An ethnographic study of gender, place and belonging, Affective Intensities introduces readers to the embodied sensations, flows and experiences of being in extreme music scenes in Australia and Japan.

Explore the chords, rhythms, and techniques used by the greatest funk keyboardists!

Subjects covered include: common chords and progressions; classic funk rhythms, licks and patterns; synth bass & multiple keyboard playing; and pitch wheel and modulation.

The accompanying audio includes 81 full-band tracks. The audio is accessed online using the unique code inside each book and can be streamed or downloaded.

The audio files include PLAYBACK+, a multi-functional audio player that allows you to slow down audio without changing pitch, set loop points, change keys, and pan left or right.

The Sounds of Silent Films is a unique collection of investigatory and theoretical essays that, for the first time, unite up-to-date research on the complex historical performance practices of silent film accompaniment with in-depth analyses of relevant case studies.

They're Playing Our Songs offers a unique and fascinating vehicle for women's voices to be heard on the subject of women's music and how it affects their lives. Author Ann M. Savage explores 15 women's engagements with what might be called feminist rock music, including that of such noted artists as Ani DiFranco, Tori Amos, the Indigo Girls, and Melissa Etheridge. The women interviewed here tell deeply personal stories of how songs by these musicians have helped them survive and cope with turbulent life experiences such as difficult work environments, depression, and abusive relationships. As we can see, then, music can be not only pleasurable but also fiercely expressive, in ways that allow its listeners some vicarious catharsis. These accounts of personal transformation make for a book that is at once compelling and dynamically political, revealing the myriad ways in which art, polemics, and life intertwine to create a side of womanhood that few ever get to see.

Illustrated throughout with stunning images, this glossy biography tells the story of Taylor Swift's life and music. The definitive biography of a global music icon.

Includes coverage of The Tortured Poets Department and The Eras Tour

Taylor Swift’s rise to mega stardom is the story of the century. Charming fans straight out the gate as a teen country music sensation, Swift has gone on to dominate the music industry as a pop titan.

She is the first woman to have four albums in the Billboard chart’s Top Ten at the same time, is the recipient of fourteen Grammys and forty American Music Awards, and her recent Eras tour broke records to become the highest-grossing tour in history.

A treasured celebrity who has triumphed in the face of haters and intrusive tabloid coverage, Taylor Swift uses her personal life as inspiration for her songwriting, delivering hit after hit, and selling out stadiums the world over. Her music continues to engage, evolve and encapsulate the hearts of fans all over the world.

Taylor’s story is one of love and poetry.

Bobby Darin fit a lot into his 37 years. By the age of 22, Darin topped the charts, but soon reinvented himself as a Sinatra-style crooner, winning a Grammy Award, the adulation of millions, a Hollywood contract, and a starlet wife. Bobby Darin examines the entertainer's entire life, from his boyhood in the Bronx to his rise as a musical sensation, his rocky marriage to Sandra Dee, the evolution of his career, and the shocking secret Darin learned later in life.

