THE MAKING AND MEANING OF RADIOHEAD'S GROUNDBREAKING, CONTROVERSIAL, EPOCHDEFINING ALBUM, KID A. In 1999, as the end of an old century loomed, five musicians entered a recording studio in Paris without a deadline. Their band was widely recognized as the best and most forward-thinking in rock, a rarefied status granting them the time, money, and space to make a masterpiece. But Radiohead didn't want to make another rock record. Instead, they set out to create the future. For more than a year, they battled writer's block, intra-band disagreements, and crippling self-doubt. In the end, however, they produced an album that was not only a complete departure from their prior guitar-based rock sound, it was the sound of a new era-and it embodied widespread changes catalyzed by emerging technologies just beginning to take hold of the culture. What they created was Kid A. Upon its release in 2000, Radiohead's fourth album divided critics. Some called it an instant classic; others, such as the UK music magazine Melody Maker, deemed it "tubby, ostentatious, self-congratulatory... whiny old rubbish." But two decades later, Kid A sounds like nothing less than an overture for the chaos and confusion of the twenty-first century. Acclaimed rock critic Steven Hyden digs deep into the songs, history, legacy, and mystique of Kid A, outlining the album's pervasive influence and impact on culture in time for its twentieth anniversary in 2020. Deploying a mix of criticism, journalism, and personal memoir, Hyden skillfully revisits this enigmatic, alluring LP and investigates the many ways in which Kid A shaped and foreshadowed our world.

The multicultural Midlands is a unique, interdisciplinary study of the literature, music and food that shape the region's irrepressible, though often overlooked, cultural identity. It is the first of its kind to give serious critical attention to a part of the world which is frequently ignored by readers, critics and the culture industries. This book makes a claim for the importance of the Midlands and evidences this with nuanced close reading of a multitude of diverse texts spanning so-called 'high' to 'low' culture; from the Black Country's 'Desi Pubs', to Leicester's 'McIndians' Peri Peri ('you've tried the cowboys, now try the Indians!'); Handsworth's reggae roots to Adrian Mole's diaries. -- .

The 1889 Exposition Universelle in Paris has become famous as a turning point in the history of French music, and modern music generally. For the first time, Debussy and his fellow composers could be inspired by Javanese gamelan music, while the Russian concerts conducted by Rimsky-Korsakov brought recent music by the Mighty Five to Parisian ears. But the 1889 World's Fair had much wider musical and cultural ramifications; one contemporary described it as a "gigantic encyclopedia, in which nothing was forgotten." Music was so pervasive at the 1889 Exposition Universelle that newspaper journalists compared the sonic side of the affair to a "musical orgy." Musical encounters at the fair ranged from bandstand marches to folk and non-Western ensembles to symphonic and operatic premieres by Massenet to the mass-marketed Edison phonograph. A rich and vivid literature (from newspaper columns to memoirs that are plumbed here for the first time) comments about this sonic landscape, reflecting the reactions and responses of composers (Saint-Saens), writers (Judith Gautier), and journalists (Gaston Calmette). Musical Encounters at the 1889 Paris World's Fair explores the ways in which music was used, appropriated, exhibited, listened to, and written about during the six months of the Exposition Universelle. It thereby also reveals the role and the sociopolitical uses of music in France and, more generally, Europe during the late nineteenth century. Annegret Fauser is Associate Professor of Music at the University of North Carolina at Chapel Hill. Her many publications include books on French Wagnerism, Massenet's opera Esclarmonde, and French orchestral songs from Berlioz to Ravel.

