and through the story of one dance in particular, the
Highland Fling. It considers how Scottish dance reflected changes
in Scottish society and culture. The book will be of interest to
scholars and postgraduates in the fields of Dance History,
Ethnomusicology, Ethnochoreology, Ethnology and Folklore, Cultural
History, Scottish Studies and Scottish Traditional Music as well as
to teachers, judges and practitioners of Highland dancing and to
those interested in the history of Scottish dance, music and
culture.
My Date with a Beatle is a charming look back at the glory days of
Beatlemania, as seen through the eyes of a loyal and devoted fan.
You'll feel as if you're right there with Judy: at her first
sighting of The Beatles at Kennedy Airport, witnessing their first
press conference, sneaking into The Plaza Hotel, drooling over
their first appearance on Ed Sullivan, her wild trip to The Beatles
First American concert in Washington, D.C., and the crazy antics
she pulled off, all in loving effort to meet her idol, George
Harrison - and she actually made it happen! A Date with a Beatle is
a hilarious, fast-paced, totally entertaining story of the magic
that was created by four lovely lads from Liverpool and the dreams
that can come true when tenacity and heart are headed in the same
direction.
Over a century of history, the City of Birmingham Symphony
Orchestra has taken different names and forms. It has weathered
war, recession and social change, evolving from a part-time
municipal ensemble into a symphony orchestra with a worldwide
reputation. But throughout it all, the CBSO has been Birmingham's
orchestra - the musical embodiment of one of the world's great
cities, in all its ambition, complexity and diversity. In its
centenary year, Forward: 100 Years of the City of Birmingham
Symphony Orchestra celebrates a truly pioneering institution, at
home and abroad.; The CBSO's list of `firsts' is striking: the
first major orchestra to present children's concerts, the first to
appoint permanent education staff, a pioneer in its attitude to
female musicians and management, and a globally recognised example
of the power of the arts to drive urban renewal. Each of its
conductors brought something new, from the quiet determination of
Leslie Heward and the rejuvenating energy of George Weldon to the
revolutionary transformation of the Simon Rattle years, and the
bold new vision of Sakari Oramo, Andris Nelsons, and Mirga
Grazinyte-Tyla.; But the CBSO's history extends far beyond the
concert platform, embracing Edward Elgar and Neville Chamberlain;
Jean Sibelius and Benjamin Britten; rock bands, film scores and
Bollywood legends. Through tragedies and triumphs, gruelling tours
and an unwavering commitment to new music and new audiences, the
orchestra has survived and thrived, taking as its watchword
Birmingham's own motto: Forward. This is its story.
The Turkic soundscape is both geographically huge and culturally
diverse (twenty-eight countries, republics and districts extending
from Eastern Europe through the Caucasus and throughout Central
Asia). Although the Turkic peoples of the world can trace their
linguistic and genetic ancestries to common sources, their
extensive geographical dispersion and widely varying historical and
political experiences have generated a range of different
expressive music forms. In addition, the break-up of the Soviet
Union and increasing globalization have resulted in the emergence
of new viewpoints on classical and folk traditions, Turkic versions
of globalized popular culture, and re-workings of folk and
religious practices to fit new social needs. In line with the
opening up of many Turkic regions in the post-Soviet era, awareness
of scholarship from these regions has also increased. Consisting of
twelve individual contributions that reflect the geographical
breadth of the area under study, the collection addresses animist
and Islamic religious songs; the historical development of Turkic
musical instruments; ethnography and analysis of classical court
music traditions; cross-cultural influences throughout the Turkic
world; music and mass media; and popular music in traditional
contexts. The result is a well-balanced survey of music in the
Turkic-speaking world, representing folk, popular and classical
traditions equally, as well as discussing how these traditions have
changed in response to growing modernity and cosmopolitanism in
Europe and Central Asia.