'This is the most glorious of books. I am besotted by the life I never knew he had.' -Elton John 'Orgasmic. Every page of Scattershot is a delight, a joy, a name-dropper fan's delight. Divine. I couldn't put it down.' -Pete Townshend 'In Bernie Taupin's miraculous memoir Scattershot you'll meet legends, cowboys, geniuses, unforgettable faces in the night, shady purveyors of outrageous fortune, warriors of the heart, and most of all, Taupin himself. Hilarious and so emotionally true, Scattershot is like a letter from a cherished friend. You'll want to keep it close, so you can read it again and again.' -Cameron Crowe 'Touching. Charming. Humble. Witty. And exquisitely written. Taupin's words need no musical accompaniment. They sing with a poets voice.' -Gary Oldman 'Eloquent and inspiring, Scattershot is a freewheeling memoir that is as warm and evocative as Bernie Taupin's most memorable lyrics. A born storyteller, Taupin gives us the life of an artist whose outlook was shaped by a rare but fascinating blend of lifelong innocence and endless intellectual curiosity.' -Robert Hilburn, author of Johnny Cash: The Life "I loved writing, I loved chronicling life and every moment I was cogent, sober, or blitzed, I was forever feeding off my surroundings, making copious notes as ammunition for future compositions. . . . The thing is good, bad or indifferent I never stopped writing, it was as addictive as any drug." This is the memoir music fans have been waiting for. Half of one of the greatest creative partnerships in popular music, Bernie Taupin is the man who wrote the lyrics for Elton John, who conceived the ideas that spawned countless hits, and sold millions and millions of records. Together, they were a duo, a unit, an immovable object. Their extraordinary, half-century-and-counting creative relationship has been chronicled in biopics (like 2019's Rocketman) and even John's own autobiography, Me. But Taupin, a famously private person, has kept his own account of their adventures close to his chest, until now. Written with honesty and candour, Scatterhot allows the reader to witness events unfolding from Taupin's singular perspective, sometimes front and center, sometimes from the edge, yet always described vibrantly, with an infectious energy that only a vivid songwriter's prose could offer. From his childhood in the East Midlands of England whose imagination was sparked and forever informed by the distinctly American mythopoetics of country music and cowboys, to the glittering, star-studded fishbowl of '70s and '80s Beverly Hills, Scattershot is simultaneously a Tom Jones­-like picaresque journey across a landscape of unforgettable characters, as well as a striking, first-hand account of a creative era like no other and one man's experience at the core of it. An exciting, multi-decade whirlwind, Scattershot whizzes around the world as we ride shotgun with Bernie on his extraordinary life. We visit New York with him and Elton on the cusp of global fame. We spend time with him in Australia almost in residency at an infamous rock 'n' roll hotel in an endless blizzard of drugs. And we spend late, late night hours with John Lennon, with Bob Marley, and hanging with Frank Sinatra. And beyond the world of popular music, we witness memorable encounters with writers like Graham Greene, painters like Andy Warhol and Salvador Dali, and scores of notable misfits, miscreants, eccentrics, and geniuses, known and unknown. Even if they're not famous in their own right, they are stars on the page, and we discover how they inspired the indelible lyrics to songs such as "Tiny Dancer," "Candle in the Wind," "Bennie and The Jets," and so many more. Unique and utterly compelling, Scattershot will transport the reader across the decades and around the globe, along the way meeting some of the greatest creative minds of the 20th century, and into the vivid imaginings of one of music's most legendary lyricists.

A continuation of the 40-year recording career of one of the most popular country music performers of our time, this second volume (the first published by Greenwood in 1985) follows Johnny Cash's recording activity from 1984 through 1993. New to this volume are the Billboard Chart Listings, which follow the popularity of any one Cash release, and the combined Sessions Index for 1954 through 1993. An Appendix details several pre-1984 sessions not contained in the first volume. The index serves as a quick cross-reference of song titles, musicians, composers, producers, and studio locations. This volume is designed so that each section will complement and act as a cross-reference to the others. For example, the Sessions section will give session date, location, list of musicians, producers, composers, song titles, and first release information, as it pertains to singles, albums, and CDs. Then follows a Releases section, which gives a wider view as to the number of releases and contents. This listing will include domestic as well as foreign issues. The Billboard Chart Listings chapter is a tool for following the popularity of a single and/or album (CD) on both the Pop and Country charts week by week. Appendix B is an alphabetical listing of all singles and albums (CD) that have appeared on the Billboard charts from 1954 through 1993, making it easy to locate a certain entry in the listings section. The Sessions Index includes sessions from the 1985 volume as well as those pre-1984 sessions from Appendix A. The two volumes serve as a 40-year history for music historians, students of country music, and fans of Johnny Cash.

This early work is an interesting read for any music enthusiast or historian, but it contains much information that is still useful and practical today. It contains comprehensive drum scores and encyclopaedic entries for diverse percussion instruments. Many of the earliest books, particularly those dating back to the 1900s and before, are now extremely scarce and increasingly expensive. We are republishing these classic works in affordable, high quality, modern editions, using the original text and artwork.