The Journey from Music Student to Teacher: A Professional Approach, Second Edition helps prospective educators transition from music student to professional music teacher. This textbook acknowledges that students must first reconcile their assumptions about learning and teaching before they can make thoughtful, informed decisions about their own professional education. Building upon personal experience is essential to an enhanced approach to the profession, and the topics and activities presented here guide readers to think not as students but as professionals, addressing the primary stages of teacher development. In three parts-Discovery of Self, Discovery of Teaching, and Discovery of Student Learning-the authors connect readers to theoretical foundations and the processes of becoming an insider to the profession. This updated Second Edition includes: Integration of the 2014 National Core Arts Standards Discussion of NAfMEs Model Cornerstone Assessments Explorations of issues of equity, access, and inclusion for marginalized populations and new examples of culturally responsive pedagogy Added coverage of innovative practices including popular music, technology for autonomous music-making, songwriting, and composition Streamlined discussion of learning theory, focusing on the basic foundations of behaviorism, cognitivism, and constructivism The accompanying companion website at www.routledge.com/cw/raiber provides revised and updated "Connecting to the Profession" features that help enhance students' understanding of the ideas presented in the text, links to videos of K-12 music teaching and interviews with teachers, and additional resources for instructors. Featuring networking activities to aid in self-reflection, a glossary of terms, and a wealth of online resources and tools, The Journey from Music Student to Teacher is the culmination of more than 25 years of experience in secondary music classrooms, providing a framework for establishing professional role identity among preservice music educators during their introduction to the field.

In the history of the Western musical tradition, the Baroque period traditionally dates from the turn of the 17th century to 1750. The opening of the period is marked by Italian experiments in composition that attempted to create a new kind of secular musical art based upon principles of Greek drama, quickly leading to the invention of opera, and the closing of the period is marked by the death of Johann Sebastian Bach on 28 July 1750 in Leipzig and George Frideric Handel’s last English oratorio, Jephtha, completed the following year in London. Historical Dictionary of Baroque Music, Second Edition contains a chronology, an introduction, and an extensive bibliography. The dictionary section has more than 500 cross-referenced entries on composers, instruments, cities, and technical terms. This book is an excellent resource for students, researchers, and anyone wanting to know more about baroque music.

Ethno-aesthetics of Surf in Florida discusses surf and music as glocal sociocultural constructs. Focusing on Florida's unexplored surfing culture, the book illustrates how musical experience begets representations about the world that highlight ways of acting and being of various sociocultural communities. Based on the conceptualization of ethno-aesthetics, this ethnographic study provides an analysis of the Space Coast surfers community's collaborative effort to build social cohesion through their musicking. This transdisciplinary research in American Studies draws upon various theoretical perspectives from both the humanities and social sciences, including ethnomusicology, social psychology, and sociolinguistics, to propose new ways of exploring the links between surfing and musicking. This monograph looks past the myth of iconic 1960s Californian surf music to show how, as a result of the glocalization of surfing, the musicking of Floridian surfers has allowed them to express their subjectivities and to make sense of their world. This book contributes to the debate on the disputed notions of identity and representations by establishing connections between a local expression of the surf lifestyle and its music. It proposes theoretical models that explain cultural hybridization, appropriation, and belonging in surfing. It also develops concepts and notions, such as surfanization, surf strand, lifestyle crossover, and identity marking, to illustrate how global practices, such as surfing, are endowed with various modes of expression exemplified by the emergence of unique regional subcultures of surfing.

Igor Levit ranks among the greatest pianists of his generation, described by The New York Times as 'one of the essential artists of our time'. But his influence reaches far beyond music: he uses his public platform to speak out against racism, antisemitism and all forms of intolerance and prejudice. Convinced of the duty of the musician to remain an engaged citizen, he is recognized and admired for his willingness to take a stand on some of the great issues of our day, even though it has come at considerable personal cost. When the pandemic broke out and Levit was unable to give live concerts, he switched his piano recitals from concert halls to his living room and gained a huge international following. This book opens a window onto Levit's life during the 2019-2020 concert season, charting the transition from his whirlwind life of back-to-back live concerts in packed concert halls to the eerie stillness of lockdown and the innovative series of house concerts livestreamed over Twitter. A year in which Levit spoke out against hate and received death threats in response. A year in which he found his voice and found himself - as an artist and as a person.

