Jam out with the help of man's best friend -- the Mini SubWOOFer!

Enjoy your favorite tunes at work, home, or on-the-go with this quirky, dachshundshaped wireless speaker that brings the beats wherever it goes. This mini kit includes:

• 3" dog-shaped wireless speaker
• Miniature USB cord
• 32-page illustrated mini book

This book provides a summary of the manifold audio- and web-based approaches to music information retrieval (MIR) research. In contrast to other books dealing solely with music signal processing, it addresses additional cultural and listener-centric aspects and thus provides a more holistic view. Consequently, the text includes methods operating on features extracted directly from the audio signal, as well as methods operating on features extracted from contextual information, either the cultural context of music as represented on the web or the user and usage context of music. Following the prevalent document-centered paradigm of information retrieval, the book addresses models of music similarity that extract computational features to describe an entity that represents music on any level (e.g., song, album, or artist), and methods to calculate the similarity between them. While this perspective and the representations discussed cannot describe all musical dimensions, they enable us to effectively find music of similar qualities by providing abstract summarizations of musical artifacts from different modalities. The text at hand provides a comprehensive and accessible introduction to the topics of music search, retrieval, and recommendation from an academic perspective. It will not only allow those new to the field to quickly access MIR from an information retrieval point of view but also raise awareness for the developments of the music domain within the greater IR community. In this regard, Part I deals with content-based MIR, in particular the extraction of features from the music signal and similarity calculation for content-based retrieval. Part II subsequently addresses MIR methods that make use of the digitally accessible cultural context of music. Part III addresses methods of collaborative filtering and user-aware and multi-modal retrieval, while Part IV explores current and future applications of music retrieval and recommendation.>

This is a companion volume to the Italian catalogue, La Voce del Padrone, already published by Greenwood Press. This new volume provides a complete catalogue of French gramophone recordings made by the Gramophone Company Ltd. between 1898 and 1929. During this period the Compagnie Francaise du Gramophone was the continental European, African, and Asian end of a powerful partnership between the Victor Talking Machine Company and the Gramophone Company Ltd. The volume includes details of Victor recordings issued outside the Americas and hence is a useful adjunct to the series "The Encyclopedic Discography of Victor Recordings," also published by Greenwood Press. The first three sections conform to the previously established pattern of listing Gramophone black and celebrity labels followed by the Zonophone green labels and the Gramophone green labels. In 1920, it was decided to issue records specifically for the Belgian/Flemish market; these are detailed in the fourth section. The contents of each section are listed in numerical order following the pattern of the early printed catalogues, that is, bands followed by orchestras followed by talking, etc. A list of the series actually used precedes each section and acts as a table of contents for the section. Each catalogue entry comprises as much as possible of the following information: the original numerical catalogue number; the matrix (serial) number; the date of the recording; the name of the artist(s) involved; the title of the piece; alternative issue numbers; and occasional notes. The introduction provides an overview of the company's recording practices and cataloging systems. This volume provides much-needed guidance for the seriouscollector and will be a valuable resource for the music historian.

Frank Sinatra was only one of a handful of popular entertainers who dominated Western popular culture for six decades. From his early fame as 'the Voice' in the early 1940s, through to the high rolling, fast living 'Rat Pack' era, to the protracted Lear-like farewell tours of his twilight years, Sinatra was the epitome of cool. This compelling, consistently insightful book portrays Sinatra in his many contradictory hues of ambition, generosity, menace and vituperation. The book asks why Sinatra's public character which mixed insufferable hauteur with soapy populism and nobility with the lowest kind of vindictive violence proved so enduring with the Western public? What model of masculinity was Sinatra projecting? Why did his recordings, concert performances and film work persuade audiences that he was really talking to them alone? What does his career tell us about the relationship between celebrity and popular culture?

Sinatra may not have found his Boswell with this study, but our understanding of him will never be the same again. Rojek's is the first book to take Sinatra's cultural significance seriously. It is a landmark work in our understanding of celebrity and popular culture. The book will be of interest to students of Cultural, Media and Communication Studies, Sociology and, most of all, anyone who has bought a Sinatra recording or seen a Sinatra film.

for SSAATTBB unaccompanied Commissioned by Sonoro for the second instalment of their Choral Inspirations project, McDowall has composed Crucifixus Reimagined as a response to Lotti's Crucifixus from Credo in F. Use of suspensions, decorated melodies, and counterpoint feel reminiscent of Lotti's original work, while retaining McDowall's distinctive contemporary style.

