The considerable number of musicians experiencing physical and emotional problems has led doctors around the world to become increasingly concerned. The twelve articles in this issue of the journal "Musical Performance" bring together both the thoughts of British and North American doctors who discuss the main problems experienced by musicians and their cures. Topics range from voice disorders and deafness, to stress and the causes and cures of stage fright. A glossary is included that explains the meaning of those medical terms likely to be unfamiliar to the general reader.
Basil Tschaikov was appointed artistic and executive director of the National Center for Orchestral Studies at London University at Goldsmith's College, London, England 1979. Since 1987 he has served as chairman of the Music Performance Research Center and directs its oral history of musicians program in Britain.

Connecting the black music tradition with the black activist tradition, Party Music brings both into greater focus than ever before and reveals just how strongly the black power movement was felt on the streets of black America. Interviews reveal the never-before-heard story of the Black Panthers’ R&B band the Lumpen and how five rank-and-file members performed popular music for revolutionaries.  Beyond the mainstream civil rights movement that is typically discussed are the stories of the Black Panthers, the Black Arts Movement, the antiwar activism, and other radical movements that were central to the impulse that transformed black popular music—and created soul music.

Popular Music on Screen examines the relationship between popular music and the screen, from the origins of Hollywood musical to contemporary developments in music television and video. Through detailed examination of films, television programmes and popular music, together with analysis of the economic, technological and cultural determinants which impact upon their production and consumption, the book argues that popular music has been incresingly influenced by its visual economy. Though engaging with the debates which surround postmodernism, the book suggests that what most characterizes the relationship between popular music and the screen media is a strong sense of continuity, expressed through institutional structures, representational strategies and the ideology of entertainment.

'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.

Acoustic Interculturalism is a study of the soundscapes of intercultural performance through the examination of sound's performativity. Employing an interdisciplinary approach, the book examines an akoumenological reception of sound to postulate the need for an acoustic knowing - an awareness of how sound shapes the intercultural experience.

It covers old ground from new perspectives, offering deeply felt, masterful, and strikingly personal portraits of creative artists, both musicians and writers, at the height of their powers. "You put the book down feeling that its sweep is vast, that you have read of giants who walked among us," rock critic Lester Bangs wrote of Guralnick's earlier work in words that could just as easily be applied to this new one. And yet, for all of the encomiums that Guralnick's books have earned for their remarkable insights and depth of feeling, Looking to Get Lost is his most personal book yet. For readers who have grown up on Guralnick's unique vision of the vast sweep of the American musical landscape, who have imbibed his loving and lively portraits and biographies of such titanic figures as Elvis Presley, Sam Cooke, and Sam Phillips, there are multiple surprises and delights here, carrying on and extending all the themes, fascinations, and passions of his groundbreaking earlier work. One of NPR's Best Books of 2020 One of Kirkus Review/Rolling Stone's Top Music Books of 2020 One of No Depression's Best Books of 2020

Many can attest to the importance of the self-growth that occurs for young people through the arts and their accompanying communities of support, understanding, and caring. Yet even professionals who work daily with adolescents, and parents or guardians who raise adolescents, sometimes have difficulty collectively articulating why musicking experiences are important for young people. In Adolescents on Music, author Elizabeth Cassidy Parker proves that this challenge stems from failing to ask adolescents to share their ideas richly and fully. Accordingly, Parker argues for deeper efforts to connect adolescent perspectives with established theories and philosophies in the social sciences and humanities. Organized into three sections-Who I Am; My Social Self; and Toward a Future Vision-Parker seeks new and diverse perspectives from the young people sharing their voices and experiences in each chapter. Chapters begin with a description from adolescents, in their own words, of the music they make, the meanings they ascribe to their music-making, and contributions to their development. The voices highlighted in these chapters come from adolescent solo musicians, autonomous and vernacular players, composers, school and community music-makers, and listeners between the ages of 12-20. By familiarizing readers with the multiplicity of adolescent music-making experiences and perspectives; discussing relevant theories within and outside of music and music education that support adolescent musical and personal growth; promoting adolescent health and well-being and greater understanding of young people; and providing a common language toward advocacy for adolescent music-making, Adolescents on Music serves as an invaluable resource for individual and group music teachers and practitioners, parents of adolescents, music mentors, and music education students.

