When a musician dies, it is rarely the end of their story. While death can propel megastars to even further success, artists overlooked in their lifetime might also find a new type of fame. But a badly timed move or the wrong deal can see the artist die all over again. Colonel Tom Parker, the former carnival huckster, understood this high-wire act implicitly and the posthumous career of Elvis Presley has provided a template for everyone else. Estates have two jobs: keeping the artist's name alive and ensuring they continue to make money. These can sometimes be compatible goals, but often they spark a tension that is unique in the music business. Drawing on interviews with those running music estates as well as music lawyers, record company executives and archivists, Leaving the Building reveals how the music industry is constantly striving to perfect the business of death.

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.

Chico Buarque comprises a critical appreciation of the self-titled album (1978), which is one of the Brazilian artist’s most representative. This vibrant collection displays the singer-songwriter’s singular talents as a composer/poet of songs with both popular appeal and keen analytical skills. The 11 tracks include both up-beat sambas and lyrical compositions: witty tunes, dramatic laments, international items, and, especially, epochal protest songs with fascinating histories. The album embodies Chico Buarque's affective sensibilities and sociopolitical engagement, and this book situates the album in inter-related contexts: the artist's own career; the evolution of the current he represents MPB (Brazilian Popular Music); and, especially, historical conjuncture—the period of military dictatorship in Brazil, 1964-85.

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.

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.

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.

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...

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

During a decade that defined progressive rock, 1973 was a pivotal year. Influential bands like Yes, Genesis, Emerson, Lake & Palmer, Jethro Tull, The Electric Light Orchestra and King Crimson released some of their best-selling albums and there was a plethora of releases from less well known but equally worthy acts. This book is a journey through this creative period; stopping off on route to explore symphonic rock, the Canterbury scene, Krautrock, fusion, progressive folk, art rock, space rock, album artwork and much more. As well as the big names from the year when progressive rock was arguably at its commercial and artistic peak, the book also looks in depth at albums by Mahavishnu Orchestra, Greenslade, Rick Wakeman, Gong, Le Orme, Can, Kayak, Gentle Giant, Premiata Forneria Marconi, Renaissance, Caravan, Nektar, Manfred Mann's Earth Band and Magma. But this book is much more than a nostalgic trip down memory lane. It's a comprehensive and knowledgeable guide to an era when music incorporated multiple sections, rich textures, intricate time signatures, inspired arrangements and diverse influences performed by skilled musicians. It was possible to take a dip in topographic oceans, encounter pot head pixies from a distant planet and still be home in time for larks' tongues in aspic.

Rap and Politics maps out fifty years of political and musical development by exploring three specific moments of local discourse, each a response to failures by local, state, and national governments to address police brutality, violence, poverty, and poor social conditions in Oakland, California and the surrounding Bay Area. First, in the mid-1960s, Black youth responded to repressive political and socioeconomic factors in West Oakland by founding the Black Panther Party for Self Defense, whose representation of violence and community aid, as well as its radical and militant approach to Black Nationalism, became a foundational discourse that shaped the development of rap music in the region. Second, from the collapse of the Party in the early 1980s through the 1990s, gangster rap emerged as a form of political expression among local youth, who drew heavily on radical and militant elements of Panther discourse in their lyrics and artwork. Third, hyphy music in the mid-1990s to early 2000s continued these radical discourses and also incorporated coordinated, subversive public behavior to the mix. The result was a critique of endemic problems facing the local Black community, but also an infectious subgenre of party music that gained mainstream popularity. Overall, this study shows that the specific types of representation created to resist problems of racism and poverty in Oakland is actually key to understanding other rap undergrounds, grassroots subcultures, and social movements elsewhere. In the process, Rap and Politics offers readers a new model focused on the development of settings, representation, movements, discourse banks, and impact within underground rap scenes.

Think 'Woodstock' and the mind turns to the seminal 1969 festival. But Woodstock itself was over sixty miles away, and already a key location in the rock landscape as a community of brilliant, dysfunctional musicians, opportunistic hippie capitalists, scheming dealers, and freaks dazed and confused by the search for spiritual truth. Central to this was the power and presence of Albert Grossman - manager for Dylan, Janis Joplin, Richie Havens, The Band and Todd Rundgren - who turned Woodstock into his own personal fiefdom. Drawing on first-hand interviews with all the remaining key players, Small Town Talk is a classic study of a vital music scene in a revolutionary time and place.

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.

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.

This collection focuses on a woman's point of view in love poetry, and juxtaposes poems by women and poems about women to raise questions about how femininity is constructed. Although most medieval "woman's songs" are either anonymous or male-authored lyrics in a popular style, the term can usefully be expanded to cover poetry composed by women, and poetry that is aristocratic or learned rather than popular. Poetry from ancient Greece and Rome that resonates with the medieval poems is also included here. Readers will find a range of voices, often echoing similar themes, as women rejoice or lament, praise or condemn, plead or curse, speak in jest or in earnest, to men and to each other, about love.

