One of the first psychedelic jam bands in America, the Grateful Dead got their start in 1960s San Francisco and quickly became one of the most popular and iconic musical groups to date, with adoring fans still worshipping Garcia and crew long since the bands final act. Deadheads and music junkies will take a long, strange trip through over 400 questions about the band, from their roots in the California music scene to their lasting popularity today.

How and why was outdated racial content - and specifically blackface minstrelsy - not only permitted, but in fact allowed to thrive during the 1930s and 1940s despite the rigid motion picture censorship laws which were enforced during this time? Introducing a new theory of covert minstrelsy, this book illuminates Hollywood's practice of capitalizing on the Africanist aesthetic at the expense of Black lived experience. Through close examination of the musicals made during this period, this book shows how Hollywood utilized a series of covert "guises" or subterfuges-complicated and further masked by a film's narrative framing and novel technology to distract both censors and audiences from seeing the ways in which they were being fed a nineteenth-century White narrative of Blackness. Drawing on the annals of Hollywood's most popular and its extremely rare films, Behind the Screen uncovers a half century of blackface application by delicately removing the individual layers of disguise through close analyses of films which paint tap dance, swing, and other predominantly Africanist forms in a negative light. This book goes beneath the image of recognizable White performers including Al Jolson, Eddie Cantor, Fred Astaire, and Eleanor Powell, exploring the high cost of their onscreen representational politics. The book also recuperates the stories of several of the Black artists whose labor was abused during the choreographic and filming process. Some of the many newly documented stories include those of The Three Chocolateers, The Three Eddies, The Three Gobs, The Peters Sisters, Jeni Le Gon, and Cora La Redd. In stripping away the various disguises involved during Hollywood's Golden Age, Behind the Screen recovers the visibility of Black artists whose names Hollywood omitted from the credits and whose identities America has written out of the national narrative.

Almost 30 years after his death, Elvis Presley remains one of the most influential performers and recognized pop culture icons the world over. His then-unprecedented musical style-a fusion of blues, country, pop, bluegrass, and gospel-ushered in the age of rock n' roll and paved the way for generations of musicians and singers to follow. This biography will offer a seldom seen glimpse into the life of Elvis, tracing his family life, musical career, films, and legacy. The volume closes with a timeline and bibliography. Not only did Elvis usher in a new genre of music, he also came to represent the growing dissatisfaction young people had with the mores and conventions of the restrictive 1950s. At a time when the top pop stars were Pat Boone and Andy Williams, Elvis' blatant sensuality on stage and his smoldering presence off it made him the anti-establishment poster boy. This biography offers a seldom seen glimpse into the life and career of Elvis, tracing his family life, musical career, films, and legacy. Today, the King lives on in popular culture-on Top 20 lists, in film and television, on the radio, in cyberspace, and yes, even in the countless performances by Elvis impersonators throughout the world.

No friction among generations has been as extreme, volatile, and destructive as the present one between the Civil Rights generation and the hip-hop generation. Throughout the 1950s and 60s, the Black church stood as the stronghold of the Black community, fighting for equality and economic self-sufficiency, and challenging its body to be self-determined and self-aware. Hip-hop culture grew from disenfranchised urban youth who felt that they had no support system or resources. Impassioned with the same urgent desires for survival and hope that their parents and grandparents had carried, these youth forged their way from the bottom of America s belly one rhyme at a time. For many young people, hip-hop culture is a supplement, or even an alternative, to the weekly dose of Sunday morning faith.In this collection of provocative essays, leading thinkers, preachers, and scholars from around the country challenge both the Black church and the hip-hop generation to realize their shared responsibilities to one another and to the greater society. Arranged into three sections, this volume addresses key issues in the debate between two of the most significant institutions of Black culture. The first section, From Civil Rights to Hip Hop, explores the transition from one generation to another through the transmission or lack thereof of legacy and heritage. Section two, The Black Church and Hip Hop in Dialogue, explores the numerous ways in which the conversation is already going on from sermons to theoretical examinations and spiritual ponderings. Section Three, Gospel Rap, Holy Hip Hop, and the Hip-Hop Matrix, clarifies the perspectives and insights of practitioners, scholars, and activists who explore various expressions of faith and the diversity of locations where these expressions take place.In The Black Church and Hip-Hop Culture, pastors, ministers, theologians, educators, and laypersons wrestle with the challenging duties of providing timely commentary, critical analysis, and in some cases practical strategies towards forgiveness, healing, restoration, and reconciliation. With inspiring reflections and empowering commentary, this collection demonstrates why and how the Black church must re-engage in the lives of those who comprise the hip-hop generation.