If you've ever felt the blues, sang the blues, or simply love rhythm and blues, Dr. Syleecia Thompson's tell-all book will make you appreciate this nearly 70-year-old music genre even more. This insider's narration reveals the dark side of the industry and what an artist has to go through in order to bring his or her talent to the masses. Included are over 20 unedited interviews (several anonymous) from artists, producers, lawyers, managers, and industry insiders. You'll hear from such greats as R. Kelly and Syleena Johnson, industry giants Micky "MeMpHitz" Wright of Jive Records, Brownstone's Nicci Gilbert, and others. Thompson's book serves as a teaching tool for aspiring R&B artists, novice label executives, music lovers, and is a resource for those already in the industry. Fall in love with R&B all over again and rediscover what its roots and message are really about. Feel the heart and soul of a music genre steeped in tradition, rich history, Southern sound, gospel, and urban influences. Dr. Syleecia Thompson is a professor and academic scholar in Leadership, Organizational Change, Business and Music Business Management. She serves as a consultant to small independent labels and has been an industry insider for years. She is also president of Aneelys Records. Thompson is currently writing her second book and lives in New York. Publisher's website: http: //www.strategicpublishinggroup.com/title/RhythmWithoutBlues.html

for SATB (with divisions) unaccompanied An Affirmation is a setting of an elegiac text by Richard Brett conveying the themes of grief and remembrance. The piece opens with a single voice that grows into a warm chordal passage. It gains momentum with cascading melodies and modulations. Chilcott closes the piece by returning to the opening reflective mood.

The Blue Note label is one of the most widely known and respected producers of jazz music in the world. This reference book, by noted discographer Michel Ruppli and Blue Note producer Michael Cuscuna, expands upon the previous edition and includes comprehensive documentation of personnel, recording locations and dates, and master and issue numbers for every recording made or issued by the label from its inception through the present day.

An introduction provides a synopsis of the label's genesis, history, and output. Nine sections detail each stage in the label's history, from the sessions produced by the label's founders, through Blue Note's adoption by the Liberty Label and then by the EMI conglomerate, to its 1985 revival as its own entity, the jazz label of record in the United States.

A legend that captures the imagination of audiences and shapes representations of the Holocaust is that in Nazi concentration camps Jewish musicians were forced to play a Tango of Death as men, women and children made their way to the gas chambers. This book traces the origins of this legend to a little known concentration camp in Ukraine where musicians were forced to perform a Jewish tango at executions before they themselves were murdered. By reconstructing the creation of this legend, the book shows how the actual history is hidden, distorted, or even lost altogether.

Music in Television is a collection of essays examining television's production of meaning through music in terms of historical contexts, institutional frameworks, broadcast practices, technologies, and aesthetics. It presents the reader with overviews of major genres and issues, as well as specific case studies of important television programs and events. With contributions from a wide range of scholars, the essays range from historical-analytical surveys of TV sound and genre designations to studies of the music in individual programs, including South Park and Dr. Who.

This book explores how photography and recorded music act as vehicles or catalysts in processes of remembering, and how they are regarded, treated, valued and drawn upon as resources connecting past and present in everyday life. It does so via two key concepts: vernacular memory and the mnemonic imagination.

A practicing music thanatologist provides an insider's history of this remarkable profession, which combines music, medicine, and spirituality to help the terminally ill and their families face the end of life. Reflecting on the author's experiences as a music-thanatologist, Jennifer Hollis's Music at the End of Life: Easing the Pain and Preparing the Passage is an enlightening and emotional examination of the ways in which the experience of dying can be transformed with music. Music at the End of Life highlights the unique role music has come to play in hospice and palliative medicine. Jennifer Hollis interweaves narrative memoir, the personal experiences of fellow music-thanatologists and caregivers, and extensive research to demonstrate the transformative power of music when curing is no longer an option. Through story after unforgettable story, Hollis offers a new vision of end-of-life care, in which music creates a beautiful space for the work of letting go, grieving, and saying goodbye.

This collection considers music within the spheres of production and consumption and pulls together an interdisciplinary collection of music studies from around the world, ranging from an ethnomusicological analysis of the condition of Tibetan music and its role within the Chinese state, the changing reception of anti-apartheid music by white musicians in South Africa according to new configurations of society and its memory of recent history, a lyrical exploration of jazz as a signifier of crime and other nefarious activities within film history, an analysis of how music charts and maps the social network and gender roles in Jamaica and a landmark commentary on how music is framed by David Hemsondalgh. As opposed to other studies which explore music just in terms of its reception or its composition and distribution, this collection should make necessary reading for anybody interested in the wider nexus of music's existence and how it waxes and wanes with ideology, politics, gender, business and much more besides.

First published in 2006. Routledge is an imprint of Taylor & Francis, an informa company.

Two decades after the fall of communism in Eastern Europe and one decade into the twenty-first century, European music remains one of the most powerful forces for shaping nationalism. Using intensive fieldwork throughout Europe -- from participation in alpine foot pilgrimages to studies of the grandest music spectacle anywhere in the world, the Eurovision Song Contest -- Philip V. Bohlman reveals the ways in which music and nationalism intersect in the shaping of the New Europe. Focus: Music, Nationalism, and the Making of the New Europe begins with the emergence of the European nation-state in the Middle Ages and extends across long periods during which Europe's nations used music to compete for land and language, and to expand the colonial reach of Europe to the entire world. Bohlman contrasts the "national" and the "nationalist" in music, examining the ways in which their impact on society can be positive and negative -- beneficial for European cultural policy and dangerous in times when many European borders are more fragile than ever. The New Europe of the twenty-first century is more varied, more complex, and more politically volatile than ever, and its music resonates fully with these transformations.

