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.

This book brings together a range of hip hop scholars, artists and activists working on Hip Hop in the Global North and South with the goal of advancing Hiphopographic research as a critical methodology with critical fieldwork methods that can provide a critical perspective of our world. The authors’ focus in this volume is to present an anthology of essays that expand the remit of Hiphopography as an approach to the study of Hip Hop that is not only sensitive to the social, economic, political and cultural lives of Hip Hop Culture participants as interpreters and theorists, but one that continues to humanize the “whole person� behind the decks, on the mic, rocking on the linoleum floor, painting in front of a wall, and seeking that Knowledge of Self. This book will be relevant to Hip Hop scholars in fields such as cultural studies and history, sociolinguistics, linguistic anthropology and ethnography, and race studies, while Hip Hop heads themselves will find parts of this book that represent their culture in ethical and informative ways.

"Music in Youth Culture" examines the fantasies of post-Oedipal youth cultures as displayed on the landscape of popular music from a post-Lacanian perspective. jagodzinski, an expert on Lacan, psychoanalysis, and education's relationship to media, maintains that a new set of signifiers is required to grasp the sliding signification of contemporary "youth." He discusses topics such as the figurality of noise, the perversions of the music scene by boyz/bois/boys and the hysterization of it by gurlz/girls/grrrls. "Music in Youth Culture "also examines the postmodern "fan(addict)," techno music, and pop music icons. jagodzinski raises the Lacanian question of "an ethics of the Real" and asks educators to re-examine "youth" culture.

Al Jolson, celebrated star of the worlds first talking picture and self-proclaimed Worlds Greatest Entertainer, blazed many trails through show business and today his name still conjures up the glamour of Broadway and the silver screen. This is the definitive biography of a man who became a household name in his own lifetime. The first to speak in the movies; the first to appear on American television; the first to release a long-playing record in Britain: this great performers achievements were unique. Jolsons lifelong love affair with his audience, his four marriages, his amazing ego, and his traumatic personal life all are described in detail, along with many anecdotes and reminiscences from those who knew, loved, and worked with him. This is the eighth edition of this biography published as a result of a clamour from Jolson fans to still be able to read about this remarkable performer. He personified show business in an age when people waited in line to be able to see t