This groundbreaking book shows for the first time the profound and transformative influence of American literature, music, and mythology on European music. Although the impact of the European tradition on American composers is widely acknowledged, Jack Sullivan demonstrates that an even more powerful musical current has flowed from the New World to the Old. The spread of rock and roll around the world, the author contends, is only the latest chapter in a cross-cultural story that began in the nineteenth century with Gottschalk in Paris and Dvorak in New York. Sullivan brings popular and canonical culture into his wide-ranging discussion. He explores the effects on European music of American authors as diverse as Twain, DuBois, Melville, and Langston Hughes, examining in particular Dvorak's fascination with Longfellow, the obsession of Debussy and Ravel with Poe, and the inspiration Whitman provided for Holst, Vaughan Williams, and dozens more. Sullivan uncovers the African American musical influence on Europe, beginning with spirituals and culminating in the impact of jazz on Stravinsky, Bartok, Walton, and others. He analyzes the lure of Hollywood and Broadway for such composers as Weill, Korngold, and Britten and considers the power of the American landscape-from the remoteness of the prairie to the brutal energy of the American city. In European music, Sullivan finds, American culture and mythology continue to resonate.

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THE SONGS OF HENRI DUPARC by Sydney Northcote Portrait of the Composer SYDNEY JiORTHCOTE D. Mm. Oxon. THE SONGS OF ENRI DUPARC ROY PUBLISHERS NEW YORK CONTENTS Preface 7 1. Introduction 13 2. Tlie Man 40 3. The Poets 59 4. The Songs 75 Chanson triste 77 Soupir 8 1 Le Galop 84 Au pays ou se fait la guerre 87 iJlnvitation au voyage 90 La vague et la cloche 94 Elegie 96 Extase 99 Le Manoir de Rosemonde 101 Serenade Jlorentine 103 PhidyU 105 Lamento 108 Testament no La Fie Anterieure 112 5. Epilogue 115 Bibliography and List of Gramophone Recordings 120 p r i i A n JL Jtv H Jc A L T JL . i H n IS is, so far as I know, the first book in English on the life and work of Henri Duparc. But it is intended to serve as an introduction to the study of his songs rather than as a full-length biography. For that would call for the intimate knowledge of someone like his sole surviving son, M. Henri Charles Duparc or his distinguished friend, M. P. de Breville or, as a beginning at any rate, the translation of Dr Charles Oulmonts Musique de Y amour To each of these I would here like to express my deepest obligations in the preparation of the present essay. The form of the book calls for very little explanation and, I hope, no apology. It is designed to fulfil a certain logical principle in die study of song the appreciation of the song writer as a musician and as a man, the study of his poets as poets and, finally, the critical and interpretative analyses of the songs themselves. That is what has been attempted here. Unfortunately, these are days when the study of song has been degraded by the clamour of vocal exhibitionism and the cult of popular modern perversions of the art. Too many singers demandthat a song shall suit them rather than that they should study it. And even when some kind of artistic interpretation is undertaken, too often it is a matter of personal sensationalism which reveals not the intrinsic truth of the song itself but the singers skill in the use of vocal cosmetics. Preface A song is only smaller-scaled but no less complex or pro found than a symphony. It Is not that it is merely the art of the miniaturist. Rather it is the aesthetic marriage of music and poetry and vocal vanity is no just impediment to that. Composers, students and singers alike have a joint responsi bility in preserving, unsullied, the history and traditions of the oldest phase of activity in the whole history of music. A few more acknowledgments must be noted. My grate ful thanks are due to M. Jacques Lerolle, the present publisher of Duparcs songs, Mrs Yolanda Duncan, Dr Thomas Walton and Mr Bruce Montgomery for their valuable in formation and guidance to my wife and my daughter, Sylvia, for their patient assistance. S. N. Croydon 1949 List of Illustrations 1. Portrait of the Composer Frontispiece in the possession of the author 2. Duparc on the couch where he passed his facing p 64 days 1932. From Musique de amour Charles Oulmont Vol. 2. Published Desclee de Brouwer et Cie, Paris. 3 . Facsimile page of PhidyU. facing p 106 From Mtisiciens frangais dAujourcfhui Octave Sere Pub. Mercure de France. Acknowledgments Thanks are due to Messrs Durand et Cie for permission to quote from le Galop, and to Messrs Rouart Lerolle et Cie for extracts from the rest of Duparcs works. None of the music in this volume may be used with out permission from die copyright owners. To YOLANDA and BRUCE for alltheir help and interest.