This book (hardcover) is part of the TREDITION CLASSICS. It contains classical literature works from over two thousand years. Most of these titles have been out of print and off the bookstore shelves for decades. The book series is intended to preserve the cultural legacy and to promote the timeless works of classical literature. Readers of a TREDITION CLASSICS book support the mission to save many of the amazing works of world literature from oblivion. With this series, tredition intends to make thousands of international literature classics available in printed format again - worldwide.

Adventures in Kate Bush and Theory presents Kate Bush as you have never seen her before. Here is the polymorphously perverse Kate, the witchy Kate, the queer Kate; the Kate who moves beyond the mime.Drawing on cutting edge feminist philosophy, critical theory and queer studies, Adventures in Kate Bush and Theory makes theory accessible to new audiences. Through analysis of the music, film, video and dance of Kate Bush, it breaks down boundaries between the academic and popular, showing that theory can be sordid, funny and relevant - despite what most people think.

A rich and informative look at the experiences of composers working under high pressure in the US film industry, The Hollywood Film Music Reader brings readers from film's earliest days to the modern blockbuster era. Beginning with the origins of movie music in the heyday of silent film, the book traces film music's progress through Hollywood's so-called Golden Age to changes in musical styles and working practices from the 1960s to the present. Also included are vivid first-hand accounts from composers such as George Antheil, Elmer Bernstein, Aaron Copland, Adolph Deutsch, Jerry Goldsmith, Bernard Herrmann, Henry Mancini, Thomas Newman, Andr Previn, David Raksin, Mikl?'s R zsa, Max Steiner, Dimitri Tiomkin, Franz Waxman, and John Williams, along with testimonies from composers working in animation and documentary film. The book concludes with a section of criticism and commentary, including an essay on film music by Sidney Lumet and Igor Stravinsky's provocative views on the subject.

Ewe dance-drumming has been extensively studied throughout the history of ethnomusicology, but up to now there has not been a single study that addresses Ewe female musicians. James Burns redresses this deficiency through a detailed ethnography of a group of female musicians from the Dzigbordi community dance-drumming club from the rural town of Dzodze, located in South-Eastern Ghana. Dzigbordi was specifically chosen because of the author's long association with the group members, and because it is part of a genre known as adekede, or female songs of redress, where women musicians critique gender relations in society. Burns uses audio and video interviews, recordings of rehearsals and performances and detailed collaborative analyses of song texts, dance routines and performance practice to address important methodological shifts in ethnomusicology that outline a more humanistic perspective of music cultures. This perspective encompasses the inter-linkages between history, social processes and individual creative artists. The voices of Dzigbordi women provide us not only with a more complete picture of Ewe music-making, they further allow us to better understand the relationship between culture, social life and individual creativity. The book will therefore appeal to those interested in African Studies, Gender Studies and Oral Literature, as well as ethnomusicology. Includes documentary on the downloadable resources.

The One Night Stand Series broadcasts from 1943 to 1965 made the United States Armed Forces Radio Service the biggest music producer the world has ever known. Played over both military and civilian radio stations in many countries, most Armed Forces Radio Service rebroadcasts were sheer entertainment but they kept memories of home alive for American Service men and women around the globe. The 30-minute One Night Stand transcriptions included live broadcasts or remotes from all the popular ballrooms and hotels in the United States. Every type of band such as Hawaiian, Latin, novelty, sweet, dance, swing, jazz, large, small, black, and white was represented. Found here is the Regular Series up to 1001--to round off a mastering week. The Fill Series and the Popular Music Replacement Series, also found here, ran concurrently with the main series. A small number of transcriptions missing from the official libraries have not been included but otherwise compilers Harry Mackenzie and Lothar Polomski have gathered together every available shred of information for this exhaustive volume. Besides a history of the Armed Forces Radio Service and the Regular, Fill, and Popular series, the book contains a list of unidentified programs, five separate appendixes, and two indexes. The book begins with an extensively researched history of the Special Service Division of the Armed Forces that oversaw the production of the transcribed broadcasts and facilitated their distribution globally. Included here is a detailed discussion of the methods and materials of transcription and reproduction as well as a history of the American Forces Network: its spread and current status. Then follow the discographies for the Regular Series, Fill Series, Popular Music Replacement Series, and Unidentified Programmes. Five appendixes contain information such as location addresses, a directory of bandleaders, themes, and commercial issues by country of origin. There are also two separate band indexes. This is a singular reference for anyone seeking information about the music of the World War II and post-war eras.