This open access book tackles the design of 3D spatial interactions in an audio-centered and audio-first perspective, providing the fundamental notions related to the creation and evaluation of immersive sonic experiences. The key elements that enhance the sensation of place in a virtual environment (VE) are: Immersive audio: the computational aspects of the acoustical-space properties of Virutal Reality (VR) technologies Sonic interaction: the human-computer interplay through auditory feedback in VE VR systems: naturally support multimodal integration, impacting different application domains Sonic Interactions in Virtual Environments will feature state-of-the-art research on real-time auralization, sonic interaction design in VR, quality of the experience in multimodal scenarios, and applications. Contributors and editors include interdisciplinary experts from the fields of computer science, engineering, acoustics, psychology, design, humanities, and beyond. Their mission is to shape an emerging new field of study at the intersection of sonic interaction design and immersive media, embracing an archipelago of existing research spread in different audio communities and to increase among the VR communities, researchers, and practitioners, the awareness of the importance of sonic elements when designing immersive environments.

This book presents advances in speech and music in the domain of audio signal processing. The book begins with introductory chapters on the basics of speech and music, and then proceeds to computational aspects of speech and music, including music information retrieval and spoken language processing. The authors discuss the intersection in the field of computer science, musicology and speech analysis, and how the multifaceted nature of speech and music information processing requires unique algorithms, systems using sophisticated signal processing, and machine learning techniques that better extract useful information. The authors discuss how a deep understanding of both speech and music in terms of perception, emotion, mood, gesture and cognition is essential for successful application. Also discussed is the overwhelming amount of data that has been generated across the world that requires efficient processing for better maintenance, retrieval, indexing and querying and how machine learning and artificial intelligence are most suited for these computational tasks. The book provides both technological knowledge and a comprehensive treatment of essential topics in speech and music processing.

This book addresses the complex time relations that occur in some types of jazz and classical music, as well as in the novel, plays and poetry. It discusses these multiple levels of rhythm from a social science as well as an arts and humanities perspective. Building on his ground-breaking work in Re-framing Literacy, A Prosody of Free Verse and Multimodality, Poetry and Poetics, the author explores the world of multiple- or poly-rhythms in music, literature and the social sciences. He reveals that multi-layered rhythms are uncommon and little researched. Nevertheless, they are important to the experience of art and social situations, not least because they link physicality to feeling and to decision-making (timing), as well as to aesthetic experience. Whereas most poly-rhythmic relations are felt unconsciously, this book reveals the complex patterning that underpins the structures of feeling and of experience.

Ballads and songs of Peterloo is an edited collection of poems and songs written following the Peterloo Massacre in 1819. This collection, which includes over seventy poems, were published either as broadsides or in radical periodicals and newspapers. Notes to support the reading of the texts are provided, but they also stand alone, conveying the original publications without diluting their authenticity. Following an introduction outlining the massacre, the radical press and broadside ballad, the poems are grouped into six sections according to theme. Shelley's Masque of Anarchy is included as an appendix in acknowledgement of its continuing significance to the representation of Peterloo. This book is primarily aimed at students and lecturers of Romanticism and social history. -- .

A Choice Outstanding Academic Title for 2022 In September of 1963, Reverend Lawrence Roberts and the Angelic Choir of the First Baptist Church of Nutley, New Jersey, teamed with rising gospel star James Cleveland to record Peace Be Still. The LP and its haunting title track became a phenomenon. Robert M. Marovich draws on extensive oral interviews and archival research to chart the history of Peace Be Still and the people who created it. Emerging from an established gospel music milieu, Peace Be Still spent several years as the bestselling gospel album of all time. As such, it forged a template for live recordings of services that transformed the gospel music business and Black worship. Marovich also delves into the music's connection to fans and churchgoers, its enormous popularity then and now, and the influence of the Civil Rights Movement on the music's message and reception. The first in-depth history of a foundational recording, Peace Be Still shines a spotlight on the people and times that created a gospel music touchstone.

