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.

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.

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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.

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.

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.

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.

This handbook provides an evidence-based account of psychological perspectives on issues in music education and music in the community through the life course, exploring our understanding of music learning and participation across contexts. The contributors draw on multidisciplinary research from different cultures and contexts in order to set out the implications of music psychology for music education and music in the community. Highlighting the intersecting issues across education and community contexts, the book proposes new theories as well as offering important refinements to existing conceptual models. Split into six parts, it considers the role of music in society as well as for groups and individuals, and explores topics such as processing and responding to music; pedagogical and musical practices that support or pose challenges to the emotional, cognitive, social or physical wellbeing of learners and participants in a range of contexts; and 'music in identity' or 'identity in music'. With the final part on future directions and the implications for professional practice in music education and music in the community, the book concludes by exploring how the two sectors might work more closely together within a post-COVID-19 world. Based on cutting-edge research from an international team, this is essential reading for anyone interested in music psychology, education and community, and it will be particularly helpful for undergraduate and graduate students in music psychology, music education and community music.

The colonial days of America marked not only the beginnings of a country, but also of a new culture, part of which was the first American music publishers, entrepreneurs, and instrument makers forging musical communities from New England to New Spain. Elements of British, Spanish, German, Scots-Irish, and Native American music all contributed to the many cultures and subcultures of the early nation. While English settlers largely sought to impose their own culture in the new land, the adaptation of native music by Spanish settlers provided an important cultural intersection. The music of the Scots-Irish in the middle colonies planted the seeds of a folk ballad tradition. In New England, the Puritans developed a surprisingly rich--and recreational--musical culture. At the same time, the Regular Singing Movement attempted to reduce the role of the clergy in religious services. More of a cultural examination than a music theory book, this work provides vastly informative narrative chapters on early American music and its role in colonial and Revolutionary culture. Chapter bibliographies, a timeline, and a subject index offer additional resources for readers.

The "American History through Music" series examines the many different types of music prevalent throughout U.S. history, as well as the roles these music types have played in American culture. John Ogasapian's volume on the Colonial and Revolutionary period applies this cultural focus to the music of America's infancy and illuminates the surprisingly complex relationships in music of that time.

In this exciting new study of a largely overlooked but nevertheless extremely important figure in American music, author Allen Cohen explores the relationship between theory and practice in the works of Howard Hanson, a prominent twentieth-century composer, conductor, and educator. In Hanson's book Harmonic Materials of Modern Music, he proffered a theory of classification of all possible pitch-class collections in the chromatic scale, showing ways of deriving larger collections from smaller ones, and demonstrating significant relationships among them. This theory anticipated in many ways the standard formulations of music set theory, while also influencing Hanson's own compositions. Following an introduction and biographical overview, Howard Hanson: Theory and Practice summarizes its subject's theoretical writings, examines their usefulness for both musicologists and composers, and analyzes in particular two of Hanson's musical pieces. In this way, Howard Hanson represents an exciting and highly educational look at a man and his work, both unacknowledged for too long.

It seems excessive…but that doesn’t mean it didn’t happen. The mass of black curls. The top hat. The cigarette dangling from pouty lips. These are the trademarks of one of the world’s greatest and most revered guitarists, a celebrity musician known by one name: Slash. Saul “Slash” Hudson was born in Hampstead to a Jewish father and a black American mother who created David Bowie’s look in The Man Who Fell to Earth. He was raised in Stoke until he was 11, when he and his mother moved to LA. Frequent visitors to the house were David Bowie, Joni Mitchell, Ronnie Wood and Iggy Pop. At this time Slash got into BMX bikes and would eventually turn professional, winning major awards and money, but at 15 his grandmother gave him his first guitar. Sessions with numerous local LA rock bands followed until a fateful meeting with singer W Axl Rose…and the rest was rock history. Guns N’ Roses spent two years builiding their reputation before Appetite for Destruction was unleashed on an unsuspecting world. Chart success and global domination followed but with it came the inevitable fall – addicted to heroin, booze and cigarettes the band imploded in a rift between Axl and Slash that is as deep today as ever. But with a new wife, kids and new band Velvet Revolver, Slash is back on track. As raucous and edgy as his music, Slash sets the record straight and tells the real story as only Slash can.

The Jacksons: Legacy is the first ever official book on the the Royal Family of Pop. This major volume reveals the untold, unseen and utterly unforgettable story behind the legend that is the Jacksons. Four specially commissioned chapters deftly weave together an unprecedented 12 days’ worth of exclusive interviews with the brothers, recounted in their own words, with contributions from key players throughout their careers. The compelling tale unfolds from their childhood days living at 2300 Jackson Street in Gary, Indiana, through the years signed to Motown as the Jackson 5, their radical move to Epic as The Jacksons, the blossoming of their solo careers, the dizzying successes of the Victory tour, and right up to the present day. During unrivalled access to the family archives as well as the private collections of Jackie, Marlon and Tito Jackson, bespoke photography captures a multitude of never-before-seen images, rarities and personal possessions. The result is a mind-blowing collection of visual material: intensely personal family pictures; all-angle shots of the first guitars the boys ever held; top photographer Harrison Funk’s exclusive coverage of their professional lives; photos of Michael Jackson on tour with his brothers during the release of Off The  Wall (1979) and the 1982 phenomenon that was Thriller – the best-selling album of all time; editions of teen and black culture magazines featuring the family; and official merchandise, right down to Jacksons-branded breakfast cereal boxes with giveaway 7” records attached. Published to coincide with their 50th anniversary, The Jacksons: Legacy is the definitive behind-the-scenes chronicle of the Jacksons’ lives and careers, celebrating 50 years of one of the greatest acts of all time.

for SSAATTBB unaccompanied Commissioned by Sonoro for the second instalment of their Choral Inspirations project, McDowall has composed Crucifixus Reimagined as a response to Lotti's Crucifixus from Credo in F. Use of suspensions, decorated melodies, and counterpoint feel reminiscent of Lotti's original work, while retaining McDowall's distinctive contemporary style.

