Emo - confessional punk rock - is the first cultural movement born on the Internet, thanks in part to the development of social networking sites like MySpace. Tracing its angst-y roots all the way from Shakespeare to Holden Caulfield to today's most popular bands, this is the definitive handbook to Emo. From the movement's fashion and ideology, to its music, movies and eating habits, it's all covered here with razor-sharp wit.

Given the rapid development of new technologies such as smart devices, robots, and artificial intelligence and their impact on the lives of people and on society, it is important and urgent to construct conceptual frameworks that help us to understand and evaluate them. Benefiting from tendencies towards a performative turn in the humanities and social sciences, drawing on thinking about the performing arts, and responding to gaps in contemporary artefact-oriented philosophy of technology, this book moves thinking about technology forward by using performance as a metaphor to understand and evaluate what we do with technology and what technology does with us. Focusing on the themes of knowledge/experience, agency, and power, and discussing some pertinent ethical issues such as deception, the narrative of the book moves through a number of performance practices: dance, theatre, music, stage magic, and (perhaps surprisingly) philosophy. These are used as sources for metaphors to think about technology-in particular contemporary devices and machines-and as interfaces to bring in various theories that are not usually employed in philosophy of technology. The result is a sequence of gestures and movements towards a performance-oriented conceptual framework for a thinking about technology which, liberated from the static, vision-centred, and dualistic metaphors offered by traditional philosophy, can do more justice to the phenomenology of our daily embodied, social, kinetic, temporal, and narrative performances with technology, our technoperformances. This book will appeal to scholars of philosophy of technology and performance studies who are interested in reconceptualizing the roles and impact of modern technology.

He starts the decade a teenage pop idol. But the one-hit wonder who sang 'Space Oddity' is still very far from becoming the star who will one day define the 1970s. Not when he still has a band to find, a manager to sack, a mentally ill brother to save, a wife to marry and a rival called Marc Bolan to beat. Not when David Bowie still has no idea who or what David Bowie is. Starting at the beginning of Bowie's incredible ten-year odyssey changing the course of pop music, Simon Goddard's bold and expressionistic biography weaves time, space, rock'n'roll and social history to relive Bowie's 1970 - moment by vivid moment.

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.

First performed in Rome in 1853, "Il Trovatore" is one of Giuseppe Verdi's most successful and most performed operas. Supremely melodic, vigorously paced, it is filled with arias and vocal ensembles of thrilling power. Grand opera at its most stirring, it is above all rich in opportunities for bravura singing. Music lovers can savor and study in detail Verdi's scoring of this perennial operatic favorite with this finely made full-score edition.

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.

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.

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.

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.

Make your guitar sing with insight on music theory brings your instrument to life There's a universe of incredible music living in your guitar. You just need to discover how to let it out. In Guitar Theory For Dummies, expert guitarist and instructor Desi Serna walks you through the music theory concepts you need to understand to expand your musical horizons. From deciphering the mysteries of the fretboard to adapting chord progressions to a song's key, you'll master techniques that will help you move past simple, three-chord songs to more complex and creative pieces. Build on your existing knowledge of open and barre chords and simple progressions with practical instruction that demystifies scales and chord voicings and shows you how to bring them together to create impressive music. You can also jump over to dummies.com to hear audio samples of the examples featured in the book. You'll also learn: How chords, keys, and scales are built and how they interact with one another Powerful concepts, like intervals, chord extensions, modes and modal scales, that grant access to a world of musical possibilities How popular songs apply elements of guitar theory and how you can apply the same techniques Free yourself from the confines of tab sheets and simple chords and start enjoying all the musical potential of your guitar. Guitar Theory For Dummies is for anyone who wants to unlock the next stage of their musical journey.

