Guitar For Dummies, 4th Edition (9781119293354) was previously published as Guitar For Dummies, 4th Edition (9781119151432). While this version features a new Dummies cover and design, the content is the same as the prior release and should not be considered a new or updated product. The bestselling guide now updated with video demonstrations and audio tracks online The guitar is one of the most versatile instruments in the world, which is why it's so appealing to musicians. Guitar For Dummies, 4th Edition gives you everything a beginning or intermediate acoustic or electric guitarist needs: from buying a guitar to tuning it, playing it, and caring for it. Fully revised and updated, with online video and audio clips that help you learn and play along, you'll explore everything from simple chords and melodies to more challenging exercises that are designed to satisfy players of all levels. Additionally, new players can dive into the basics of guitar and accessory selection. Whether you prefer the cool sounds of the acoustic or the edgier tones of the electric, your guitar will get a lot of use as you play your way through the lessons presented in this integral book. But your journey doesn't stop at the last page! With an updated multimedia component, you have access to more than 80 online videos and 35 audio tracks that help build your talent. * Play along with online videos and audio tracks to develop and reinforce your new skills * Tune your guitar, change strings, and make simple repairs to keep your instrument in working order * Choose the right guitar and equipment for your needs * Explore numerous musical styles, including rock, blues, jazz, and country Guitar For Dummies, 4th Edition guides you in the development of your strumming talent and who knows where that can take you!

Phonographs, tapes, stereo LPs, digital remix - how did these remarkable technologies impact American writing? This book explores how twentieth-century writers shaped the ways we listen in our multimedia present. Uncovering a rich new archive of materials, this book offers a resonant reading of how writers across several genres, such as John Dos Passos, Langston Hughes, William S. Burroughs, and others, navigated the intermedial spaces between texts and recordings. Numerous scholars have taken up remix - a term co-opted from DJs and sound engineers - as the defining aesthetic of twenty-first century art and literature. Others have examined modernism's debt to the phonograph. But in the gap between these moments, one finds that the reciprocal relationship between the literary arts and sonic technologies continued to evolve over the twentieth century. A mix of American literary history, sound studies, and media archaeology, this interdisciplinary study will appeal to scholars, students, and audiophiles.

Based on the author's research in Ho Chi Minh City, Hanoi, and other urban areas in Vietnam, this study of contemporary Vietnamese popular music explores the ways globalization and free market economics have influenced the music and subcultures of Vietnamese youth, focusing on the conflict between the politics of remembering, nurtured by the Vietnamese Communist government, and the politics of forgetting driven by the capitalist interests of the music industry. Vietnamese youth at the end of the second and beginning of the third millennium are influenced by the challenges generated by a number of seemingly opposite ideologies and realities, such as "the past" versus "the present," socialism versus capitalism, and cultural traditionalism versus globalization. Vietnam has undergone a radical demographic shift with a very pronounced youth movement, and consequently, Vietnamese popular culture has been radically reshaped by a young population coming of age in the twenty-first century. As Olsen reveals, the way Vietnamese young people cope with these opposing and contrasting forces is often expressed in their active and passive music making.

Music Publishing covers the basics of how a composition is copyrighted, published, and promoted. Publishing in the music business goes far beyond the physical sheet--it includes live performance and mechanical (recording) rights, and income streams from licensing deals of various kinds. A single song can generate over thirty different royalty streams, and a writer must know how these royalties are calculated and who controls the flow of the money.

Taking a practical approach, the authors -- one a successful music publisher and attorney, the other a songwriter and music business professor -- explain in simple terms the basic concept of copyright law as it pertains to compositions. Throughout, they give practical examples from "real world" situations that illuminate both potential pitfalls and possible upsides for the working composers.

This book provides a comprehensive overview of music data analysis, from introductory material to advanced concepts. It covers various applications including transcription and segmentation as well as chord and harmony, instrument and tempo recognition. It also discusses the implementation aspects of music data analysis such as architecture, user interface and hardware. It is ideal for use in university classes with an interest in music data analysis. It also could be used in computer science and statistics as well as musicology.

