For centuries, the rite of the tarantula was the only cure for those 'bitten' or 'possessed' by the mythic Apulian spider. Its victims had to dance to the local tarantella or 'pizzica' for days on end. Today, the pizzica has returned to the limelight, bringing to the forefront issues of performance, gender, identity and well-being. This book explores how and why the pizzica has boomed in the Salento and elsewhere and asks whether this current popu- larity has anything to do with the historic ritual of tarantism or with the intention of recovering well-being. While personal stories and experiences may confirm the latter, a vital shift has appeared in the Salento: from the confrontation of life crises to the vibrant promotion and celebration of a local sense of identity and celebrity.

This biography of the musician Franz Liszt contributes to our understanding of national identity formation and its interaction with cosmopolitanism. Liszt exemplified the nineteenth-century quest for subjective definition and fulfillment. Seeking to gain agency, authority, and community, Liszt experimented with various subject positions from which to forward his goals. The stances he selected, anchored in ideas about nation, religion, and art, allowed him to retain his cosmopolitan sensibility while making specific aesthetic and creative claims. Quinn's analysis of Liszt's correspondence and musical criticism, as well as of contemporary reviews of his performances, compositions, and essays, demonstrates the lack of a nationalist exclusivity in Liszt's life was a historical phenomenon rather than a personal quirk as previous scholarship has often claimed.

Contents Include: Trial by Jury - The Sorceror - H.M.S. Pinafore; or The Lass that Loved a Sailor - The Pirates of Penzance, or The Slave of Duty - Patience; or Bunthorne's Bride - Iolanthe; or The Peer and the peri - Princess Ida, or Castle Adamant - The Mikado, or the Town of Titipu - Ruddigore, or The Witch's Curse - The Yeoman of the Guard, or The Merryman and his Maid - The Gondoliers, or The King of Barataria - Utopia Limited, or the Flowers of Progress - The Grand Duke, or the Statutory Duel

The first comprehensive overview of contemporary inspirational music, covering its historical roots and dramatic growth into one of America's most vital music genres. The Encyclopedia of Contemporary Christian Music: Pop, Rock, and Worship is the first comprehensive reference work on a form of American music that is far more popular than nonfans may realize. It fills a major gap in the literature on American music and Christian culture, looking at this increasingly popular genre in the context of the overall history of religious music in the United States. With over 200 entries, The Encyclopedia of Contemporary Christian Music covers important performers and industry figures, songs and albums, concerts and festivals, the rise of Christian radio and television, and other issues related to the growth of inspirational music. Scholars and fans alike will find a wealth of revealing information and insightful coverage illustrating the influence of gospel on modern American music with musicians such as Elvis, Sam Cooke, Johnny Cash, Bob Dylan, and U2.The work also examines the use of fundamental rock, pop, and rap music templates in the service of songs of faith.

This guide to the biographical literature available on popular 20th-century singers covers nearly 1000 artists. Much of the literature cited is also cross-referenced to major biographical dictionaries, encyclopedias, and relevant periodicals. Entries not only list known publications associated with popular singers but also incorporate elements of analytical and descriptive bibliography. The artists included in this volume increasingly cross musical boundaries. The popular singer category, therefore, encompasses Broadway, Hollywood, cabaret, and operetta performers as well as recording artists.

Scholars of popular music and popular music enthusiasts will appreciate the extensive research this work embodies. Divided among three sections, citations are arranged alphabetically and include information about literature published through 1997. An appendix of additional artists and an index complete the volume.

Wolfgang Amadeus Mozart es la expresion, no de una personalidad aislada, sino de un ambiente. Es el ejemplo de la expresion natural, la manifestacion del espiritu, espontanea y sin el menor rebuscamiento o alteracion. No hay problema revolucionario en la obra de Mozart. La rebeldia de Beethoven, el erotismo de Wagner, la religiosidad de Juan Sebastian Bach, la caracterologia de Ricardo Strauss, la languidez romantica de Chopin, la filosofia dubitativa de Schumann, contrastan con la fluidez del pensamiento y de la emocion de Mozart, todos ellos llevan el dolor en el parto, el sentimiento propio sufre los mas crueles tormentos. Hay en ellos la excelsitud de la creacion y la vulgaridad de la frase. Instantes en que los soles presentan la majestuosidad de la idea con significativa y desbordante claridad. Adalberto Garcia de Mendoza

It is easy to condemn hip-hop for the condition of our society, but as we condemn our own young people for being who they are, what role do we play in making them who they are, and what do we have to offer them as an alternative to who they are? Hip-Hop Is Not Our Enemy is an insider's critique of the Black church's role and responsibility in co-opting hip-hop culture. It is written by a Black Baptist Pastor who survived a church split that occurred because of his dedication to co-opting hip-hop culture. The final chapter serves as a how-to guide to preparing a sermon that will connect with the hip-hop generation.