None of This Rocks is a memoir by Joe Trohman - lead guitarist and cofounder of Fall Out Boy - that reads like a double album full of revealing stories from his youth and his experiences of modern rock and roll stardom. With wit and wisdom, and maybe a little bit of whining, Trohman grapples with depression, his mother's brain cancer, antisemitism, pills, petty larceny, side hustles, and pop punk at the turn of the century. None of This Rocks chronicles a turbulent life that has informed Trohman's music and his worldview. His mother suffered from mental illness and multiple brain tumors that eventually killed her. His father struggled with that tragedy, but was ultimately a supportive force in Trohman's life who fostered his thirst for knowledge. Trohman faced antisemitism in small-town Ohio, and he witnessed all levels of misogyny, racism, and violence amid the straight edge hardcore punk scene in Chicago. Then came Fall Out Boy. From the guitarist's very first glimpses of their popular ascension, to working with his heroes like Anthrax's Scott Ian, to writing for television with comedian Brian Posehn, Trohman takes readers backstage, into the studio, and onto his couch. He shares his struggles with depression and substance abuse in a brutally honest and personal tone that readers will appreciate. Not much of this rocks, perhaps, but it all adds up to a fascinating music memoir unlike any you've ever read.

The Thirteenth Edition of this powerhouse best-selling text maintains its tradition as the most comprehensive, up-to-date guide to the music industry in all of its diversity. Readers new to the music business and seasoned professionals alike will find David Baskerville, Tim Baskerville, and Serona Elton's handbook the go-to source, regardless of their specialty within the music field. Music Business Handbook and Career Guide is ideal for introductory courses such as Introduction to the Music Business, Music and Media, and other survey courses as well as more specialized courses such as the Record Industry, Music Careers, Artist Management, and more. The fully updated Thirteenth Edition includes a comprehensive discussion of the streaming revolution, where this predominant form of music consumption stands today and is heading in the future. Rapid changes in music licensingare addressed and how they impact creators, musical work performance licensing, compulsory and negotiated mechanicals, and sound recording licenses. The new edition also analyzes the changing picture of music video and shows how music video has been upended by on-demand streaming. Lastly, there is all-new coverage of COVID-19and how the concert industry has been impacted as well as digital advances that have been made.

Using the case study of "Eddie" as his framework, Professor Miller challenges the prevailing notion that musical savants are essentially phenomenal tape recorders and deals with the issue of "idiot savants" in a detailed, empirical investigation. Through "Eddie" the author discusses, in specific and in general, topics including the background and historical context of musical savants; other cases; data regarding the nature of the skills exhibited and the associated developmental deficits; and descriptions of a series of experiments used to define Eddie's talent. Finally, the author considers more general issues raised by savant behavior, particularly functions served by savant behavior, theories regarding its etiology, and its role in general development.

This handbook provides an evidence-based account of psychological perspectives on issues in music education and music in the community through the life course, exploring our understanding of music learning and participation across contexts. The contributors draw on multidisciplinary research from different cultures and contexts in order to set out the implications of music psychology for music education and music in the community. Highlighting the intersecting issues across education and community contexts, the book proposes new theories as well as offering important refinements to existing conceptual models. Split into six parts, it considers the role of music in society as well as for groups and individuals, and explores topics such as processing and responding to music; pedagogical and musical practices that support or pose challenges to the emotional, cognitive, social or physical wellbeing of learners and participants in a range of contexts; and 'music in identity' or 'identity in music'. With the final part on future directions and the implications for professional practice in music education and music in the community, the book concludes by exploring how the two sectors might work more closely together within a post-COVID-19 world. Based on cutting-edge research from an international team, this is essential reading for anyone interested in music psychology, education and community, and it will be particularly helpful for undergraduate and graduate students in music psychology, music education and community music.