This book offers insights into the exciting dynamics permeating creative arts education in the Greater China region, focusing on the challenges of forging a future that would not reject, but be enriched by its Confucian and colonial past. Today's 'Greater China' - comprising China, Hong Kong, Macau and Taiwan - has grown into a vibrant and rapidly transforming region characterized by rich historical legacies, enormous dynamism and exciting cultural metamorphosis. Concomitant with the economic rise of China and widespread calls for more 'creative' and 'liberal' education, the educational and cultural sectors in the region have witnessed significant reforms in recent years. Other factors that will influence the future of arts education are the emergence of a 'new' awareness of Chinese cultural values and the uniqueness of being Chinese. "

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Over its eighty-year history, country music has evolved from little-known local talents to multimillion-dollar superstar musicians. In the 1920s, the first country music was broadcast from WSB radio in Atlanta and WBAP in Fort Worth, and the first records were recorded for Victor. In the 1930s, the first singing cowboys, among them Gene Autry and Roy Rogers, became film stars. After the war years, recordings boomed, and the Country Music Association was founded in 1958. Country music programs began on television with Porter Waggoner's program in 1960, followed by The Johnny Cash Show and Hee Haw. The Nashville Network channel was established in 1993, and from then on, the popular stars of country music have continued to break records, selling millions of copies of their albums. This book examines country music as it developed in regions throughout the United States, noting characteristics of its various subgenres such as bluegrass, honkytonk, and neotraditional music. It provides an indepth look at the people and events that have shaped the industry, and identifies the landmark recordings that old and new fans alike will want to add to their collections. Provides a detailed history of the following subgenres: hillbilly music, cowboy music, western swing, country rock, bluegrass, Nashville sound, and neotraditional, among others. Includes a chronology of country music and an extensive chapter of biographical sketches of all the major songwriters, musicians, and people in the industry.

."a timely book that.sets a standard for a new field of study and therefore deserves to be read widely. the volume's] contributions contain fascinating material for further study." . International Institute for Asian Studies Newsletter "Steven Brown and Ulrik Volgsten haveput together a valuable collection of essays on a consistently interesting theme. The book constitutes an important resource for the future development of this theme." . Music Perception ."fascinating and challenging.this book, illustrates the diversity, the depth and the potential of the field of the sociology of music. As much as these texts enlighten, they also highlight the vastness of the research yet to be conducted. However, this book is far more than just a compilation of papers presented at a conference, they are relevant discussions to anybody who turns on the radio, purchases or downloads a record or even sings a lullaby." . Leonardo Digital Reviews Since the beginning of human civilization, music has been used as a device to control social behavior, where it has operated as much to promote solidarity within groups as hostility between competing groups. Music is an emotive manipulator that influences attitude, motivation and behavior at many levels and in many contexts. This volume is the first to address the social ramifications of music's behaviorally manipulative effects, its morally questionable uses and control mechanisms, and its economic and artistic regulation through commercialization, thus highlighting not only music's diverse uses at the social level but also the ever-fragile relationship between aesthetics and morality. Steven Brown is a researcher in cognitive neuroscience in the Department of Psychology at Simon Fraser University in Vancouver, Canada. He received his doctorate at Columbia University in New York, and has done research at the Pasteur Institute in Paris, the Karolinska Institute in Stockholm, and the University of Texas Health Science Center in San Antonio. His research deals with the neural basis of human communication, including the arts. Ulrik Volgsten is a research fellow in the Department of Culture, Aesthetics and Media at Goteborg University in Sweden. He received his doctorate in the Department of Musicology at Stockholm University, and has published papers on both musical and philosophical topics. Volgsten's multidisciplinary research mainly focuses on human communication in different medi

In this collection of interviews, artists from various disciplines and in various stages of their careers discuss how they balance their art with the practical aspects of earning a living. They explore how this dichotomy, which affects them creatively, financially, spiritually, and professionally, can be both frustrating and nourishing. Some artists have managed to find art-related work to make ends meet. Others contemplate their dual role in both the artistic community and in the corporate or academic world. They discuss the role art plays in influencing social change and the role technology has played in revolutionizing the creation of art and its marketing and distribution.

These insights into how artists merge their creative life with their financial obligations will be useful to both instructors and students in the arts. Topics such as how artists have managed to acquire flexible work schedules and educational leave will also appeal to professional artists looking for employment suggestions or alternatives. Representative artists include painters, writers, musicians, dancers, actors, and performance artists.

"Intonations" tells the story of how Angola's urban residents in the late colonial period (roughly 1945-74) used music to talk back to their colonial oppressors and, more importantly, to define what it meant to be Angolan and what they hoped to gain from independence. A compilation of Angolan music is included in CD format.
Marissa J. Moorman presents a social and cultural history of the relationship between Angolan culture and politics. She argues that it was in and through popular urban music, produced mainly in the musseques (urban shantytowns) of the capital city, Luanda, that Angolans forged the nation and developed expectations about nationalism. Through careful archival work and extensive interviews with musicians and those who attended performances in bars, community centers, and cinemas, Moorman explores the ways in which the urban poor imagined the nation.
The spread of radio technology and the establishment of a recording industry in the early 1970s reterritorialized an urban-produced sound and cultural ethos by transporting music throughout the country. When the formerly exiled independent movements returned to Angola in 1975, they found a population receptive to their nationalist message but with different expectations about the promises of independence. In producing and consuming music, Angolans formed a new image of independence and nationalist politics.