For the greater part of the twentieth century, Ibbs and Tillett's concert agency was to the British music industry what Marks and Spencer is to the world of the department store. The roll-call of famous musicians on its books was unmatched, and included such international stars as Clara Butt, Fritz Kreisler, Pablo Casals, Sergei Rachmaninov, Andr Segovia, Kathleen Ferrier, Myra Hess, Jacqueline du Pr Clifford Curzon and Vladimir Ashkenazy, to name but a handful. From 1906, the success of the company was due to the dedication of its founders, Robert Leigh Ibbs and John Tillett. After their deaths, the agency was run by the latter's wife, Emmie, who, dubbed the 'Duchess of Wigmore Street', became one of the most formidable yet respected women in British music. The history of this unique institution and its owners is told here for the first time, often through the fascinating letters that were exchanged between the artists themselves and the agency. It begins in the latter years of the 19th century with the concert and theatrical manager Narciso Vert, for whom both Ibbs and Tillett worked until his death in 1905. The story then becomes a history of musical life in twentieth-century Britain, illuminating aspects of the day-to-day management of concerts and festivals, the lives and livelihoods of professional musicians, as well as those who strove to join their ranks through audition or recommendation. The changing profile, and particularly the onset and development of personal management of artists represented by Ibbs and Tillett and their reception in the press, can be viewed as a barometer of musical taste. The demise of the agency in 1990 was indicative of just how much the world of British music had changed by the end of the century, but despite its loss to the profession, the legacy and influence of Ibbs and Tillett has remained a benchmark in today's highly competitive world of artist management and concert promotion, many of whose principal operators began

Sean Stroud examines how and why MAsica Popular Brasileira (MPB) has come to have such a high status, and why the musical tradition (including MPB) within Brazil has been defended with such vigour for so long. He emphasizes the importance of musical nationalism as an underlying ideology to discussions about Brazilian popular music since the 1920s, and the key debate on so-called 'cultural invasion' in Brazil. The roles of those responsible for the construction of the idea of MPB are examined in detail. Stroud analyses the increasingly close relationship that has developed between television and popular music in Brazil with particular reference to the post-1972 televised song festivals. He goes on to consider the impact of the Brazilian record industry in the light of theories of cultural imperialism and globalization and also evaluates governmental intervention relating to popular music in the 1970s. The importance of folklore and tradition in popular music that is present in both MA!rio de Andrade and Marcus Pereira's efforts to 'musically map' Brazil is clearly emphasized. Stroud contrasts these two projects with Hermano Vianna and ItaA Cultural's similar ventures at the end of the twentieth century that took a totally different view of musical 'authenticity' and tradition. Stroud concludes that the defence of musical traditions in Brazil is inextricably bound up with nationalistic sentiments and a desire to protect and preserve. MPB is the musical expression of the Brazilian middle class and has traditionally acted as a cultural icon because it is associated with notions of 'quality' by certain sectors of the media.

What is a fugue? What is the difference between a saxophone and a saxhorn? Who besides Puccini wrote an opera called "La Boheme"? In what year was the National Broadcasting Company Orchestra formed under Arturo Toscanini's direction? These and thousands of similar questions are answered in this comprehensive dictionary that remains unrivaled as a single-volume summary. "A New Dictionary of Music" is a basic reference work for anyone interested in music, whether performer or layman.

It covers orchestral, solo, choral, and chamber music, opera, and (in its musical aspects) the ballet. There are entries for composers (with biographies and details of compositions); works well known by their titles, such as operas and symphonic poems; orchestras, performers and conductors of importance today; musical instruments (including those of the dance and brass bands); and technical terms. English names and terms are used whenever possible, but foreign terms in general use are cross-referenced. Particular importance has been attached to bringing the reader abreast of new musical developments.

The composers and musical works chosen were those most likely to be encountered. Where an opera is given an entry, a brief explanation of the title follows. Similarly explication is provided for other works bearing literary or otherwise allusive titles. Among performers and conductors, only the following are included: those who, although dead, continue to be prominent through recorded performances (e.g., Gigli); the highest-ranking international artists of today, plus a very few apparently on the verge of attaining that rank; a few who, though not necessarily at the very head of their profession, are closely associated with composers in bringing out new works, or are conductors in charge of important orchestras.