One of the first psychedelic jam bands in America, the Grateful Dead got their start in 1960s San Francisco and quickly became one of the most popular and iconic musical groups to date, with adoring fans still worshipping Garcia and crew long since the bands final act. Deadheads and music junkies will take a long, strange trip through over 400 questions about the band, from their roots in the California music scene to their lasting popularity today.

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.

No friction among generations has been as extreme, volatile, and destructive as the present one between the Civil Rights generation and the hip-hop generation. Throughout the 1950s and 60s, the Black church stood as the stronghold of the Black community, fighting for equality and economic self-sufficiency, and challenging its body to be self-determined and self-aware. Hip-hop culture grew from disenfranchised urban youth who felt that they had no support system or resources. Impassioned with the same urgent desires for survival and hope that their parents and grandparents had carried, these youth forged their way from the bottom of America s belly one rhyme at a time. For many young people, hip-hop culture is a supplement, or even an alternative, to the weekly dose of Sunday morning faith.In this collection of provocative essays, leading thinkers, preachers, and scholars from around the country challenge both the Black church and the hip-hop generation to realize their shared responsibilities to one another and to the greater society. Arranged into three sections, this volume addresses key issues in the debate between two of the most significant institutions of Black culture. The first section, From Civil Rights to Hip Hop, explores the transition from one generation to another through the transmission or lack thereof of legacy and heritage. Section two, The Black Church and Hip Hop in Dialogue, explores the numerous ways in which the conversation is already going on from sermons to theoretical examinations and spiritual ponderings. Section Three, Gospel Rap, Holy Hip Hop, and the Hip-Hop Matrix, clarifies the perspectives and insights of practitioners, scholars, and activists who explore various expressions of faith and the diversity of locations where these expressions take place.In The Black Church and Hip-Hop Culture, pastors, ministers, theologians, educators, and laypersons wrestle with the challenging duties of providing timely commentary, critical analysis, and in some cases practical strategies towards forgiveness, healing, restoration, and reconciliation. With inspiring reflections and empowering commentary, this collection demonstrates why and how the Black church must re-engage in the lives of those who comprise the hip-hop generation.

This groundbreaking book shows for the first time the profound and transformative influence of American literature, music, and mythology on European music. Although the impact of the European tradition on American composers is widely acknowledged, Jack Sullivan demonstrates that an even more powerful musical current has flowed from the New World to the Old. The spread of rock and roll around the world, the author contends, is only the latest chapter in a cross-cultural story that began in the nineteenth century with Gottschalk in Paris and Dvorak in New York. Sullivan brings popular and canonical culture into his wide-ranging discussion. He explores the effects on European music of American authors as diverse as Twain, DuBois, Melville, and Langston Hughes, examining in particular Dvorak's fascination with Longfellow, the obsession of Debussy and Ravel with Poe, and the inspiration Whitman provided for Holst, Vaughan Williams, and dozens more. Sullivan uncovers the African American musical influence on Europe, beginning with spirituals and culminating in the impact of jazz on Stravinsky, Bartok, Walton, and others. He analyzes the lure of Hollywood and Broadway for such composers as Weill, Korngold, and Britten and considers the power of the American landscape-from the remoteness of the prairie to the brutal energy of the American city. In European music, Sullivan finds, American culture and mythology continue to resonate.

A frenetic, gonzo account of Britney Spears’s historic rise and equally tragic fall told by an iconoclastic music journalist.

America, 2003: A country at war, its shiny veneer beginning to crack. Von Dutch and The Simple Life dominate. And on the cover of every magazine, a twenty-one-year-old pop star named Britney Spears. Tracking her every move for a third-tier gossip rag in Los Angeles was an unknown young writer taking whatever job he could while pursuing his distant literary dreams. He'd instead become an eyewitness to the slow tragedy of a changing nation, represented in spirit by “the coy it-girl at the end of history.”

