Ewe dance-drumming has been extensively studied throughout the history of ethnomusicology, but up to now there has not been a single study that addresses Ewe female musicians. James Burns redresses this deficiency through a detailed ethnography of a group of female musicians from the Dzigbordi community dance-drumming club from the rural town of Dzodze, located in South-Eastern Ghana. Dzigbordi was specifically chosen because of the author's long association with the group members, and because it is part of a genre known as adekede, or female songs of redress, where women musicians critique gender relations in society. Burns uses audio and video interviews, recordings of rehearsals and performances and detailed collaborative analyses of song texts, dance routines and performance practice to address important methodological shifts in ethnomusicology that outline a more humanistic perspective of music cultures. This perspective encompasses the inter-linkages between history, social processes and individual creative artists. The voices of Dzigbordi women provide us not only with a more complete picture of Ewe music-making, they further allow us to better understand the relationship between culture, social life and individual creativity. The book will therefore appeal to those interested in African Studies, Gender Studies and Oral Literature, as well as ethnomusicology. Includes documentary on the downloadable resources.

'An entertaining first-hand account of pure rock 'n' roll madness.' The Daily Telegraph 'Hundreds of exclusive photos and brilliant one-liners make for a sensational read.' the Sun 'We are the biggest band in Britain of all time, ever. The funny thing is, all that fucking mouthing off three years ago about how we were going to be the biggest band in the world - we actually went and did it.' Noel Gallagher Oasis are one of the biggest bands the world has ever seen. Here, in Supersonic, they tell the story of their beginnings from dive-bar hopefuls to global superstars. They themselves talk us through the pivotal moments in their phenomenal trajectory, from the day Noel Gallagher joined his brother Liam's band, through their first crucial five years culminating at their landmark gigs at Knebworth Park in 1996 - the pinnacle of their success. With over thirty hours of interviews with Liam, Noel and those closest to them, this book documents in unprecedented depth and with their trademark candour and humour, the story behind one of the world's greatest bands, all told in their own words and fully illustrated with exclusive photographs and ephemera throughout.

Sounds of the Pandemic offers one of the first critical analyses of the changes in sonic environments, artistic practice, and listening behaviour caused by the Coronavirus outbreak. This multifaceted collection provides a detailed picture of a wide array of phenomena related to sound and music, including soundscapes, music production, music performance, and mediatisation processes in the context of COVID-19. It represents a first step to understanding how the pandemic and its by-products affected sound domains in terms of experiences and practices, representations, collective imaginaries, and socio-political manipulations. This book is essential reading for students, researchers, and practitioners working in the realms of music production and performance, musicology and ethnomusicology, sound studies, and media and cultural studies.

A landmark collection of over 200 complete musical compositions and movements, ranging from the Middle Ages to the present, ANTHOLOGY FOR MUSICAL ANALYSIS, International Edition offers first- and second-year music theory students a wealth of illustrations of chords, voice-leading techniques, and forms, plus some material for figured-bass realization and score reading. Because this book takes no theoretical position, it is adaptable to any theoretical approach and to any type of curriculum, including those that combine theory study with music literature and the history of musical style.

The One Night Stand Series broadcasts from 1943 to 1965 made the United States Armed Forces Radio Service the biggest music producer the world has ever known. Played over both military and civilian radio stations in many countries, most Armed Forces Radio Service rebroadcasts were sheer entertainment but they kept memories of home alive for American Service men and women around the globe. The 30-minute One Night Stand transcriptions included live broadcasts or remotes from all the popular ballrooms and hotels in the United States. Every type of band such as Hawaiian, Latin, novelty, sweet, dance, swing, jazz, large, small, black, and white was represented. Found here is the Regular Series up to 1001--to round off a mastering week. The Fill Series and the Popular Music Replacement Series, also found here, ran concurrently with the main series. A small number of transcriptions missing from the official libraries have not been included but otherwise compilers Harry Mackenzie and Lothar Polomski have gathered together every available shred of information for this exhaustive volume. Besides a history of the Armed Forces Radio Service and the Regular, Fill, and Popular series, the book contains a list of unidentified programs, five separate appendixes, and two indexes. The book begins with an extensively researched history of the Special Service Division of the Armed Forces that oversaw the production of the transcribed broadcasts and facilitated their distribution globally. Included here is a detailed discussion of the methods and materials of transcription and reproduction as well as a history of the American Forces Network: its spread and current status. Then follow the discographies for the Regular Series, Fill Series, Popular Music Replacement Series, and Unidentified Programmes. Five appendixes contain information such as location addresses, a directory of bandleaders, themes, and commercial issues by country of origin. There are also two separate band indexes. This is a singular reference for anyone seeking information about the music of the World War II and post-war eras.