"Arthur Jacobs" is well-known both in his native England and in the United States as a critic, author, translator of librettos, lecturer, and broadcaster.

Pina Bausch's Aggressive Tenderness: Repurposing Theater through Dance maps Bausch's pieces alongside methodologies of key theater and film practitioners. This book includes discussion of a variety of Bausch pieces, including Sacre du Printemps (Rite of Spring 1975), Kontakthof (Meeting Place 1978), Cafe Muller (Cafe Mueller 1978), Nelken (Carnations 1982), Arien (Arias 1985), and Vollmond (Full Moon 2006). Beginning with her approach as one avenue of dance dramaturgy, the author connects the content expressed in these pieces with theoretical conversations, works from other artists inspired by Bausch, and her own experiences, providing an examination that is both academic and personally insightful. Arendell reads all of these theatrical and film approaches into Bausch's work to highlight how the time frame involves a cross-pollination between Bausch and the other artists that looks both backward and forward in its influences. Ideal for students of dance and theater, Pina Bausch's Aggressive Tenderness shows how Bausch's Tanztheater speaks a kinaesthetic language, one that Arendell translates into a somaesthetic exploration to pair a repurposed body ethic with movements that present new forms of embodiment.

Music is an expression of feelings of the soul conveyed through the medium of sound. But not all sounds are music. It might be said that only an organised sound or series of sounds can be called music. Thus, music is connected to the eternal and constant flow and order of the universe, to the laws and rhythms of nature. It can also be said that musical order is comparable to the natural order of the universe. There are laws of a certain nature in the natural sciences and likewise in music there are structures and procedures, or even rules, that should be followed to produce beautiful music. The International Conference "Innovations for 21st Century Music Education and Research" provided a timely opportunity to take stock of the latest developments in music education and brought together educators, researchers and members of the broader community in a welcoming forum in which they were able to express theoretical and practical views, concepts, research results and principles to help support the further development of music education.

Made in Turkey: Studies in Popular Music serves as a comprehensive and thorough introduction to the history, sociology, and musicology of Turkish popular music. The volume consists of essays by leading scholars of Turkish music, and covers the major figures, styles, and social contexts of popular music in Turkey. Each essay provides adequate context so readers understand why the figure or genre under discussion is of lasting significance to Turkish popular music. The book first presents a general description of the history and background of popular music in Turkey, followed by essays that are organized into thematic sections: Histories, Politics, Ethnicities, and Genres.

Third volume of Carl Francis Glasenapp's Life of Richard Wagner.

George Martin - the man, the mind, the music. This is the story of the legendary Beatles producer. The first of two volumes, MAXIMUM VOLUME traces Martin’s early life, from an impoverished childhood, through WWII, to becoming head of EMI’s Parlophone Records. There, he made waves in British comedy and saved Parlophone from ruin with records from the likes of Spike Milligan. Then one day he discovered a scruffy beat band from Liverpool... As this dramatic story unfolds, the book transports you into the studio with Martin and the Beatles, exploring how his musical genius shaped their incredible body of work and helped craft hit after hit. In the process, Martin would define the modern concept of a record producer.

Sonic Synergies: Music, Technology, Community, Identity focuses on the new and emerging synergies of music and digital technology within the new knowledge economies. Eighteen scholars representing six international perspectives explore the global and local ramifications of rapidly changing new technologies on creative industries, local communities, music practitioners and consumers. Diverse areas are considered, such as production, consumption, historical and cultural context, legislation, globalization and the impact upon the individual. Drawing on a range of musical genres from jazz, heavy metal, hip-hop and trance, and through several detailed case studies reflecting on the work of professional and local amateur artists, this book offers an important discussion of the ways in which the face of music is changing. Approaching these areas from a cultural studies perspective, this text will be a valuable tool for anyone engaged in the study of popular culture, music or digital technologies.

A series of essays on reactions and emotional responses to music.