This book brings theory from popular music studies to an
examination of identity and agency in youth films while building
on, and complementing, film studies literature concerned with
genre, identity, and representation. McNelis includes case studies
of Hollywood and independent US youth films that have had
commercial and/or critical success to illustrate how films draw on
specific discourses surrounding popular music genres to convey
ideas about gender, race, ethnicity, sexuality, and other aspects
of identity. He develops the concept of 'musical agency', a term he
uses to discuss the relationship between film music and character
agency, also examining the music characters listen to and discuss,
as well as musical performances by the characters themselves
This book examines contemporary issues in music teaching and
learning throughout the lifespan, illuminating an emerging nexus of
trends shaping modern research in music education. In the past,
most music learning opportunities and research were focused upon
the pre-adult population. Yet, music education occurs throughout
the lifespan, from birth until death, emerging not only through
traditional formal ensembles and courses, but increasingly through
informal settings as well. This book challenges previous
assumptions in music education and offers theoretical perspectives
that can guide contemporary research and practice. Exploring music
teaching and learning practices through the lens of human
development, sections highlight recent research on topics that
shape music learning trajectories. Themes uniting the book include
human development, assessment strategies, technological
applications, professional practices, and cultural understanding.
The volume deconstructs and reformulates performance ensembles to
foster mutually rewarding collaborations across miles and
generations. It develops new measures and strategies for assessment
practices for professionals as well as frameworks for guiding
students to employ effective strategies for self-assessment.
Supplemental critical thinking questions focus the reader on
research applications and provide insight into future research
topics. This volume joining established experts and emerging
scholars at the forefront of this multifaceted frontier is
essential reading for educators, researchers, and scholars, who
will make the promises of the 21st century a reality in music
education. It will be of interest to a range of fields including
music therapy, lifelong learning, adult learning, human
development, community music, psychology of music, and research
design.
This book offers compelling new perspectives on the revolutionary
potential of improvisation pedagogy. Bringing together
contributions from leading musicians, scholars, and teachers from
around the world, the volume articulates how improvisation can
breathe new life into old curricula; how it can help teachers and
students to communicate more effectively; how it can break down
damaging ideological boundaries between classrooms and communities;
and how it can help students become more thoughtful, engaged, and
activist global citizens. In the last two decades, a growing number
of music educators, music education researchers, musicologists,
cultural theorists, creative practitioners, and ethnomusicologists
have suggested that a greater emphasis on improvisation in music
performance, history, and theory classes offers enormous potential
for pedagogical enrichment. This book will help educators realize
that potential by exploring improvisation along a variety of
trajectories. Essays offer readers both theoretical explorations of
improvisation and music education from a wide array of vantage
points, and practical explanations of how the theory can be
implemented in real situations in communities and classrooms. It
will therefore be of interest to teachers and students in numerous
modes of pedagogy and fields of study, as well as students and
faculty in the academic fields of music education, jazz studies,
ethnomusicology, musicology, cultural studies, and popular culture
studies.
The term 'record collecting' is shorthand for a variety of related
practices. Foremost is the collection of sound recordings in
various formats - although often with a marked preference for vinyl
- by individuals, and it is this dimension of record collecting
that is the focus of this book. Record collecting, and the public
stereotypes associated with it, is frequently linked primarily with
rock and pop music. Roy Shuker focuses on these broad styles, but
also includes other genres and their collectors, notably jazz,
blues, exotica and 'ethnic' music. Accordingly, the study examines
the history of record collecting; profiles collectors and the
collecting process; considers categories - especially music genres
- and types of record collecting and outlines and discusses the
infrastructure within which collecting operates. Shuker situates
this discussion within the broader literature on collecting, along
with issues of cultural consumption, social identity and 'the
construction of self' in contemporary society. Record collecting is
both fascinating in its own right, and provides insights into
broader issues of nostalgia, consumption and material culture.
Religion, Culture and Spirituality in Africa and the African
Diaspora explores the ways in which religious ideas and beliefs
continue to play a crucial role in the lives of people of African
descent. The chapters in this volume use historical and
contemporary examples to show how people of African descent develop
and engage with spiritual rituals, organizations and practices to
make sense of their lives, challenge injustices and creatively
express their spiritual imaginings. This book poses and answers the
following critical questions: To what extent are ideas of
spirituality emanating from Africa and the diaspora still
influenced by an African aesthetic? What impact has globalisation
had on spiritual and cultural identities of peoples on African
descendant peoples? And what is the utility of the practices and
social organizations that house African spiritual expression in
tackling social, political cultural and economic inequities? The
essays in this volume reveal how spirituality weaves and intersects
with issues of gender, class, sexuality and race across Africa and
the diaspora. It will appeal to researchers and postgraduate
students interested in the study of African religions, race and
religion, sociology of religion and anthropology.