Studies the Bharata Natyam dance genre "padam" and focuses on its patrons and composers and its formal structure, texts, and music Examines the "rewriting" of South Indian dance and the decades-long debates over the classicization and ownership of South Indian music The text includes 30 Tamil language songs, minutely translated and annotated together with a documentation of their performance history in the 20th century

This book lays bare the dialogue between Shakespeare and critics of the stage, and positions it as part of an ongoing cultural, ethical, and psychological debate about the effects of performance on actors and on spectators. In so doing, the book makes a substantial contribution both to the study of representations of theatre in Shakespeare's plays and to the understanding of ethical concerns about acting and spectating-then, and now. The book opens with a comprehensive and coherent analysis of the main early modern English anxieties about theatre and its power. These are read against 20th- and 21st-century theories of acting, interviews with actors, and research into the effects of media representation on spectator behaviour, all of which demonstrate the lingering relevance of antitheatrical claims and the personal and philosophical implications of acting and spectating. The main part of the book reveals Shakespeare's responses to major antitheatrical claims about the powerful effects of poetry, music, playacting, and playgoing. It also demonstrates the evolution of Shakespeare's view of these claims over the course of his career: from light-hearted parody in A Midsummer Night's Dream, through systematic contemplation in Hamlet, to acceptance and dramatization in The Tempest. This study will be of great interest to scholars and students of theatre, English literature, history, and culture.

Just as soon as it had got rolling, rock music had a problem: it wanted to be art. A mere four years separate the Beatles as mere kiddy culture from the artful geniuses of Sergeant Pepper’s, meaning the very same band who represents the mass-consumed, "mindless" music of adolescents simultaneously enjoys status as among the best that Western culture has to offer. The story of rock music, it turns out, is less that of a contagious popular form situated in opposition to high art, but, rather, a story of high and low in dialogue--messy and contentious, to be sure, but also mutually obligated to account for, if not appropriate, one another. The chapters in this book track the uses of literature, specifically, within this relation, helping to showcase collectively its fundamental role in the emergence of the "pop omnivore."

Eleven Thousand MODERN HARMONY IN ITS THEORY AND PRACTICE BY ARTHUR FOOTE A. M. AND WALTER R. SPALDING A. M. Assistant Professor of Music at Harvard University PRICE 1.50 ARTHUR P. SCHMIDT BOSTON LEIPZIG NEW YORK 120 BOYLSTOH STREET 136 FIFTH AVENUE Copyright 1905 by ARTHUK P. SCHMIDT PREFACE THE title of this work indicates the aim of the authors. Not a few statements and rules have been current in text-books that., from the point, of view of composers and of the best teachers to-day, are unnecessary and sometimes even incorrect. When we find a rule constantly broken by one great composer after another, it is probable that the rule ought to be mod ified or given up, and not that the composers are wrong. It is the inten tion that statements and rules in this book shall be expressed with exact truth, and explained when real explanation is possible. It has also been remembered that better work is secured by directions as to what may be done, than by laying too much stress upon what is forbidden. About some matters there is a marked difference of opinion among theorists such things cannot be considered as settled for good and all, and no definite statement should be made excluding other well-grounded points of view, e. g. the chords of the llth and 13th. The chord of the 6th has been treated with more detail than usual, an attempt having been made to analyze and classify the features that make this chord so difficult for the student. While the old strict rules as to secondary 7ths are given fully, the modern theory and use of these chords have received just consideration. The chord of the 9th has been discussed as a largely independent chord it was also obvious that the growing feelingabout chords of the llth and 13th ought to be recognized, although the opinion of the authors, as ex plained in the chapter on that subject, is that these latter can seldom be classified as independent chords. It is believed that the treatment of chromatic alterations in chords, and of the augmented 6th, 6-5 and 6-4-3 chords is in accordance with present thought, and that this is also the case as regards suspension. The chapter on the old modes is necessarily brief, but it is hoped that it may lead the student to further investigation of an important and inter esting question. It is often the case that exercises with figured basses are written, correctly, but only mathematically, by simply reckoning each chord as-a kind of puzzle, without reflecting that the whole thing means music after 5341S6O PREFACE all. The most difficult thing, for one not used to it, is the having a mental conception of the real sounds of the symbols written down in other words, hearing with the eye. Education now is directed to the thing, not to the symbol. As the practical way of working in that direction, in this book from the very beginning the harmonizing of melodies goes step by step with the writing from figured basses. It is hoped that the illustra tions quoted from many composers will be of help by showing what has actually been done with our harmonic material. For matters connected with acoustics 5, 13, the student is referred to Helmholtzs book On the Sensations of Tone, and to the essay on Partial Tones in Groves Dictionary of Music BOSTON, August, 1905. TABLE OF CONTENTS CHAPTER PAGE I INTERVALS 1 Consonance and dissonance, 7 Inversion, 9. II THE SCALES 11 Circles of 5ths, 13 Relative minor, 15Chromatic, 16 Tonic, etc., 17. in TRIADS 18 Chord defined, 18 Doubling of intervals, 19 Open and close position, 20 Similar motion, etc., 22 Consecutive 8ves and 5ths, 24 Voice-leading, 27 Leading-tone, 28 Rules for triads, 29. IV EXERCISES WITH TRIADS IN MAJOR KEYS 31 Directions as to figured basses, etc., 31 Exercises, 34. V EXERCISES IN HARMONIZING SOPRANO MELODIES ....... 36 Triad successions in major keys, 36 Exercises, 37. VI TRIADS IN MINOR KEYS 38 Additional rules, 39 Tierce de Picardie, 42 Triad successions in minor keys, 43 Three-voice writing, 43...