The culmination of decades of work on hip hop culture and activism, Neva Again weaves together the many varied and rich voices of the dynamic South African hip hop scene.

The contributors present a powerful reflection of the potential of youth art, culture, music, language, and identities to shape both politics and world views.

Part of a series that offers mainly linguistic and anthropological research and teaching/learning material on a region of great cultural and strategic interest and importance in the post-Soviet era.

This book draws together a range of innovative practices underpinned by theoretical insight that helps to clarify musical practices of relevance to the changing nature of schooling and the transformation of music education. In this way, it addresses a pressing need to provide new ways of thinking about the application of music and technology in schools. More specifically it: covers a diverse and wide range of technology, environments and contexts on topics that demonstrate and recognize new possibilities for innovative work in music in education; deals with teaching strategies and approaches that stimulate different forms of musical experience, meaningful engagement, musical learning, creativity and teacher-learner interactions, responses, monitoring and assessment; investigates how teachers and pupils voice and value their experiences in particular contexts and environments with specific software, hardware and forms of technology; explores the professional development aspects involved in teachers and learners utilising and interacting with technology and the secondary music curriculum; and, introduces reflective practices and research methodologies of great interest and relevance to music teachers, teacher-trainers, community artists and for researchers and professional practitioners alike.

SHORTLISTED for the Baillie Gifford Prize’s 25th Anniversary Winner of Winners award WINNER OF THE BAILLIE GIFFORD PRIZE 2020 A Spectator Book of the Year • A Times Book of the Year • A Telegraph Book of the Year • A Sunday Times Book of the Year From the award-winning author of Ma’am Darling: 99 Glimpses of Princess Margaret comes a fascinating, hilarious, kaleidoscopic biography of the Fab Four. John Updike compared them to ‘the sun coming out on an Easter morning’. Bob Dylan introduced them to drugs. The Duchess of Windsor adored them. Noel Coward despised them. JRR Tolkien snubbed them. The Rolling Stones copied them. Loenard Bernstein admired them. Muhammad Ali called them ‘little sissies’. Successive Prime Ministers sucked up to them. No one has remained unaffected by the music of The Beatles. As Queen Elizabeth II observed on her golden wedding anniversary, ‘Think what we would have missed if we had never heard The Beatles.’ One Two Three Four traces the chance fusion of the four key elements that made up The Beatles: fire (John), water (Paul), air (George) and earth (Ringo). It also tells the bizarre and often unfortunate tales of the disparate and colourful people within their orbit, among them Fred Lennon, Yoko Ono, the Maharishi, Aunt Mimi, Helen Shapiro, the con artist Magic Alex, Phil Spector, their psychedelic dentist John Riley and their failed nemesis, Det Sgt Norman Pilcher. From the bestselling author of Ma’am Darling comes a kaleidoscopic mixture of history, etymology, diaries, autobiography, fan letters, essays, parallel lives, party lists, charts, interviews, announcements and stories. One Two Three Four joyfully echoes the frenetic hurly-burly of an era.

This book critically discusses the significance of popular music heritage as a means of remembering and re-presenting rock and pop artists, their music and their place in the culture of contemporary society. Since the mid-1990s, the contribution of popular music to the shaping of contemporary history and heritage has increasingly been acknowledged. In the same period, exhibitions of popular music related artefacts have become more commonplace in museums, and facilities dedicated to the celebration of popular music history and heritage, such as the Rock and Roll Hall of Fame, have opened their doors. Popular music heritage has found other mediums of expression too. There is now a significant popular music heritage media, including books, magazines, films and television series. Fans collect and display their own mementos, while the live performances of tribute bands and classic albums fulfill an increasing desire for the live spectacle of popular music heritage. This book will be crucial reading for established scholars as well as postgraduate and undergraduate students studying popular music heritage.