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

Dedicated to Dr. Frank Damrosch EXERCISES IN ELEMENTARY COUNTERPOINT BY PERCY GOETSCHIUS, Mus. Doc. Royal JFurttemburz Professor Author cf The Mztifizl wed in Musicd Composition The Theory and Practice cf Tsne-Rflztions, The Hvmuphjnic Fwms cf Musical Cmtwitiun Models c the Principal Music Forms, Exercises in Mthdy Writing Applied Cwnterpoitt, Lessens in Music t ett. G. SCHIRMER, INC., NEW YORK COPYRIGHT, 1910 BY G. SCHIRMER, INC. COPYRIGHT RENEWAL ASSIGNED, 1938, To G. SCHIRMER, INC. 21946 Printed in the U, S. A. PREFACE. THE present volume is intended and expected to cover more ground than its title implies. In the authors mind it represents a course in Harmony, quite as much as in Counterpoint. It owes its inception to the authors often expressed conviction that these two courses of study cannot be separated and also to a constantly strength ening belief that the most rational, quickest and best way to acquire a thorough knowledge of the chords and their uses the recognized purpose of the study of Harmony is to begin with one part, to pass from that to two, from that to three, and thus gradually arrive at full four-part harmony. For this reason, an extensive preparatory knowledge of Harmony is not at all necessary, though a general knowledge of the chords will facili tate the study of this book, and is therefore recommended. Such general familiarity may be gained by the study of Part II of my Material, or Chapters III to XXX of my Tone-Relations. The full four-part texture, when approached in this way, as system atized in these chapters, will have developed itself naturally into Counter point and its acquisition will fully prepare the student to undertake the subsequent tasks inhomophonic and polyphonic composition. THE AUTHOR. NEW YORK, February, 1910. TABLE OF CONTENTS. SAGS INTRODUCTION. i Chapter L THE SINGLE MEIODIC LINE, STEPWISE PROGRESSIONS AND NAR ROW LEAPS S Exercise i 7 Chapter H. WIDER LEAPS 8 Exercise 2 n Chapter HI. EXCEPTIONAL PROGRESSIONS, AND THE MINOR MODE n Exercise 3 15 Chapter IV. THE ASSOCIATION OF Two MELODIC LINES. CORRESPONDING RHYTHM. FUNDAMENTAL INTERVALS. MAJOR MODE 15 Exercise 4 20 Chapter V. FUNDAMENTAL INTERVALS, MINOR MODE 22 Exercise 5 23 Chapter VI. EXCEPTIONAL INTERVALS 24 Exercise 6 28 Chapter VIL RHYTHMIC DIVERSITY. Two NOTES TO EACH BEAT 29 Exercise 7 36 Chapter VIE. MODULATIONS 37 Exercise 8 41 Chapter IX. THREE NOTES TO EACH BEAT 43 Exercise g 46 Chapter X. SYNCOPATION, OR SHITTED RHYTHM. TIES. Two AND THREE NOTES TO EACH BEAT 47 Exercise 10 50 Chapter XL THE TIE, CONTINUED. RESTS 51 Exercise n 56 Chapter XIE. FOUR NOTES TO EACH BEAT 57 Exercise 12 62 Chapter xm. FOUR NOTES TO EACH BEAT, AS AMPLIFIED FORMS 63 Exercise 13 7 TABLE OF CONTENTS PAGE Chapter XIV. DIVERSITY OF RHYTHMIC MOVEMENT IN THE Two PARTS 67 Exercise 14 73 -. u Chapter XV MOTIVE-DEVELOPMENT. IMITATION. THE SMALL INVENTION 73 Exercise 15 81 Chapter XVI. THREE-PART HARMONY, MELODY HARMONIZATION WITH PRI MARY CHORDS 83 Exercise 16 91 Chapter XVII. SECONDARY CHORDS. SEQUENCES 92 Exercise 17 94 Chapter XVDI. MODULATION, DIATONIC AND CHROMATIC. ALTERED SCALE STEPS 96 Exercise 18 99 Chapter XIX. CONTRAPUNTAL HARMONY, THREE PARTS. SIMPLE AND AMPLIFIED 101 Exercise 19 105 Chapter XX. THREE-PART COUNTERPOINT 106 Exercise 20 113 Chapter XXI. MOTIVE-DEVELOPMENT. THE SMALL INVENTION, THREE PARTS 114 Exercise 21 121 Chapter XXII. FOUR-PART HARMONY. MELODYHARMONIZATION. . PRIMARY AND SECONDARY CHORDS. SEQUENCES 122 Exercise 22 126 Chapter XXm, MODULATION 126 Exercise 23 131 Chapter XXIV. CONTRAPUNTAL HARMONY, FOUR PARTS. SIMPLE AND AMPLIFIED 132 Exercise 24 137 Chapter XXV. FOUR-PART COUNTERPOINT ANALYSIS 138 Exercise 25 p . 145 Chapter XXVL MOTIVE-DEVELOPMENT. THE SMALL INVENTION, FOUR PARTS 146 Exercise 26 149 APPENDIX 151 EXERCISES IN ELEMENTARY COUNTERPOINT INTRODUCTION. Music, theoretically considered, consists altogether of LINES OF TONE...

Contents Include: Part 1 The Technique of Conducting - The Beat - Starting position - Action - Gesture - "Getting Hold of the Orchestra" Change of Speed, Change of Time - Beginning a Piece of Movement - Pauses and Leads - Rehearsing - The Score and Parts - Concertos, Solos and Recitative - Arrangement of the Orchestra on the Platform, Customs, Pitch - Part 2 The Instruments of the Orchestra: The Constitution of the Orchestra - String Technique - Wind Instruments, Practical Acoustics - Wood-Wind Instruments - Brass Instruments - Reeds and Mouthpieces - Transposition - Wind Instruments - Part 3 - A Short History of Conducting - Vocabulary of Orchestral Terms - Bibliography: Historical: Conducting; Orchestration