Years later, after finally establishing himself as a celebrated journalist, Jeff Weiss presents Waiting for Britney Spears, a gonzo, nostalgic, and “allegedly true” recounting of his years as a tabloid spy in the lurid underbelly of Los Angeles. Weiss follows America’s sweetheart through Vegas superclubs and Malibu car chases, annulled marriages and soul-crushing legal battles, all the way to Britney’s infamous 2007 VMA performance. As Weiss lives through the chaos leading to Britney’s conservatorship, he observes, with peerless style, cringe-inducing fashion waves, destructive celebrity surveillance, and a country whose decline is embodied by the devastating downturn of its former golden child.

With the narrative flair that established him as a singular chronicler of modern pop culture, Weiss goes for broke in Waiting for Britney Spears, a descent into a neon hall of mirrors reflecting our obsession with fame, morality, and the mystery of what really happened to the last great pop star.

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THE SONGS OF HENRI DUPARC by Sydney Northcote Portrait of the Composer SYDNEY JiORTHCOTE D. Mm. Oxon. THE SONGS OF ENRI DUPARC ROY PUBLISHERS NEW YORK CONTENTS Preface 7 1. Introduction 13 2. Tlie Man 40 3. The Poets 59 4. The Songs 75 Chanson triste 77 Soupir 8 1 Le Galop 84 Au pays ou se fait la guerre 87 iJlnvitation au voyage 90 La vague et la cloche 94 Elegie 96 Extase 99 Le Manoir de Rosemonde 101 Serenade Jlorentine 103 PhidyU 105 Lamento 108 Testament no La Fie Anterieure 112 5. Epilogue 115 Bibliography and List of Gramophone Recordings 120 p r i i A n JL Jtv H Jc A L T JL . i H n IS is, so far as I know, the first book in English on the life and work of Henri Duparc. But it is intended to serve as an introduction to the study of his songs rather than as a full-length biography. For that would call for the intimate knowledge of someone like his sole surviving son, M. Henri Charles Duparc or his distinguished friend, M. P. de Breville or, as a beginning at any rate, the translation of Dr Charles Oulmonts Musique de Y amour To each of these I would here like to express my deepest obligations in the preparation of the present essay. The form of the book calls for very little explanation and, I hope, no apology. It is designed to fulfil a certain logical principle in die study of song the appreciation of the song writer as a musician and as a man, the study of his poets as poets and, finally, the critical and interpretative analyses of the songs themselves. That is what has been attempted here. Unfortunately, these are days when the study of song has been degraded by the clamour of vocal exhibitionism and the cult of popular modern perversions of the art. Too many singers demandthat a song shall suit them rather than that they should study it. And even when some kind of artistic interpretation is undertaken, too often it is a matter of personal sensationalism which reveals not the intrinsic truth of the song itself but the singers skill in the use of vocal cosmetics. Preface A song is only smaller-scaled but no less complex or pro found than a symphony. It Is not that it is merely the art of the miniaturist. Rather it is the aesthetic marriage of music and poetry and vocal vanity is no just impediment to that. Composers, students and singers alike have a joint responsi bility in preserving, unsullied, the history and traditions of the oldest phase of activity in the whole history of music. A few more acknowledgments must be noted. My grate ful thanks are due to M. Jacques Lerolle, the present publisher of Duparcs songs, Mrs Yolanda Duncan, Dr Thomas Walton and Mr Bruce Montgomery for their valuable in formation and guidance to my wife and my daughter, Sylvia, for their patient assistance. S. N. Croydon 1949 List of Illustrations 1. Portrait of the Composer Frontispiece in the possession of the author 2. Duparc on the couch where he passed his facing p 64 days 1932. From Musique de amour Charles Oulmont Vol. 2. Published Desclee de Brouwer et Cie, Paris. 3 . Facsimile page of PhidyU. facing p 106 From Mtisiciens frangais dAujourcfhui Octave Sere Pub. Mercure de France. Acknowledgments Thanks are due to Messrs Durand et Cie for permission to quote from le Galop, and to Messrs Rouart Lerolle et Cie for extracts from the rest of Duparcs works. None of the music in this volume may be used with out permission from die copyright owners. To YOLANDA and BRUCE for alltheir help and interest.

