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 International Who's Who in Popular Music 2008 provides biographical details on some of the most talented and influential artists and individuals from the world of popular music. Now in its tenth edition, it includes over 7,000 biographies charting the careers and achievements of pop, rock, folk, jazz, dance, world and country artists throughout the world. Key features: each entry includes full biographical information: principal career details, recordings and compositions, honours and contact information spans the full range of the popular music industry, from rock to jazz and dance to country provides information on established names as well as up-and-coming artists a directory section provides details of music festivals, awards, organizations within the industry, and digital music sources for ease of reference, the book includes an index of music group members. In one accessible volume the International Who's Who in Popular Music 2008 provides the most comprehensive collection of information on the most famous and influential people in the popular music industry.

This book addresses the issue of music consumption in the digital era of technologies. It explores how individuals use music in the context of their everyday lives and how, in return, music acquires certain roles within everyday contexts and more broadly in their life narratives.

The problems of analyzing and synthesizing musical timbres have been prevalent for over half a century, and a book length exploration of this large and complex subject has been long overdue. Analysis, Synthesis, and Perception of Musical Sounds: Sound of Music consists of eight chapters that span the range from tutorial introduction to advanced research and application to speculative assessment of its various techniques. All of the contributors use a generalized additive sine wave model for describing musical timbre which gives a conceptual unity but is of sufficient utility to be adapted to many different tasks. The authors represent an international community of researchers and teachers in the field of analysis/synthesis/perception, and this book reflects the important trends and interests current in the subject. Due to its breadth, students will find the book a thorough introduction to current thinking and implementation of additive sine wave timbral models. Researchers new to the field will find a canvas of applications with citations to the relevant literature, which will also benefit the teacher searching for an effective syllabus.Due to its scope, Analysis, Synthesis, and Perception of Musical Sounds will become the standard reference in the field and will be seen as the catalyst for exciting research in the years ahead.

The present book is the result of a three year research project which investigated the creative act of composing by means of algorithmic composition. Central to the investigation are the compositional strategies of 12 composers, which were documented through a dialogic and cyclic process of modelling and evaluating musical materials. The aesthetic premises and compositional approaches configure a rich spectrum of diverse positions, which is reflected also in the kinds of approaches and methods used. These approaches and methods include the generation and evaluation of chord sequences using genetic algorithms, the application of morphing strategies to research harmonic transformations, an automatic classification of personal preferences via machine learning, and an application of mathematical music theory to the analysis and resynthesis of musical material. The second part of the book features contributions by Sandeep Bhagwati, William Brooks, David Cope, Darla Crispin, Nicolas Donin, and Guerino Mazzola. These authors variously consider the project from different perspectives, offer independent approaches, or provide more general reflections from their respective research fields.

Contents Include: Ear-Training in the Diatonic Major Scale Primary Triads of the Major Key in Root Position Primary Triads of the Minor Key in Root Position IIA and VIA in the Major KeyVIA in the Minor Key First Inversion of Triads in the Major Key Some First Inversion in the Minor Key The Melodic Minor Scale Unaccented Diatonic Passing Notes: Major Keys Unaccented Diatonic Passing Notes: Minor Keys The Chord of the Six Floor Accented Passing Notes The Chord of the Dominant Seventh Diminished Triads in the Root Position: Augmented Triads in Root Position and First Inversion The Mediant Triad in the Major Key Auxilary Notes

Calculus has been used in solving many scientific and engineering problems. For optimization problems, however, the differential calculus technique sometimes has a drawback when the objective function is step-wise, discontinuous, or multi-modal, or when decision variables are discrete rather than continuous. Thus, researchers have recently turned their interests into metaheuristic algorithms that have been inspired by natural phenomena such as evolution, animal behavior, or metallic annealing.

This book especially focuses on a music-inspired metaheuristic algorithm, harmony search. Interestingly, there exists an analogy between music and optimization: each musical instrument corresponds to each decision variable; musical note corresponds to variable value; and harmony corresponds to solution vector. Just like musicians in Jazz improvisation play notes randomly or based on experiences in order to find fantastic harmony, variables in the harmony search algorithm have random values or previously-memorized good values in order to find optimal solution.

"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

The study aims primarily at exploring the images of Swahili women as depicted in taarab songs in Zanzibar and factors that shape these images at different epochs or points in time. A secondary concern of the book is to highlight the history of taarab songs in Zanzibar and to identify the relationship between this art of songs and the Egyptian song. The author adopted a holistic approach, concentrating on sung lyrics. The analysis is descriptive and utilizes perspectives of literary theories of orature as well as insights from gender, cultural, structural, and functional theories.

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.

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.

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.

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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.

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.

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.

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.