Highly acclaimed author Susan Tomes takes up various topics of perennial interest: how music awakens and even creates memories, what 'interpretation' really means, what effect daily practice has on the character, whether playing from memory is a burden or a liberation, and why the piano is the right tool for the job. In several decades as a distinguished classical pianist, Susan Tomes has found that there are some issues which never go away. Here she takes up various topics of perennial interest: how music awakens and even creates memories, what "interpretation" really means, what effect daily practice has on the character, whether playing from memory is a burden or a liberation, and why the piano is the right tool for the job. She pays homage to the influence of remarkable teachers, asks what it takes for long-term chamber groups to survive the strains of professional life, and explores the link between music and health. Once again, her aim is to provide insight into the motives and experiences of classical performers. In this fourth book she also describes some of the challenges facing classical musicians in today's society, and considers why this kind of long-form music means so much to those who love it. SUSAN TOMES has won a number of international awards as a performer and recording artist, and in 2013 was awarded the Cobbett Medal for distinguished services to chamber music. For fifteen years she was the pianist of Domus, and for seventeen years she was the pianist of the Florestan Trio, one of the world's leading piano trios. She is the author of three previous books: Beyond the Notes (2004) and Out of Silence (2010), both published by Boydell, and A Musician's Alphabet (2006). She gives masterclasses, writes and presents radio programmes on music, and sits on international competition juries. Her blog on www.susantomes.com has a loyal following.

Breathe the blues into your harmonica! Blues harmonica is the most popular and influential style of harmonica playing, and it forms the basis for playing harmonica in other styles such as rock and country. Blues Harmonica for Dummies gives you a wealth of content devoted to the blues approach--specific techniques and applications, including bending and making your notes sound richer and fuller with tongue-blocked enhancements; use of amplification to develop a blues sound; blues licks and riffs; constructing a blues harmonica solo; accompanying singers; historical development of blues styles; and important blues players and recordings. The accompanying website features all the musical examples from the book, plus play-along exercises and songs that let you hear the sound you're striving for. In-depth coverage of major blues harmonica techniques Blues song forms, improvisation, and accompanying singers Information on blues history and personalities If you're intrigued by the idea of understanding and mastering the compelling (yet mysterious) art of playing blues on the harmonica, Blues Harmonica For Dummies has you covered. P.S. If you think this book seems familiar, you're probably right. The Dummies team updated the cover and design to give the book a fresh feel, but the content is the same as the previous release of Blues Harmonica For Dummies (9781118252697). The book you see here shouldn't be considered a new or updated product. But if you're in the mood to learn something new, check out some of our other books. We're always writing about new topics!

Elizabeth Bishop and the Music of Literature brings together the latest understandings of how central music was to Bishop's writing. This collection considers Bishop's reworking of metrical and rhythmic forms of poetry; the increasing presence of prosaic utterances into speech-soundscapes; how musical poetry intones new modes of thinking through aural vision; how Bishop transforms traditionally distasteful tones of violence, banality, and commerce into innovative poetry; how her diverse, lifelong musical education (North American, European, Brazilian) affects her work; and also how her diverse musical settings have inspired global contemporary composers. The essays flesh out the missing elements of music, sound, and voice in previous research that are crucial to understanding how Bishop's writing continues to dazzle readers and inspire artists in surprising ways.

The first study focusing on the composition of new plainchant in northern-French confraternities for masses and offices in honor of saints thought to have healing powers Starting in the fourteenth century, northern France saw the rise of confraternities and other lay communities of men and women, organized around trades and religious devotions dedicated to specific patron saints. The composition of new plainchant for masses and offices in honor of saints thought to have healing powers occupied an important place in the devotional landscape of the region. Sarah Ann Long's deeply researched new book highlights the decentralized nature of religious and spiritual authority from 1300-1550, which allowed confraternities to cultivate liturgical practices heavily influenced by popular devotional literature. It challenges pre-conceived notions of the power of the Catholic Church at that time, and the extent to which religious devotions were regulated and standardized. The resulting conclusion is that confraternity devotions occupied a liminal space that provided a certain amount of musical freedom. Examining musical culture at the intersection of the medieval and early modern eras, this work explores such subjects as manuscript production and early music printing; and it investigates not only plainchant, but a broad range of musical styles from the fourteenth through the sixteenth centuries. These include polyphonic embellishments of chant written by some of the most famous composers of the era, which were performed at the French, Burgundian, and Papal Courts.

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."

74 of the most popular items from Carols for Choirs 1, 2 and 3 in one volume, plus 26 pieces new to the series. The volume contains both accompanied and unaccompanied items, and the Order of Service for a Festival of Nine Lessons and Carols. Orchestral and brass ensemble accompaniments for many of the items are available on hire.