The original intention was that this book should be entirely biographical. If it be true, however, that out main interest is (or ought to be) in what a composer did rather than in what he was, the truth applies especially to Beethoven, and above all at the present time. The scheme of the book has therefore been modified so as to include a survey of his work. An attempt to make such survey cover the whole of Beethoven's output would result in little more than a catalogue, with annotations to brief as to convey hardly anything of the essential quality of the music. It seemed, therefore, that the limited space would be best used, and the needs of the general reader more fully met, by a much less rigid and comprehensive method.

The first comprehensive selection of Szymanowski's writings to be published in English, containing all the most important of the composer's essays and interviews. Karol Szymanowski [1882-1937] is now widely acknowledged to be the most important Polish composer since Chopin. He was also a considerable thinker on musical topics: the role of music in society, the goal of musical education, thepurpose of criticism, the nature of Romanticism, the hallmarks of national identity - indeed, he was passionately concerned with the emergence of the Polish voice in music, and the role of Chopin in particular. Szymanowski on Music is the first comprehensive selection of his writings to be published in English. It contains all the most important of the composer's essays and interviews, throws light on the trying conditions under which he was obliged to work in the 1920s and '30s, especially in education, and gives perceptive assessments of the work of some of the major composers of the nineteenth and early twentieth centuries - Wagner, Strauss, Stravinsky, Ravel, Satie and others - and the trends they embodied. A number of pieces of a more biographical nature are also included. Overall it provides, in the words of the translator Alistair Wightman, `abundant evidence of the breadth and depthof Szymanowski's personal culture, and at the same time a telling demonstration of his search for an all-embracing humanistic synthesis'. Dr Wightman faces his pioneering translations from Szymanowski's Polish originals with an extensive introductory essay that places his literary activities in the context of his life and career. This book will be a vital element in the rediscovery of the music of one of the twentieth century's most appealing composers.

In the final decades of the fifteenth century, the European musical world was shaken to its foundations by the onset of a veritable culture war. At a time when composers like Obrecht, Isaac, and Josquin were bringing the craft of composition to new heights of artistic excellence, critics began to insist that art polyphony was useless, wasteful, immoral, decadent, and effeminizing. They campaigned aggressively to popularize those criticisms, challenging old certainties about music, and threatening its position in contemporary church and society. Their most effective slogans became critical commonplaces, ideas that left their mark in the writings of figures as diverse as Leonardo, Erasmus, Savonarola, Castiglione, and others. Yet defenders of polyphony struck back with a vicious counter-offensive, and for several decades music would remain a topic of bitter controversy. When the crisis had finally passed, in the 1530s, nothing would ever be the same again. Now in paperback, The Crisis of Music in Early ModernEurope tells the story of this cultural upheaval, drawing on a wide range of little-known texts and documents, and weaving them together in a narrative that takes the reader on an eventful musical journey through early-modern Europe.

Music, Health, and Power offers an original, on-the-ground analysis of the role that music plays in promoting healthy communities. The book brings the reader inside the world of kanyeleng fertility societies and HIV/AIDS support groups, where women use music to leverage stigma and marginality into new forms of power. Drawing on ethnographic research conducted over a period of 13 years (2006-2019), the author articulates a strengths-based framework for research on music and health that pushes beyond deficit narratives to emphasize the creativity and resilience of Gambian performers in responding to health disparities. Examples from Ebola prevention programs, the former President's AIDS "cure," and a legendary underwear theft demonstrate the high stakes of women's performances as they are caught up in broader contestations over political and medical authority. This book will be of interest to scholars and students of ethnomusicology, medical anthropology, and African studies. The accompanying audio examples provide access to the women's performances discussed in the text.

1) For the instructor, despite best intentions, who simply cannot invest much time into researching the complex, and sometimes controversial and contradictory, approaches to the subject when teaching music history / appreciation /culture 2) Addresses students who listen to music from anywhere in the world anytime they want, in formal or informal learning or casual settings 3) Offers tools for understanding key terms and concepts, suggestions for discussion, models for listening and writing assignments, examples of repertoire, templates for building a syllabus, and resources for further exploration.