This book describes the remarkable culture of jeliya, a musical and verbal art from the Manding region of West Africa. Using an embodied practice as her methodology, the author reveals how she and her music teachers live "in between" local and global cultures. Her journey spans 20 years of fieldwork presented through personal and intimate stories, first as a student of the balafon instrument, then as a patron of the music. Tensions build in both the music and in social relations that require resolutions, underscoring the differences between two world views. Through balafon lessons, the author embodies values such as patience, courage, and generosity, resulting in a transformative practice that leads her to better understand her position vis-a-vis that of her jeli teachers. Meanwhile, jeliya itself, despite having been transmitted from teacher to student for 800 years, is currently in peril. Jelis cite modern globalized culture and people like the author herself as both a source of the problem as well as the potential solution.

In 1999, as the end of an old century loomed, five musicians entered a recording studio in Paris without a deadline. Their band was widely recognized as the best and most forward-thinking in rock, a rarefied status granting them the time, money, and space to make a masterpiece. But Radiohead didn't want to make another rock record. Instead, they set out to create the future. For more than a year, they battled writer's block, inter-band disagreements, and crippling self-doubt. In the end, however, they produced an album that was not only a complete departure from their prior guitar-based rock sound, it was the sound of a new era, and embodied widespread changes catalyzed by emerging technologies just beginning to take hold of the culture. What they created was Kid A. At the time, Radiohead's fourth album divided critics. Some called it an instant classic; others, including the U.K. music magazine Melody Maker, deemed it "tubby, ostentatious, self-congratulatory... whiny old rubbish." But two decades later, Kid A sounds like nothing less than an overture for the chaos and confusion of the 21st century. Acclaimed rock critic Steven Hyden digs deep into the songs, history, legacy, and mystique of Kid A, outlining the album's pervasive influence and impact on culture, in time for its 20th anniversary in 2020. Deploying a mix of criticism, journalism, and personal memoir, Hyden skillfully revisits this enigmatic, alluring LP and investigates the many ways in which Kid A shaped and foreshadowed our world.

This ground-breaking new book provides a unique, in-depth analysis of the BBC Asian Network, the BBC's national ethnic-specific digital radio station in the UK. Gurvinder Aujla-Sidhu offers an insight into the internal production culture at the radio station, revealing the challenges minority ethnic producers faced as they struggled to create a cohesive and distinct 'community of listeners'. Besides the differences of opinion that emerged within the inter-generational British Asian staff over how to address the audience's needs, the book also reveals the ways in which 'race' is managed by the BBC, and how the culture of managerialism permeates recruitment strategies, music playlists and mother tongue language programmes. In-depth interviews unveil how the BBC's 'gatekeeping' system limits the dissemination of original journalism about British Asian communities, through the marginalisation of the expertise of narratives created by the network's own minority ethnic journalists.