The future is a contested terrain and one that has in recent years been debated, theorized and imaginatively constructed with an unprecedented, albeit unsurprising, sense of urgency. The recent Afrofuturist imaginary is an increasingly noticeable field in these debates and manifestations, requesting as it does the envisioning of a future through an artistic, scientific and technological African or Black lens. Afrofuturism is not a new term, but it seems to have broadened and developed in different directions. The recent Afrofuturist engagements, which oscillate between narratives of empowerment and tech-wise superheroes on the one hand and dystopian agendas on the other, raise questions about earlier futurist accounts, about historical Black visions of the future that precede the establishment even of the term "Afrofuturism". This volume contextualizes Afrofuturism's diverse approaches in the past and present through investigations into overlapping horizons between Afrofuturist agendas and other intellectual and/or artistic movements (e.g., Pan-Africanism, debates about Civil Rights, decolonial debates and transcultural modernisms), as well as through explorations of Afrofuturist approaches in the 21st century across media cultures and in a transcultural perspective. This book was originally published as a special issue of the journal Critical Studies in Media Communication.

With Good night the pleasure was ours, David Grubbs melts down and recasts three decades of playing music on tour into a book-length poem, bringing to a close the trilogy that includes Now that the audience is assembled and The Voice in the Headphones. In Good night the pleasure was ours, the world outside the tour filters in with eccentric sparseness. From teenage punk bands to ensembles without fixed membership, and from solo performance to a group augmented by digital avatars, Grubbs presents touring as a series of daily dislocations that provides an education distinctly its own. These musicians' job is to play that evening's gig-whether to enthusiastic, hostile, or apathetic audiences-and then to do it again the next day. And yet, over the course of the book's multidecade arc, Grubbs depicts music making as an irreversible process-one reason for loving it so.

Over the last few decades, the notion of improvisation has enriched and dynamized research on traditional philosophies of music, theatre, dance, poetry, and even visual art. This Handbook offers readers an authoritative collection of accessible articles on the philosophy of improvisation, synthesizing and explaining various subjects and issues from the growing wave of journal articles and monographs in the field. Its 48 chapters, written specifically for this volume by an international team of scholars, are accessible for students and researchers alike. The volume is organized into four main sections: I Art and Improvisation: Theoretical Perspectives II Art and Improvisation: Aesthetical, Ethical, and Political Perspectives III Improvisation in Musical Practices IV Improvisation in the Visual, Narrative, Dramatic, and Interactive Arts Key Features: Treats improvisation not only as a stylistic feature, but also as an aesthetic property of artworks and performances as well as a core element of artistic creativity. Spells out multiple aspects of the concept of improvisation, emphasizing its relevance in understanding the nature of art. Covers improvisation in a wide spectrum of artistic domains, including unexpected ones such as literature, visual arts, games, and cooking. Addresses key questions, such as: - How can improvisation be defined and what is its role in different art forms? - Can improvisation be perceived as such, and how can it be aesthetically evaluated? - What is the relationship between improvisation and notions such as action, composition, expressivity, and authenticity? - What is the ethical and political significance of improvisation?

- Thoroughly revised new edition to reflect changes in the industry, moving away from a record-centric view and towards independent artists - Ideal balance of theory and practice to suit both students and professionals - Supplemented by a companion website with powerpoints, quizzes and lesson plans.

- One of the first titles to be published on the state-of-the-art of Soundwalking as a practice - This book offers a unique, interdisciplinary approach which considers cultural studies, environmental studies, politics, as well as sound studies - Brings together voices from both academic and professional spheres

This translation of this classic text contains a balance of cultural and biological considerations. While arguing for the strong influence of exposure and of formal training on the way that music is perceived, Frances draws on the literature concerning the amusias to illustrate his points about the types of cognitive abstraction that are performed by the listener.

One of the most extensive repertories of Renaissance sacred music to have come down to us was written for the Cathedral of Treviso. An Allied raid over the city on 7 April 1944 resulted in the destruction of 25 manuscripts of polyphonic music written prior to 1630. In this book, Bonnie Blackburn reconstructs the inventories of two of these lost manuscripts: MS29 and MS30, and explains their puzzling repertory.

ABRSM's official Music Theory Practice Papers 2022 are essential resources for candidates preparing for our online Music Theory exams. They provide authentic practice material and are a reliable guide as to what to expect in the exam. -Essential practice material for ABRSM Grade 5 Theory exams -Model answers also available