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My Country
(Paperback)
George Canyon
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R479
R396
Discovery Miles 3 960
Save R83 (17%)
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Ships in 10 - 15 working days
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Starting as a single congregation in Australia, Hillsong Church now
has campuses worldwide, releases worship music that sells millions
of albums and its ministers regularly appear in mainstream media.
So, how has a single church gained such international prominence?
This book offers an ethnographic exploration of the ways in which
music and marketing have been utilised in the pursuit and
production of spiritual experience for members of Hillsong Church.
An experience that has proven to be incredibly popular. The main
theme of this book is that marketing, specifically branding, is not
just a way to "sell" religion, but rather an integral part of
spiritual experience in consumer society. Focussing on the London
Hillsong church as a case study, the use of its own music in tandem
with strong branding is shown to be a co- and re-productive method
of organizing, patterning, and communicating information. The
church provides the branded material and cultural context in which
participants' sacred experience of self unfolds. However, this
requires participants to "do the work" to properly understand, and
ultimately embody, the values associated with the brand. This book
raises important questions about the role of branding and music in
forming modern scared identities. As such, it will be of great
interest to scholars of Religious Studies, Ethnomusicology and
Media Studies.
Long before anyone ever heard of 'protest music', people in America
were singing about their struggles. They sang for justice and
fairness, food and shelter, and equality and freedom; they sang to
be acknowledged. Sometimes they also sang to oppress. This book
uncovers the history of these people and their songs, from the
moment Columbus made fateful landfall to the start of the Second
World War, when 'protest music' emerged as an identifiable brand.
Cutting across musical genres, Will Kaufman recovers the passionate
voices of America itself. We encounter songs of the mainland and
the conquered territories of Hawai'i, Cuba, Puerto Rico, and the
Philippines; we hear Indigenous songs, immigrant songs and Klan
songs, minstrel songs and symphonies, songs of the heard and the
unheard, songs of the celebrated and the anonymous, of the
righteous and the despicable. This magisterial book shows that all
these songs are woven into the very fabric of American history.
The national element in music has been the subject of important
studies, yet the scholarly framework has remained restricted almost
exclusively to the field of music studies. This volume brings
together experts from different fields (musicology, literary theory
and modern Greek studies), who investi- gate the links that connect
music, language and national identity, focusing on the Greek
paradigm. Through the study of the Greek case, the book paves the
way for innovative interdisciplinary approaches to the formation of
the 'national' in different cultures, shedding new light on
ideologies and mechanisms of cultural policies.
Music, Power, and Politics presents sixteen different cultural
perspectives on the concept of music as a site of socio-political
struggle. Essays by scholars from around the world explore the
means by which music's long-acknowledged potential to persuade,
seduce, indoctrinate, rouse, incite, or even silence listeners, has
been used to advance agendas of power and protest. The essays
included examine: music used to convey political ideology in Nazi
Germany, apartheid-era South Africa, and modern-day North Korea
postcolonial musical efforts to reclaim ethnic heritage in Serbia
and the Caribbean music as a means of establishing new cultural
identities for recently empowered social groups in the UK and
Brazil the subversion of racial stereotypes through popular music
in the USA music as a tool of popular resistance to oppressive
government policies in modern day Iran and the Bolivian Andes
Chances are you ve seen the numerous iconic pictures by legendary
rock photographer Lynn Goldsmith. A key staple of the music world,
Goldsmith has photographed every important rock musician of the
late twentieth century. But it s Goldsmith s singular work from the
1980s that synthesizes music giants with the still-treasured fun
1980s style. Musicians in the 1980s comprehensively collects a who
s who during this specific time and a sense of place: Blondie, The
Rolling Stones, Bruce Springsteen, The Police, Talking Heads, Frank
Zappa, Bob Dylan, Bananarama, Elton John, David Bowie, Grace Jones,
the Go-Gos, among so many others. Musicians in the 1980s is sure
both to music fans and fans of that remarkable decade.
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