This book offers insights into the exciting dynamics permeating creative arts education in the Greater China region, focusing on the challenges of forging a future that would not reject, but be enriched by its Confucian and colonial past. Today's 'Greater China' - comprising China, Hong Kong, Macau and Taiwan - has grown into a vibrant and rapidly transforming region characterized by rich historical legacies, enormous dynamism and exciting cultural metamorphosis. Concomitant with the economic rise of China and widespread calls for more 'creative' and 'liberal' education, the educational and cultural sectors in the region have witnessed significant reforms in recent years. Other factors that will influence the future of arts education are the emergence of a 'new' awareness of Chinese cultural values and the uniqueness of being Chinese. "

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Over its eighty-year history, country music has evolved from little-known local talents to multimillion-dollar superstar musicians. In the 1920s, the first country music was broadcast from WSB radio in Atlanta and WBAP in Fort Worth, and the first records were recorded for Victor. In the 1930s, the first singing cowboys, among them Gene Autry and Roy Rogers, became film stars. After the war years, recordings boomed, and the Country Music Association was founded in 1958. Country music programs began on television with Porter Waggoner's program in 1960, followed by The Johnny Cash Show and Hee Haw. The Nashville Network channel was established in 1993, and from then on, the popular stars of country music have continued to break records, selling millions of copies of their albums. This book examines country music as it developed in regions throughout the United States, noting characteristics of its various subgenres such as bluegrass, honkytonk, and neotraditional music. It provides an indepth look at the people and events that have shaped the industry, and identifies the landmark recordings that old and new fans alike will want to add to their collections. Provides a detailed history of the following subgenres: hillbilly music, cowboy music, western swing, country rock, bluegrass, Nashville sound, and neotraditional, among others. Includes a chronology of country music and an extensive chapter of biographical sketches of all the major songwriters, musicians, and people in the industry.

."a timely book that.sets a standard for a new field of study and therefore deserves to be read widely. the volume's] contributions contain fascinating material for further study." . International Institute for Asian Studies Newsletter "Steven Brown and Ulrik Volgsten haveput together a valuable collection of essays on a consistently interesting theme. The book constitutes an important resource for the future development of this theme." . Music Perception ."fascinating and challenging.this book, illustrates the diversity, the depth and the potential of the field of the sociology of music. As much as these texts enlighten, they also highlight the vastness of the research yet to be conducted. However, this book is far more than just a compilation of papers presented at a conference, they are relevant discussions to anybody who turns on the radio, purchases or downloads a record or even sings a lullaby." . Leonardo Digital Reviews Since the beginning of human civilization, music has been used as a device to control social behavior, where it has operated as much to promote solidarity within groups as hostility between competing groups. Music is an emotive manipulator that influences attitude, motivation and behavior at many levels and in many contexts. This volume is the first to address the social ramifications of music's behaviorally manipulative effects, its morally questionable uses and control mechanisms, and its economic and artistic regulation through commercialization, thus highlighting not only music's diverse uses at the social level but also the ever-fragile relationship between aesthetics and morality. Steven Brown is a researcher in cognitive neuroscience in the Department of Psychology at Simon Fraser University in Vancouver, Canada. He received his doctorate at Columbia University in New York, and has done research at the Pasteur Institute in Paris, the Karolinska Institute in Stockholm, and the University of Texas Health Science Center in San Antonio. His research deals with the neural basis of human communication, including the arts. Ulrik Volgsten is a research fellow in the Department of Culture, Aesthetics and Media at Goteborg University in Sweden. He received his doctorate in the Department of Musicology at Stockholm University, and has published papers on both musical and philosophical topics. Volgsten's multidisciplinary research mainly focuses on human communication in different medi

In this collection of interviews, artists from various disciplines and in various stages of their careers discuss how they balance their art with the practical aspects of earning a living. They explore how this dichotomy, which affects them creatively, financially, spiritually, and professionally, can be both frustrating and nourishing. Some artists have managed to find art-related work to make ends meet. Others contemplate their dual role in both the artistic community and in the corporate or academic world. They discuss the role art plays in influencing social change and the role technology has played in revolutionizing the creation of art and its marketing and distribution.

These insights into how artists merge their creative life with their financial obligations will be useful to both instructors and students in the arts. Topics such as how artists have managed to acquire flexible work schedules and educational leave will also appeal to professional artists looking for employment suggestions or alternatives. Representative artists include painters, writers, musicians, dancers, actors, and performance artists.