The Routledge Companion to Interdisciplinary Studies in Singing, Volume I: Development introduces the many voices necessary to better understand the act of singing-a complex human behaviour that emerges without deliberate training. Presenting research from the social sciences and humanities alongside that of the natural sciences and medicine alike, this companion explores the relationship between hearing sensitivity and vocal production, in turn identifying how singing is integrated with sensory and cognitive systems while investigating the ways we test and measure singing ability and development. Contributors consider the development of singing within the context of the entire lifespan, focusing on its cognitive, social, and emotional significance in four parts: Musical, historical and scientific foundations Perception and production Multimodality Assessment In 2009, the Social Sciences and Humanities Research Council of Canada funded a seven-year major collaborative research initiative known as Advancing Interdisciplinary Research in Singing (AIRS). Together, global researchers from a broad range of disciplines addressed three challenging questions: How does singing develop in every human being? How should singing be taught and used to teach? How does singing impact wellbeing? Across three volumes, The Routledge Companion to Interdisciplinary Studies in Singing consolidates the findings of each of these three questions, defining the current state of theory and research in the field. Volume I: Development tackles the first of these three questions, tracking development from infancy through childhood to adult years.

"International Whos Who in Popular Music 2006" provides biographical details on some of the most talented and influential artists, as well as up-and-coming individuals from the world of popular music. International in scope, this new edition provides information on artists, varying from Eminem to Wynton Marsalis; Ray Davies to Talvin Singh.
Listed alphabetically by surname, entries provide full biographical profiles, including personal information, principal career details, recordings and compositions, and full contact details, where available. A directory section includes details of record companies, management companies and booking agents and promoters, music publishers, festivals and events, and other organizations in the popular music industry.
The careers of pop, rock, folk, jazz, dance, world and country music artists from around the world are profiled in this new edition. New artists are included, as well as established names in popular music. Entrants include Elvis Costello, Carlos Santana, Wayne Shorter, Dizzee Rascal, Gil Scott-Heron and Joss Stone.

• Over 6,000 alphabetically arranged entries
• Fully revised and updated for this 7th edition
• Spans the full range of popular music
• 
  

This book is the first rigourous and detailed exploration of exactly how blues singers used formulas to create songs, and it more than amply fills the gap in the the study of the blues, where the structure and content of the lyrics have been less fully explored than the musical form.

Focusing on the songs recorded by African-American singers for pre-World War Two commercial recording companies, this is an excellent structural analysis of the formulaic composistion of blues lyrics.

This book gives a step-by-step description of the rules implicit in this formulaic structure and inspires new discussion of lyric structures.

A wide array of readers will find this insightful and informative: from students of African-American music, cultural studies, history and linguistics, to Blues fans fascinated by exactly how the lyrics of this influential music style are written.

This book proposes that new music technologies attract unconscious desires for socialism and collectivity, enabling millions of people living under capitalism to dream of repressed social alternatives. Grounded in the philosophical writings of Ernst Bloch and Walter Benjamin, the book examines file sharing technologies, streaming services, and media players, as well as their historical antecedents, such as the player piano, cassette tape, radio and compact disc, alongside interpretations of fiction, memoir, and albums. Through the concept of wish images-the unconscious hopes and desires for social alternatives that gather around new technologies-the book identifies the repressed pre- and post-capitalist urges that attend our music technologies. While these desires typically remain unconscious and tend to pass away not only unmet but also unrecognized, Hope and Wish Image in Music Technology attempts to bring wishes for social alternatives to the surface at an auspicious moment of technological transition.

Rock and roll's death has been forecast nearly since its birth; the country song "The Death of Rock and Roll" appeared in September 1956, showing that the music had already outraged a more conservative listening audience. "Is Rock Dead?" sets out to explore the varied and sometimes conflicting ways in which the death of rock has been discussed both within the discourse of popular music and American culture. If rock is dead, when did it die? Who killed it? Why do rock journalists lament its passing? Has its academic acceptance stabbed it in the back or resuscitated an otherwise lifeless corpse? Why is rock music the music that conservatives love to hate? On the other side of the coin, how have rock's biggest fans helped nail shut the coffin? Does rock feed on its own death-and-rebirth? Finally, what signs of life are there showing that rock in fact is surviving?
"Is Rock Dead?" will appeal to all those who take seriously the notion that rock is a serious musical form. It will appeal to students of popular music and culture, and all those who have ever spun a 45, cranked up the radio, or strummed an air guitar.