Sounding Out: Pauline Oliveros and Lesbian Musicality examines the musical career of the avant-garde composer, accordionist, whose radical innovations of the 1960s, 70s and 80s have redefined the aesthetic and formal parameters of American experimental music. While other scholars have studied Oliveros as a disciple of John Cage and a contemporary of composers Terry Riley, Lou Harrison, Gordon Mumma, and Robert Ashley, Sounding Out resituates Pauline Oliveros in a gynecentric network of feminist activists, writers, artists and musicians. This book shows how the women in Oliveros??'s life were central sources of creative energy and exchange during a crucial moment in feminist and queer cultural history. Crafting a dynamic relationship between feminism and music-making, this book offers a queerly original analysis of Oliveros??'s work as a musical form of feminist activism and argues for the productive role of experimental music in lesbian feminist theory.

Sounding Out combines key elements of feminist theories of lesbian sexuality with Oliveros??'s major compositions, performances, critical essays, and interviews. It also includes previously unpublished correspondence between Oliveros and Edith Guttierez, Jill Johnston, Annea Lockwood, Kate Millett, and Jane Rule.

Sounding Out: Pauline Oliveros and Lesbian Musicality examines the musical career of the avant-garde composer, accordionist, whose radical innovations of the 1960s, 70s and 80s have redefined the aesthetic and formal parameters of American experimental music. While other scholars have studied Oliveros as a disciple of John Cage and a contemporary of composers Terry Riley, Lou Harrison, Gordon Mumma, and Robert Ashley, Sounding Out resituates Pauline Oliveros in a gynecentric network of feminist activists, writers, artists and musicians. This book shows how the women in Oliveros??'s life were central sources of creative energy and exchange during a crucial moment in feminist and queer cultural history. Crafting a dynamic relationship between feminism and music-making, this book offers a queerly original analysis of Oliveros??'s work as a musical form of feminist activism and argues for the productive role of experimental music in lesbian feminist theory.

Sounding Out combines key elements of feminist theories of lesbian sexuality with Oliveros??'s major compositions, performances, critical essays, and interviews. It also includes previously unpublished correspondence between Oliveros and Edith Guttierez, Jill Johnston, Annea Lockwood, Kate Millett, and Jane Rule.

This title was first published in 2002. This volume of essays seeks to reflect aspects of the life and work of Arthur Bliss, Master of the Queen's Music. Though each is self-contained, the editor has attempted to keep a theme running throughout. Looking beyond surface impressions is an attitude constantly expressed.

Japanese popular culture has been steadily increasing in visibility both in Asia and beyond in recent years. This book examines Japanese popular music, exploring its historical development, technology, business and production aspects, audiences, and language and culture.

Based both on extensive textual and aural analysis, and on anthropological fieldwork, it provides a wealth of detail, finding differences as well as similarities between the Japanese and Western pop music scenes. Carolyn Stevens shows how Japanese popular music has responded over time to Japan's relationship to the West in the post-war era, gradually growing in independence from the political and cultural hegemonic presence of America. Similarly, the volume explores the ways in which the Japanese artist has grown in independence vis-a-vis his/her role in the production process, and examines in detail the increasingly important role of the jimusho, or the entertainment management agency, where many individualartists and music industry professionals make decisions about how the product is delivered to the public. It also discusses the connections to Japanese television, film, print and internet, thereby providing through pop music a key to understanding much of Japanese popular culture more widely.

The birth of rock a ~na (TM) roll signaled the blossoming of a new teenage culture, dividing generations and introducing a new attitude of rebellion and independence. From Chuck Berry to the Beatles, from punk rock to hip hop, rock a ~na (TM) roll has continuously transformed alongside or in reaction to social, cultural, and political changes.

A Brief History of Rock, Off the Record is a concise introduction to rock history and the impact it has had on American culture. It is an easy-to-read, vivid account written by one of rocka (TM)s leading critics. Pulling from personal interviews over the years, Wayne Robins interweaves the developments in rock music with his commentary on the political and social events and movements that defined their decades.