Aladdin and Imperial, two independent recording labels, emerged on the West Coast following World War II. They were hugely successful with their recordings of popular music based on jazz and blues. For Aladdin, the blues and rhythm and blues fields were to become the most important aspects of the label, with later additions of special series devoted to gospel and country. The Imperial label began with recordings of local Mexican groups and folk artists, and later the label took on a country and rockabilly flavor. A move to New Orleans and recordings by such artists as Fats Domino put Imperial into the blues and rhythm and blues fields. After Aladdin's demise in 1961, it was purchased by Imperial which reissued many Aladdin titles. Today Aladdin/Imperial is part of the United Artists/EMI conglomerate which has over the years reissued many Imperial and Aladdin records including such hits as "Blueberry Hill." In this complete discographical listing of all recordings issued on the Aladdin/Imperial labels from 1942 to 1974, Michel Ruppli includes every available detail relating to session recording dates and personnel. The discography also lists titles with both master numbers and issue numbers. Included are many jazz sessions with Lester Young, Illinois Jacquet, Billie Holiday, and others; popular and rock artists like Ricky Nelson and Johnny Rivers; blues players such as Lightnin' Hopkins, Joe Turner, and T-Bone Walker; rhythm and blues artists, including Fats Domino, and groups such as the Five Keys. Along with international dance band music, country, rockabilly, and folk can be found here as well. Using the standard format employed in Ruppli's previous volumes in Greenwood's DiscographySeries, the book is divided into seven parts. Part I contains the Aladdin sessions and includes a list of untraced sessions and a table of Imperial masters assigned to Aladdin titles. The Imperial folk/dance sessions and the Imperial popular sessions are treated in two separate sections. The Black and White label, Minit label, foreign, and miscellaneous labels are found in Part IV. An entire chapter is devoted to single numerical listings and includes seven Aladdin Series labels and eight Imperial Series labels along with foreign series, Liberty/UA Series, 78 rpm albums, and 45 rpm albums. Part VI gives complete album numerical listings. An index of artists completes the volume. This discography has a potentially wide audience including record collectors around the globe interested in Jazz/Blues/Rhythm and Blues/Country/Rockabilly/Rock Music; music book shops; libraries; researchers; record company executives and producers; and licensees.

Pioneering work on the musical material from the archives of the English court was undertaken by Nagel (1894), Lafontaine (1909) and Stokes (in the Musical Antiquary 1903-1913). Records of English Court Music (a series of seven volumes covering the period 1485-1714) is the first attempt to compile a systematic calendar of such references. It aims to revise these earlier studies where necessary, adding significant details which researchers omitted, clarifying the context of documents and substituting current call-marks for defunct references. Volume V is primarily concerned with the post-Restoration years already partially covered in volumes I and II. The material from the Exchequer and Declared Accounts of the Treasurer of the Chamber has been revised to include references to trumpeters and drummers. Other sections are devoted to material outside the Lord Chamberlain's papers: the Signet Office Docquet Books, Secret Service accounts and more from the Exchequer; the Corporation of Musick (controlled by the Court musicians) and to the range of music material from accounts of the Receivers General. Samples from the comprehensive records of the Lord Steward's department (including those of the Cofferer of the Household) are also provided. Andrew Ashbee was the winner of the Oldman Prize in 1987 for Volume II in the series of 'Records of English Court Music', awarded by the UK branch of the International Association of Music Libraries for the year's best book on music librarianship, bibliography and reference.

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.