From the very beginning, the blues has had a close connection with the LGBTQ community. There is a long and decorated history of so-called 'dirty blues' songs, stretching back beyond the earliest attempts to capture the blues on record. The 1920s and 30s saw the release of dozens of raunchy, bawdy blues recordings aimed at a knowing LGBTQ audience. Queer Blues tells the story of the pioneering LGBTQ composers and entertainers that wrote, performed and recorded these wonderfully outlandish, life-affirming songs and chronicles, including: Bessie Smith, Ma Rainey, Josephine Baker to Frankie 'Half-Pint' Jaxon and many more. This is the definitive account of the LGBTQ trailblazers of early blues and a fascinating consideration of the intersection between music and LGBTQ history, from the award-winning Darryl W. Bullock.

One of Britain's best-loved and most successful fanzines, Jamming! documented the musical landscape as it evolved between 1977 and 1986. Fully illustrated throughout, The Best of Jamming! includes numerous stand-out pieces from the zine's impressive 36 issue-run, from early features on The Jam, The Smiths, Run-D.M.C, Cocteau Twins and The Beat, to surprise exclusive interviews with Paul McCartney, U2 and Pete Townshend. Personal letters from Mark E. Smith, Paul Weller and others appear alongside arts, sports and politics features, poetry and a Foreword by Billy Bragg. Having guided Jamming! from a 6-page school publication to a nationally distributed monthly, editor Tony Fletcher provides behind-the-scenes insights, while musicians and former contributors reflect on their interviews and Jamming!'s long-lasting influence. An immensely evocative read, The Best of Jamming! perfectly encapsulates the excitement and unprecedented potential of the DIY era.

A rich and informative look at the experiences of composers working under high pressure in the US film industry, The Hollywood Film Music Reader brings readers from film's earliest days to the modern blockbuster era. Beginning with the origins of movie music in the heyday of silent film, the book traces film music's progress through Hollywood's so-called Golden Age to changes in musical styles and working practices from the 1960s to the present. Also included are vivid first-hand accounts from composers such as George Antheil, Elmer Bernstein, Aaron Copland, Adolph Deutsch, Jerry Goldsmith, Bernard Herrmann, Henry Mancini, Thomas Newman, Andr Previn, David Raksin, Mikl?'s R zsa, Max Steiner, Dimitri Tiomkin, Franz Waxman, and John Williams, along with testimonies from composers working in animation and documentary film. The book concludes with a section of criticism and commentary, including an essay on film music by Sidney Lumet and Igor Stravinsky's provocative views on the subject.

A history of the Academy of St Martin in the Fields - one of the most celebrated chamber orchestras in he world.

Juby Mayet was a force of life. Her autobiography takes us from life as a youngster growing up in Fietas, Johannesburg, through marriage, life as a ‘girl reporter’ for first The Golden City Post, then Drum magazine, and on through apartheid and her resistance to it.

Written in her inimitable style, thumbing a nose always at convention or those in authority, it gives a unique insight into one of the only women writers at Drum – and one who could drink just as hard as Can Themba or Nat Nakasa.

Popular and multimodal forms of cultural products are becoming increasingly visible within translation studies research. Interest in translation and music, however, has so far been relatively limited, mainly because translation of musical material has been considered somewhat outside the limits of translation studies, as traditionally conceived. Difficulties associated with issues such as the 'musicality' of lyrics, the fuzzy boundaries between translation, adaptation and rewriting, and the pervasiveness of covert or unacknowledged translations of musical elements in a variety of settings have generally limited the research in this area to overt and canonized translations such as those done for the opera.

Yet the intersection of translation and music can be a fascinating field to explore, and one which can enrich our understanding of what translation is and how it relates to other forms of expression. This special issue is an attempt to open up the field of translation and music to a wider audience within translation studies, and to an extent, within musicology and cultural studies.

The volume includes contributions from a wide range of musical genres and languages: from those that investigate translation and code-switching in North African rap and rai, and the intertextual and intersemiotic translations revolving around Mahler's lieder in Chinese, to the appropriation and after-life of Kurdish folk songs in Turkish, and the emergence of rock'n roll in Russian. Other papers examine the reception of Anglo-American stage musicals and musical films in Italy and Spain, the concept of 'singability' with examples from Scandinavian languages, and the French dubbing of musical episodes of TV series. The volume also offers an annotated bibliography on opera translation and a general bibliography on translation and music.