Have you ever tried to find information on your favorite classical singer, past or present? If you have, you know the frustrations involved. Now, for the first time under one cover is a comprehensive listing of all known published and unpublished material of a biographical nature about classical singers of the opera and recital stages. No current reference work or periodical includes more than a fraction of the material found here. This book will save the reader countless frustrating hours tracking down sources by indicating exactly where to look. For anyone with a serious interest in classical singers, this new publication is a "MUST." Quite simply put, there is nothing comparable available. If you own any or all of the current basic references on opera and singing, this represents a worthy and indispensable companion to each of them. Classical Singers of the Opera and Recital Stages is a comprehensive listing of biographical materials about 1,532 famous and not-so-famous vocalists. Materials from 30 languages and language variants are annotated including cross-references to 24 major dictionaries, encyclopedias, and reference works as well as 12 important periodicals. In addition to this body of information, 157 collective titles and 283 related books are also cross-referenced. It even includes references to works such as the American National Biography which is currently "in publication." All of this material is organized into five easy-to-use coded categories, and the codes remain standard throughout the work. A special feature is a complete index to all vocalists accorded an entry in The New Grove Dictionary of Opera (1992). Some 323 classical vocal artists, who do not appear inGrove-Opera, are included here. Cowden's monumental reference lists thousands of sources for obscure artists as well as for the legendary ones from the 17th century to 1993. Each reader will find sources of information previously unknown thus saving countless hours tracking down biographical information about a particular artist. An indispensable supplement to even the most recent published reference works in the field of the vocal arts, Classical Singers of the Opera and Recital Stages should remain a standard work for years to come.

Now in its third edition, A Handbook of Diction for Singers is a complete guide to achieving professional levels of diction in Italian, German, and French. Combining traditional approaches in the teaching of diction with new material not readily available elsewhere, author David Adams presents the sounds of each language in logical order, along with essential information on matters such as diacritical marks, syllabification, word stress, and effective use of the variety of foreign-language dictionaries. A Handbook of Diction for Singers places particular emphasis on the characteristics of vowel length, the sequencing of sounds between words, as well as the differences between spoken and sung sounds in all three languages, all while taking care to clarify concepts typically difficult for English-speaking singers. This revised third edition offers significantly expanded coverage of each language as well as a new chapter that introduces readers to the specific sounds unique to those languages. The result is a concise yet thorough treatment of the three major languages of the classical vocal repertory, and an invaluable reference for vocalists and voice teachers.

Offering the widest scope of any study of one of popular music's most important eras, "Songs of the Vietnam Conflict" treats both anti-war and pro-government songs of the 1960s and early 1970s, from widely known selections such as Give Peace a Chance and Blowin' in the Wind to a variety of more obscure works. These are songs that permeated the culture, through both recordings and performances at political gatherings and concerts alike, and James Perone explores the complex relationship between music and the society in which it is written. This music is not merely an indicator of the development of the American popular song; it both reflected and shaped the attitudes of all who were exposed to it.

Whereas in previous wars, musicians rallied behind the government in the way of Aaron Copland and Samuel Barber, the Vietnam conflict provoked anger, frustration, and rage, all of which comes through in the songs of the time. This reference work provides indispensable coverage of this phenomenon, in chapters devoted to Anti-War Songs, Pro-Government Songs, and what might be called Plight-of-the-Soldier (or Veteran) songs. A selected discography guides the reader to the most notable recordings, all of which, together, provide a unique and important perspective on perhaps the 20th century's most contentious time.

Astaire by Numbers looks at every second of dancing Fred Astaire committed to film in the studio era-all six hours, thirty-four minutes, and fifty seconds. Using a quantitative digital humanities approach, as well as previously untapped production records, author Todd Decker takes the reader onto the set and into the rehearsal halls and editing rooms where Astaire created his seemingly perfect film dances. Watching closely in this way reveals how Astaire used the technically sophisticated resources of the Hollywood film making machine to craft a singular career in mass entertainment as a straight white man who danced. Decker dissects Astaire's work at the level of the shot, the cut, and the dance step to reveal the aesthetic and practical choices that yielded Astaire's dancing figure on screen. He offers new insights into how Astaire secured his masculinity and his heterosexuality, along with a new understanding of Astaire's whiteness, which emerges in both the sheer extent of his work and the larger implications of his famous "full figure" framing of his dancing body. Astaire by Numbers rethinks this towering straight white male figure from the ground up by digging deeply into questions of race, gender, and sexuality, ultimately offering a complete re-assessment of a twentieth-century icon of American popular culture.