From the Preface: Blending ideas from operations research, music psychology, music theory, and cognitive science, this book aims to tell a coherent story of how tonality pervades our experience, and hence our models, of music. The story is told through the developmental stages of the Spiral Array model for tonality, a geometric model designed to incorporate and represent principles of tonal cognition, thereby lending itself to practical applications of tonal recognition, segmentation, and visualization. Mathematically speaking, the coils that make up the Spiral Array model are in effect helices, a spiral referring to a curve emanating from a central point. The use of "spiral" here is inspired by spiral staircases, intertwined spiral staircases: nested double helices within an outer spiral. The book serves as a compilation of knowledge about the Spiral Array model and its applications, and is written for a broad audience, ranging from the layperson interested in music, mathematics, and computing to the music scientist-engineer interested in computational approaches to music representation and analysis, from the music-mathematical and computational sciences student interested in learning about tonality from a formal modeling standpoint to the computer musician interested in applying these technologies in interactive composition and performance. Some chapters assume no musical or technical knowledge, and some are more musically or computationally involved.

"Queer Voices" sets out both to queer the musicological and to make queer audible, arguing that the voice, particularly the singing voice, opens up a richly queer space. Using case studies from different repertoires, the book demonstrates how queer emerges particularly audibly when the voice is heard to engage with various technologies: the external technologies of music performances and recordings, technologies of power, or the internal technologies of vocal production itself.

This is how simple the complicated music business can be I was sitting "shooting the bull" with the A&R man at Epic Records one day. He said, "You know what I would really like to find is a white kid that sings the blues like a black guy." I said, "I know a kid like that," or words to that effect. I then told him what I knew about Tim Williams.Tim was starving to death trying to run a Coffee House in Santa Barbara. He was only nineteen-years old, but very good. The problem was that I had no idea what to do with a Blues singer. Suddenly there was an answer to the question. The A&R man said, "Bring him down " which meant to his office in Hollywood.When the day came to go to Hollywood we went in my car. I didn't think he had one that would make it down and back. He showed up in a pair of dark brown corduroy pants and a dark polo-type shirt, both clean, but covered with white lint. I was embarrassed to "showcase" him that way, but it could have been a sensitive subject so away we went. I didn't have a clue what to expect when we arrived at the office. In the now familiar get-to-the-point fashion the man said, "Let's hear something" after a few minutes of visiting. Tim opened his guitar case, took out his twelve string guitar and began playing as if the outcome didn't make a damn bit of difference to him. Mr. A&R man asked him to do some old standard, then something original that Tim had written. Then suddenly he said, "Sounds good, let's do a thing, make a record " Just like that

One of Britain's best-loved and most successful fanzines, Jamming! documented the musical landscape as it evolved between 1977 and 1986. Fully illustrated throughout, The Best of Jamming! includes numerous stand-out pieces from the zine's impressive 36 issue-run, from early features on The Jam, The Smiths, Run-D.M.C, Cocteau Twins and The Beat, to surprise exclusive interviews with Paul McCartney, U2 and Pete Townshend. Personal letters from Mark E. Smith, Paul Weller and others appear alongside arts, sports and politics features, poetry and a Foreword by Billy Bragg. Having guided Jamming! from a 6-page school publication to a nationally distributed monthly, editor Tony Fletcher provides behind-the-scenes insights, while musicians and former contributors reflect on their interviews and Jamming!'s long-lasting influence. An immensely evocative read, The Best of Jamming! perfectly encapsulates the excitement and unprecedented potential of the DIY era.

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.

In the last 15 years we have seen a major transformation in the world of music. - sicians use inexpensive personal computers instead of expensive recording studios to record, mix and engineer music. Musicians use the Internet to distribute their - sic for free instead of spending large amounts of money creating CDs, hiring trucks and shipping them to hundreds of record stores. As the cost to create and distribute recorded music has dropped, the amount of available music has grown dramatically. Twenty years ago a typical record store would have music by less than ten thousand artists, while today online music stores have music catalogs by nearly a million artists. While the amount of new music has grown, some of the traditional ways of ?nding music have diminished. Thirty years ago, the local radio DJ was a music tastemaker, ?nding new and interesting music for the local radio audience. Now - dio shows are programmed by large corporations that create playlists drawn from a limited pool of tracks. Similarly, record stores have been replaced by big box reta- ers that have ever-shrinking music departments. In the past, you could always ask the owner of the record store for music recommendations. You would learn what was new, what was good and what was selling. Now, however, you can no longer expect that the teenager behind the cash register will be an expert in new music, or even be someone who listens to music at all.