RUSS DiBELLA is a leisure-pursuit writer and musician with a Bachelor of Arts degree in Communications / Journalism from Glassboro State College (now Rowan University). As an avid reader and writer who has written everything from inspired works of poetry, prose and song lyrics to the more unyielding requirements of professional documents and freelance feature articles (with a concentration on concert reviews) during the past twenty-five years, he offers this first book as a culmination of all his writing experiences to date. Professionally, DiBella has been in outside sales for nearly twenty years and resides in Southern New Jersey with his wife and twin daughters.

This volume collects twenty of Lawrence Kramer's seminal writings on art song (especially Lieder), opera, and word-music relationships. All examine the formative role of culture in musical meaning and performance, and all seek to demonstrate the complexity and nuance that arise when words and music interact. The diverse topics include words and music, music and poetry, subjectivity, the sublime, mourning, sexuality, decadence, orientalism, the body, war, Romanticism, modernity, and cultural change. Several of the earlier essays have been revised for this volume, which also contains a preface by the author and a foreword by Richard Leppert. The volume should be essential reading for scholars, students, performing musicians, and other music-lovers interested in musicology, word-music relationships, cultural studies, aesthetics, and intermediality.

Explore the chords, rhythms, and techniques used by the greatest funk keyboardists!

Subjects covered include: common chords and progressions; classic funk rhythms, licks and patterns; synth bass & multiple keyboard playing; and pitch wheel and modulation.

The accompanying audio includes 81 full-band tracks. The audio is accessed online using the unique code inside each book and can be streamed or downloaded.

The audio files include PLAYBACK+, a multi-functional audio player that allows you to slow down audio without changing pitch, set loop points, change keys, and pan left or right.

Alongside readings of modern novels (including work by David Mitchell, Zadie Smith, Jackie Kay and Andrew O'Hagan), Gerry Smyth offers an extended theoretical analysis of the relationship between music and fiction, as well as a critical overview of the role played by music in the canon of British fiction since the eighteenth century.

Bing Crosby recorded nearly 2,000 songs, appeared in more than 100 films, starred in radio shows for nearly 30 years, and remained a hit on television for 25 years. He produced the best-selling record of all time, was the nation's leading film star for a record five years, and was voted one of the most influential Americans of the century by LIFE magazine. This book is a detailed guide to Crosby's fascinating life and career. A biography that overviews and discusses the most important events, influences, and achievements in Crosby's life. The chapters that follow present a full record of his work in film, radio, and the recording industry. Each chapter is devoted to his work in a particular medium, and individual entries for each of his performances describe his work and comment upon it. An extensive bibliography lists books and articles about Crosby, and many entries assess the value of these works.

SINGER AND ACCOMPANIST The Performance of Fifty Songs SINGER AND ACCOMPANIST The Performance of Fifty Songs by GERALD MOORE METHUEN CO. LTD. LONDON 36 Essex Street, Strand, W. C. 2 To ENID PREFACE IT has not been my intention in the following pages to attempt critical analyses of the fifty songs under review although an analytical note may occasionally have crept in but rather to explain how the execu tants might sing and play them above all to suggest lines they could think along when practising, rehearsing, and performing them. I hope the word suggest 5 will be noted. I have used it advisedly for there are many roads to heaven and while I am confident that my road will not lead to destruction, I do not claim that it is the only way. Let him who disagrees with my ideas make his own investigation and find out what suits him best. I shall be happy if this book has this stimulating effect. I believe that equal consideration has been given to the two partners, but if more attention than is usual in a book on song interpret ation has been bestowed on the accompaniment I make no apology it has been done for the good of the song and should prove of ultimate benefit to the singer. There is no law, human or divine said Ernest Newman in 1907, c to compel the composer to limit his expressiveness to the voice alone. The Schubert, Wolf, Faure songs to mention three composers at random included here can be called great songs. To the question What are Beethovens Mailied, Rachmaninoffs Spring Waters, Hahns Offrande doing in such distinguished company 5 I would answer that the first song presents difficulties to the singer a the second teases the pianist, while the Hahn song is intriguing if only forits wide dissimilarity to the undeniably finer settings of the same poem by Debussy and Faur6. The only rule I observed when selecting my fifty songs was that they should be interesting interesting either for their intrinsic worth or for the problems they pose for the singer or the accompanist or both partners. The reader who is indulgent enough to imagine there is any benefit to be reaped by a study of this book, should dip into it rather than attempt to read it steadily from cover to cover. Let him see which of these songs he possesses and then after numbering the bars on his score to help him follow me on my wanderings through the song have his music beside him as he reads. He will thus be in a much better vii Vlll SINGER AND ACCOMPANIST position to laugh with me or at me to see how unerringly I hit the nail on the head or how lamentable is my aim. To two great friends I would like to express my deep gratitude to Mr. L. A. G. Strong for his encouragement and patience ever since he approached me with the idea of this book, and to Mr. Alec Robertson for his invaluable and constructive criticism on its completion. ACKNOWLEDGEMENTS i WISH to express my thanks to Miss Astra Desmond and to Messrs. Richard Capell, Martin Cooper, and Ernest Newman for permission to quote from their writings to Mr. G. Bernard Brophy for his trouble and kindness in the selection of gramophone records to Noel Douglas Ltd., publishers, for allowing me to reprint the excerpt from Monsieur Croche 5 and finally to all the publishers enumerated at the end of each song for their generous co-operation in allowing me to reprint so many musical illustrations. London 1953 G. M...