A NEW YORK TIMES BESTSELLER This "beautiful tribute to a legendary artist" (Quincy Jones) is the first in-depth biography of Nipsey Hussle, the hip-hop mogul, artist, and activist whose transformative legacy inspired a generation with his motivational lyrics and visionary business savvy-before he was tragically shot down in the very neighborhood he was dedicated to building up. For Nipsey Hussle, "The Marathon" was more than a mixtape title or the name of a clothing store; it was a way of life, a metaphor for the relentless pursuit of excellence and the willpower required to overcome adversity day after day. Hussle was determined to win the race to success on his own terms, and he wanted to see his whole community in the winner's circle with him. A moving and powerful exploration of an extraordinary artist, The Marathon Don't Stop places Hussle in historical context and unpacks his complex legacy. Combining on-the-ground reporting and candid interviews, "Rob Kenner has given us the book the world-and hip-hop and pop culture-has been waiting for...one that should be celebrated alongside the best biographies ever about iconic figures we have loved-and lost" (Kevin Powell, author of When We Free the World).

How and why was outdated racial content - and specifically blackface minstrelsy - not only permitted, but in fact allowed to thrive during the 1930s and 1940s despite the rigid motion picture censorship laws which were enforced during this time? Introducing a new theory of covert minstrelsy, this book illuminates Hollywood's practice of capitalizing on the Africanist aesthetic at the expense of Black lived experience. Through close examination of the musicals made during this period, this book shows how Hollywood utilized a series of covert "guises" or subterfuges-complicated and further masked by a film's narrative framing and novel technology to distract both censors and audiences from seeing the ways in which they were being fed a nineteenth-century White narrative of Blackness. Drawing on the annals of Hollywood's most popular and its extremely rare films, Behind the Screen uncovers a half century of blackface application by delicately removing the individual layers of disguise through close analyses of films which paint tap dance, swing, and other predominantly Africanist forms in a negative light. This book goes beneath the image of recognizable White performers including Al Jolson, Eddie Cantor, Fred Astaire, and Eleanor Powell, exploring the high cost of their onscreen representational politics. The book also recuperates the stories of several of the Black artists whose labor was abused during the choreographic and filming process. Some of the many newly documented stories include those of The Three Chocolateers, The Three Eddies, The Three Gobs, The Peters Sisters, Jeni Le Gon, and Cora La Redd. In stripping away the various disguises involved during Hollywood's Golden Age, Behind the Screen recovers the visibility of Black artists whose names Hollywood omitted from the credits and whose identities America has written out of the national narrative.

When Bob Dylan picked up a silver cross thrown on stage and found Christianity in the late Seventies, it ended a search that had begun when his life crashed to a halt in 1966. According to Dylan, the turning point came one night in late 1978 when he received a "vision and a feeling." Dylan later said, "Jesus put his hand on me. It was a physical thing. I felt it. I felt it all over me. I felt my whole body tremble. The glory of the Lord knocked me down and picked me up." That search makes sense of his John Wesley Harding album and the following 12 years.

No less than a decade ago, the majority of mainstream music was funneled through a handful of media conglomerates. But now more individuals are listening to more music from a greater variety of sources than at any time in history. "Ripped "tells the story of how the laptop generation created a new music industry, with fans and bands rather than corporations in charge. In this new world, bands aren't just musicmakers but self-contained multimedia businesses; and fans aren't just consumers but distributors and even collaborators. Since this digital revolution hit the music industry, its infiltration into every other form of media has been well documented, if often not well understood. "Ripped "brilliantly illustrates how, when, and where the changes happened first and leaves us with an understanding of how to move forward.

This early collection of English hymns is both expensive and hard to find in its first edition. It contains a large number of hymns for the Christian calendar complete with sheet music melodies and lyrics. This is thoroughly recommended for anyone with an interest in the Christian musical tradition. Many of the earliest books, particularly those dating back to the 1900s and before, are now extremely scarce. We are republishing these classic works in affordable, high quality, modern editions, using the original text and artwork

'Once you start reading this utterly fascinating book it is nigh impossible to put it down ... This is a gem' Dame Evelyn Glennie Vic Tandy was a level-headed scientist, but there was no denying it: at this late hour in his lonely lab at Coventry University, he kept seeing a grey apparition out of the corner of his eye. Bathed in a cold sweat, his heart pounding in his chest, he questioned his own rational mind - could this really be a supernatural encounter? What on Earth could be sending such an eerie shudder through his body? Strange frequencies are all around us - in fact, there may be no limit to the marvellous power of vibration. So catch a wave with musical adventurer Richard Mainwaring and take a wild ride across the keys of his infinite piano. Along the way, you'll join the quest for the world's loneliest whale, whose tragically out-of-tune song has haunted oceanographers for decades. You'll discover what strange melodies are hidden in rats' whiskers and rainbows. And you'll find out how vibrations good and bad govern more or less everything around you.