'I can be scratching around at home on an acoustic guitar, or singing a funny little idea into my phone, and all of a sudden, it becomes a beautiful fully fledged song. And I'm asking myself, how did we do that again? I still find that fascinating. It's magic.' - PAUL WELLER In Magic: A Journal of Song, Paul Weller talks about his life and music through a personally curated selection of over 100 songs spanning his entire musical career. As one of the most innovative and remarkable songwriters of the last 50 years, Paul Weller has proved to be the ultimate shapeshifter, moving from The Jam's punk sensibilities to the genre-defying Style Council, and later through a remarkable 30-year solo career. Alongside Lennon and McCartney, Weller is one of few artists that has attained a UK number one album over five consecutive decades, and has also received career defining awards from the BRITs (Lifetime Achievement Award), NME Awards (Godlike Genius Award) and a GQ Award for Songwriter of the Year. Magic: A Journal of Song is the definitive book of Weller's songwriting career from founding The Jam in his teenage years, to creating The Style Council, through to his years as a solo musician. Offering unprecedented insight into Weller's creative process, his lyrics are accompanied by more than 450 photographs and items of memorabilia, and an illuminating commentary of over 25,000 words. As told to journalist and author, Dylan Jones, Magic is Paul Weller's most candid and intimate account of his musical life to date. 'Paul Weller has proved that he is not only beyond reproach, in some senses he is quite possibly without equal.' - DYLAN JONES OBE 'The thing I have discovered is that music in its truest sense is beyond any trend or movement or category.' - PAUL WELLER

This book from Jürgen Claus is a milestone among the books dedicated to the planet sea A knowledgeable overview of marine architectures from both the Pacific and Atlantic regions Discusses the seascape as a fluid studio for visual artists

MUSIC and LITERATURE A Comparison of the Arts By CALVIN S. BROWN THE UNIVERSITY OF GEORGIA PRESS Athens, Georgia Copyright 1948 THE UNIVERSITY OF GEORGIA PRESS PRINTED IN THE UNITED STATES OF AMERICA GG17532 Contents CHAPTER FAOE Acknowledgments ix Preface xi I. Science and Art 1 II. The Fine Arts 7 III. Rhythm and Pitch IS IV. Timbre, Harmony, and Counterpoint 31 V. Vocal Music General Considerations 44 VI. The Literal Setting of Vocal Music 53 VII. The Dramatic Setting of Vocal Music 62 VIII. The Dilemma of Opera 87 IX. Repetition and Variation 100 X. Balance and Contrast 114 XI. Theme and Variations 127 XII. ABA Form and the Rondo 135 XIII. The Fugue 149 XIV. Sonata Form 161 XV. The Musical Development of Symbols Whitman 178 XVI. The Poetry of Conrad Aiken 195 XVII. Fiction and the Leitmotiv 208 XVIII. Literary Types in Music 219 XIX. Program Music a Short Guide to the Battlefield 229 XX. Descriptive Music 245 XXI. Narrative Music 257 XXII. Conclusion-268 Notes 272 Index 279 Tii Acknowledgments THE author wishes to express his thanks to the University System of Georgia for their grant in aid of research and to the General Research Fund of the University of Georgia for a grant in aid of publication. The author also wishes to express his thanks to the following per sons and firms for their kind permission to quote material on which they own copyrights To Mr. Conrad Aiken for passages from Ms Nocturne of Remembered Spring, Selected Poems, Blue Voyage, Time in the Rock, and The Coming Forth by Day of Osiris Jones and to Mr. Aiken and the editors of Poetry for passages from his review of The Charnel Rose. To A. C. Black, Ltd., London, and The Macmillan Co., New York American publishers, for a passage from Albert Schweitzer s . S. Bach. To Dodd, Mead Company, Inc., for three passages from quot Lepanto, quot from The Collected Poems of G. K. Chesterton. Reprinted by permission of Dodd, Mead Company, Inc. Copyright, 1911, by Dodd, Mead Company, Inc. Thanks are also due to A. P. Watt and Son and the executrix of the Chesterton estate for the use of this material. To Mr. John Gould Fletcher for passages from his Goblins and Pagodas and Preludes and Symphonies. To Harper Brothers for passages from Lawrence Oilman s Stories of Symphonic Music and Aldous Huxley s Point Counter Point. To Alfred A. Knopf, Inc., for passages from Ernest Newman s A Musical Motley and Thomas Mann s Stories of Three Decades, translated by H. T. Lowe-Porter. To J. B. Lippincott Co. for a passage from P. H. Goepp s Symphonies and their Meaning reprinted as Great Works of Music, vol. III. To Novello Co., Ltd., for a passage from F. Niecks Programme Music in the Last Four Centuries. To the Oxford University Press for passages from Collected Essays, Papers, Etc., of Robert Bridges, Essay No. XXI from Tovey s Essays in Musical Analysis, Vol. IV and for the rondeau quot In After Days, quot from Collected Poems of Austin Dobson. To G. Schirmer, Inc., and the editors of the Musical Quarterly for material reprinted from the author s articles, quot The Musical Structure of De Quincey s Dream Fugue quot and quot The Poetic Use of Musical Forms. quot x ACKNOWLEDGMENTS To Sir John Squire for quot The Exquisite Sonnet, quot from his Collected Parodies. To The Viking Press, Inc., New York, for two passages from William Ellery Leonard s Two Lives. To Henry Holt Co., The Macmillan Co., The Arthur P. Schmidt Co., andSimon Schuster for material acknowledged on the pages where it is quoted. Preface THIS book was written with the hope that it might open up a field of thought which has not yet been systematically explored. Though vari ous articles and books have dealt separately with many of the problems here brought together, there has been no survey of the entire field. This book attempts to supply such a survey. The desire to make it both interesting to the amateur and useful to the scholar has inevitably led to some compromises...