Let's try to play the music and not the background. Ornette Coleman, liner notes of the LP "Free Jazz" 20] WhenIbegantocreateacourseonfreejazz, theriskofsuchanenterprise was immediately apparent: I knew that Cecil Taylor had failed to teach such a matter, and that for other, more academic instructors, the topic was still a sort of outlandish adventure. To be clear, we are not talking about tea- ing improvisation here-a di?erent, and also problematic, matter-rather, we wish to create a scholarly discourse about free jazz as a cultural achievement, and follow its genealogy from the American jazz tradition through its various outbranchings, suchastheEuropeanandJapanesejazzconceptionsandint- pretations. We also wish to discuss some of the underlying mechanisms that are extant in free improvisation, things that could be called technical aspects. Such a discourse bears the ?avor of a contradicto in adjecto: Teachingthe unteachable, the very negation of rules, above all those posited by white jazz theorists, and talking about the making of sounds without aiming at so-called factual results and all those intellectual sedimentations: is this not a suicidal topic? My own endeavors as a free jazz pianist have informed and advanced my conviction that this art has never been theorized in a satisfactory way, not even by Ekkehard Jost in his unequaled, phenomenologically precise p- neering book "Free Jazz" 57].

Popular music may be viewed as primary documents of society, and "America's Musical Pulse" documents the American experience as recorded in popular sound. Whether jazz, blues, swing, country, or rock, the music, the impulse behind it, and the reaction to it reveal the attitudes of an era or generation. Always a major preoccupation of students, music is often ignored by teaching professionals, who might profitably channel this interest to further understandings of American social history and such diverse fields as sociology, political science, literature, communications, and business as well as music.

In this interdisciplinary collection, scholars, educators, and writers from a variety of fields and perspectives relate topics concerning twentieth-century popular music to issues of politics, class, economics, race, gender, and the social context. The focus throughout is to place music in societal perspective and encourage investigation of the complex issues behind the popular tunes, rhythms, and lyrics.

Armed with cheap digital technologies and a fiercely independent spirit, millions of young people from around the world have taken cultural production into their own hands, crafting their own clothing lines, launching their own record labels, and forging a vast, collaborative network of impassioned amateurs more interested in making than consuming.
"DIY Style" tells the story of this international do-it-yourself (DIY) movement through a major case study of one of its biggest, but least known contingents: the "indie" music and fashion scene of the predominantly Muslim Southeast Asian island nation of Indonesia. Through rich ethnographic detail, in-depth historical analysis, and cutting-edge social theory, the book chronicles the rise of DIY culture in Indonesia, and also explores the phenomenon in Europe and the United States, painting an evocative portrait of vibrant communities who are not only making and distributing popular culture on their own terms, but working to tear down the barriers between production and consumption, third and first world, global and local. What emerges from the book is a cautiously optimistic view of the future of global capitalism - a creative, collectivist alternative built from the ground up.
This exciting and original study is essential reading for students and scholars of anthropology, fashion, media studies, cultural studies and sociology.

Despite the world-wide association of music and dance with religion, this is the first full-length study of the subject from a global perspective. The work consists of 3,816 references divided among 37 chapters. It covers tribal, regional, and global religions and such subjects as shamanism, liturgical dance, healing, and the relationship of music, mathematics, and mysticism. The referenced materials display such diverse approaches as analysis of music and dance, description of context, direct experience, observation, and speculation. The references address topics from such disciplines as sociology, anthropology, history, linguistics, musicology, ethnomusicology, theology, medicine, semiotics, and computer technology. Chapter 1 consists of general references to religious music and dance. The remaining 36 chapters are organized according to major geographical areas. Most chapters begin with general reference works and bibliographies, then continue with topics specific to the region or religion. This book will be of use to anyone with an interest in music, dance, religion, or culture.