The problems it addresses include emotion representation, annotation of music excerpts, feature extraction, and machine learning. The book chiefly focuses on content-based analysis of music files, a system that automatically analyzes the structures of a music file and annotates the file with the perceived emotions. Further, it explores emotion detection in MIDI and audio files. In the experiments presented here, the categorical and dimensional approaches were used, and the knowledge and expertise of music experts with a university music education were used for music file annotation. The automatic emotion detection systems constructed and described in the book make it possible to index and subsequently search through music databases according to emotion. In turn, the emotion maps of musical compositions provide valuable new insights into the distribution of emotions in music and can be used to compare that distribution in different compositions, or to conduct emotional comparisons of different interpretations of the same composition.

As more and more music literature is published each year, librarians, scholars, and bibliographers are turning to music bibliography to retain control over the flood of information. Based on the Conference of Music Bibliography, this timely book provides vital information on the most important aspects of the scholarly practice of music bibliography. Foundations in Music Bibliography provides librarians with great insight into bibliographic issues they face every day including bibliographic control of primary and secondary sources, the emergence of enumerative and analytical bibliography, bibliographic instruction, and bibliographic lacunae.Foundations in Music Bibliography features the perspectives of prominent scholars and music librarians on contemporary issues in music bibliography often encountered by music librarians. It offers practical insights and includes chapters on teaching students how to use microcomputer programs to search music bibliographies, organizing a graduate course in music bibliography, and researching film music bibliography. The book also provides a supplement to Steven D. Westcott 's A Comprehensive Bibliography of Music for Film and Television. This insightful volume demonstrates the many ways that bibliography relates music publications to each other and endows grander meaning to individual scholarly observations. Some of the fascinating topics covered by Foundations in Music Bibliography include: the history of thematic catalogs indexing Gregorian chant manuscripts general principles of bibliographic instruction analyses of Debussy discographies musical ephemera and their importance in various types of musicological research bibliographical lacunae (i.e. lack of access to visual sources, failure to control primary sources, and lack of communication with the rest of the performing arts)Foundations in Music Bibliography shows librarians how bibliography can be used to help music students and researchers find the information they need among the innumerable available sources. It is an indispensable asset to the shelves of all music reference libraries that wish to provide their patrons with the latest bibliographic tools.

This is not merely a stellar book. It is absolute ballad put to page. Southern LivingLewis Nordan s fiction invents its own world--always populated by madly heroic misfits. In Music of the Swamp, he focuses his magic and imagination on a boy s utterly helpless love for his utterly hopeless father--a man who attracts bad luck like a magnet. Nordan evokes ten-year-old Sugar Mecklin s world with dazzling clarity: the smells, the tastes, and most surely the sounds of life in this peculiar, somewhat bizarre, Delta town. Sugar discovers that what his daddy says is true: The Delta is filled up with death; but he also finds an endless supply of hope.An ALA Notable BookMississippi Institute of Arts and Letters Fiction Award"

American Music Librarianship is a biographical and historical review of the musical situation in American libraries from its roots in the late 19th century to the 1980s. Beginning with the period from 1854-55 when the Boston Public Library began to buy music for its collections, Bradley tracks the development of the Music Division in the Library of Congress under the guidance of chief librarian Oscar Senneck.

The opening section examines the professional careers of America's first music librarians and the subsequent development of music libraries, taken from information provided in their papers; documentation in their libraries; and from oral interviews with the librarians, their spouses and their successors. In the second and third sections, Bradley covers the librarians involved in the formulation of classification schemes and rules for cataloguing. The fourth section covers the colleagues of these pioneer librarians who are noteworthy for their own efforts on behalf of music in American libraries. The Music Library Association is reviewed in the final section, from its inception in 1931 through the activities of its professionals, to current goals. The book's appendices include tables and plates illustrative of various aspects discussed in the body of the book. A detailed index comprehends personal names, names of libraries, titles of publications, concepts and subjects. This book is a source book for all music libraries and librarians, school libraries, and music research collections.