Virtual Music: How the Web Got Wired for Sound is a personal story of how one composer has created new music on the web, a history of interactive music, and a guide for aspiring musicians who want to harness the new creative opportunities offered by web composing. For Bill Duckworth, the journey began in 1996 when he developed the idea for an interactive webcast, named Cathedral, which was developed over a period of 5 years. On its completion, Cathedral won numerous awards, including the ASCAP/Deems Taylor Award for composition, and has already inspired further experimentation. But this is more than the story of one composer or one piece of music. The book traces the development of interactive music through the 20th century from Erik Satie through John Cage, Brian Eno, Moby, and Scanner. The technology itself is described as it has inspired experimentation by artists, including composers who have developed new ways to involve the audience in their music, plus possibilities for the non-musically trained to play the Web. Challenges facing the web composer-from copyright issues to commercialization-are analyzed with new solutions suggested. creators, performers, and anyone interested in how technology is transforming the arts.

This book illuminates the aesthetically underrated meaningfulness of particular elements in works of art and aesthetic experiences generally. Beginning from the idea of "hooks" in popular song, the book identifies experiences of special liveliness that are of enduring interest, supporting contemplation and probing discussion. When hooks are placed in the foreground of aesthetic experience, so is an enthusiastic "grabbing back" by the experiencer who forms a quasi-personal bond with the beloved singular moment and is probably inclined to share this still-evolving realization of value with others. This book presents numerous models of enthusiastic "grabbing back" that are art-critically motivated to explain how hooks achieve their effects and philosophically motivated to discover how hooks and hook appreciation contribute to a more ideally desirable life. Framing hook appreciation with a defensible general model of aesthetic experience, this book gives an unprecedented demonstration of the substantial aesthetic and philosophical interest of hook-centered inquiry.

First published in 2005. By far the most stimulating and complete introduction to the styles and schools of Western music, this work is certain to remain a classic. Beginning with the music of the early Christian church, the Gregorian chant, the book proceeds through minstrels and troubadours, the Flemish polyphonic schools, the Italian Renaissance, the Viennese school and the Russian school. Music lovers will appreciate the author's sound interpretations and engaging, readable style.

Provides biographical details on some of the most talented, influential and up-and-coming artists and individuals from the world of popular music.
Now in its fully updated and revised seventh edition, this title includes over 5,000 biographies charting the achievements and careers of pop, rock, folk, jazz, dance, world and country artists throughout the world.
Features include:
*Over 5,000 alphabetically-arranged entries containing full biographical information: major career details, concerts, recordings and compositions, honours and contact address
*Full contact details for companies and organizations throughout the popular music industry - including record companies, management agencies, agents and promoters
*Lists of key festivals and musical events worldwide, with relevant contact details.