As the Material Girl, Eva Peron in Evita, and most recently, queen of the disco floor, Madonna's transformations and assumed identities keep her fans wanting more. She has inspired university professors and cultural critics to enshrine her as a postmodern icon. Known for her persona as much as for her music, Madonna has stirred controversy through her use of religious and sexual depictions in her songs, music videos, concerts, and in one notorious publication. This biography traces Madonna's ambitious journey from a Midwest upbringing as part of a large family to achieving fame on a global scale. It also brings readers up to date on her latest incarnation as a wife and mother, living on a country estate in England. Students researching cultural studies topics will accurate information on the musician's life and body of work, as well as critical commentary on her impact and lasting significance as one of the most influential female entertainers of our time. She has been the subject of countless magazines and newspaper stories around the world, whether for her sold-out concerts or as an advocate for Kabbalah, the spiritual movement rooted in Jewish mysticism. This book shares her story and provides a way to consider the influence Madonna has had through her ever-evolving career in shaping our popular culture. A timeline of significant events and a bibliography of print and electronic sources for additional research round out this volume.

The author has always thought that poems should be written in a manner that is readable and understood at all levels of education. Furthermore, he believes they should contain a message that induces the reader to think on aspects of life outside his/her own sphere of activity, as well as gaining some pleasure when so doing. For poetry (as is the case in the majority of modern poetry) to consist of a conglomeration of words that do not correlate makes the author think that the poet is sometimes misguidedly interested in proving that the poet should be regarded as some special brand of intelligentsia. For him that is talent wasted. The poems presented in this volume are eminently readable and express meaning and feeling directly and honestly. As for Lyrics

Jim Simpson of Big Bear Records has been involved in the music business for nearly 60 years, as musician, bandleader, promoter, record producer, festival director, manager, journalist and photographer. In his candid, constantly surprising, frequently amusing and occasionally shocking account you will encounter the joys and difficulties of managing Black Sabbath or of running a jazz festival in sun-kissed, crime-ridden Marbella. At home in Birmingham meet some of the characters who have enlivened 35 years of the Jazz Festival and read Jim's take on the scandals that closed the city’s premier jazz club. Revisit the exciting Brum Beat scene, take to the road with some 40 of the best (in some cases, most eccentric) American bluesmen of the 1970s, encounter the Blues Brothers Band in surprising places and enjoy Jim's tributes to some of the great names in British jazz, such as Humphrey Lyttelton and Kenny Baker, with whom he worked closely.

As a sociologist Simon Frith takes the starting point that music is the result of the play of social forces, whether as an idea, an experience or an activity. The essays in this important collection address these forces, recognising that music is an effect of a continuous process of negotiation, dispute and agreement between the individual actors who make up a music world. The emphasis is always on discourse, on the way in which people talk and write about music, and the part this plays in the social construction of musical meaning and value. The collection includes nineteen essays, some of which have had a major impact on the field, along with an autobiographical introduction.

While many dream of a career as a singer/songwriter, few know how to go about getting bookings, copywrighting and protecting their songs, making promotional recordings, getting radio and print coverage and negotiating contracts for appearances. This book covers all of these topics and more, aimed at everyone from the absolute beginner to the more seasoned performer, to help them avoid the common pitfalls and problems encountered along the road to success.

The authors draw on years of experience as songwriters and performers. They have conducted interviews with many singer/songwriters who share their experiences, both good and bad, as they've worked their way up from local gigs to full-time careers. Throughout, practical tips are highlighted and real-life stories help illuminate common issues faced by all performers/songwriters.

First published in 2006. Routledge is an imprint of Taylor & Francis, an informa company.