In 2010, recording artist Lil Wayne was at the height of his career. A fixture in the rap game for more than a decade, Lil Wayne (aka Weezy) had established himself as both a prolific musician and a savvy businessman, smashing long-held industry records, winning multiple Grammy Awards and signing up-and-coming talent like Drake and Nicki Minaj to his Young Money label. All of this momentum came to a halt when he was convicted of possession of a firearm and sentenced to a yearlong stay at Rikers Island. Suddenly, the artist at the top of his game was now an inmate in the American penal system. Gone 'Til November reveals the true story of what really happened while Wayne was behind bars, exploring everything from his daily rituals to his interactions with other inmates, and how he was able to keep himself motivated and grateful. Taken directly from Wayne's own journal, this intimate, personal account of his incarceration is an utterly humane look at the man behind the artist.

This book draws together a range of innovative practices underpinned by theoretical insight that helps to clarify musical practices of relevance to the changing nature of schooling and the transformation of music education. In this way, it addresses a pressing need to provide new ways of thinking about the application of music and technology in schools. More specifically it: covers a diverse and wide range of technology, environments and contexts on topics that demonstrate and recognize new possibilities for innovative work in music in education; deals with teaching strategies and approaches that stimulate different forms of musical experience, meaningful engagement, musical learning, creativity and teacher-learner interactions, responses, monitoring and assessment; investigates how teachers and pupils voice and value their experiences in particular contexts and environments with specific software, hardware and forms of technology; explores the professional development aspects involved in teachers and learners utilising and interacting with technology and the secondary music curriculum; and, introduces reflective practices and research methodologies of great interest and relevance to music teachers, teacher-trainers, community artists and for researchers and professional practitioners alike.

This book critically discusses the significance of popular music heritage as a means of remembering and re-presenting rock and pop artists, their music and their place in the culture of contemporary society. Since the mid-1990s, the contribution of popular music to the shaping of contemporary history and heritage has increasingly been acknowledged. In the same period, exhibitions of popular music related artefacts have become more commonplace in museums, and facilities dedicated to the celebration of popular music history and heritage, such as the Rock and Roll Hall of Fame, have opened their doors. Popular music heritage has found other mediums of expression too. There is now a significant popular music heritage media, including books, magazines, films and television series. Fans collect and display their own mementos, while the live performances of tribute bands and classic albums fulfill an increasing desire for the live spectacle of popular music heritage. This book will be crucial reading for established scholars as well as postgraduate and undergraduate students studying popular music heritage.

Aladdin and Imperial, two independent recording labels, emerged on the West Coast following World War II. They were hugely successful with their recordings of popular music based on jazz and blues. For Aladdin, the blues and rhythm and blues fields were to become the most important aspects of the label, with later additions of special series devoted to gospel and country. The Imperial label began with recordings of local Mexican groups and folk artists, and later the label took on a country and rockabilly flavor. A move to New Orleans and recordings by such artists as Fats Domino put Imperial into the blues and rhythm and blues fields. After Aladdin's demise in 1961, it was purchased by Imperial which reissued many Aladdin titles. Today Aladdin/Imperial is part of the United Artists/EMI conglomerate which has over the years reissued many Imperial and Aladdin records including such hits as "Blueberry Hill." In this complete discographical listing of all recordings issued on the Aladdin/Imperial labels from 1942 to 1974, Michel Ruppli includes every available detail relating to session recording dates and personnel. The discography also lists titles with both master numbers and issue numbers. Included are many jazz sessions with Lester Young, Illinois Jacquet, Billie Holiday, and others; popular and rock artists like Ricky Nelson and Johnny Rivers; blues players such as Lightnin' Hopkins, Joe Turner, and T-Bone Walker; rhythm and blues artists, including Fats Domino, and groups such as the Five Keys. Along with international dance band music, country, rockabilly, and folk can be found here as well. Using the standard format employed in Ruppli's previous volumes in Greenwood's DiscographySeries, the book is divided into seven parts. Part I contains the Aladdin sessions and includes a list of untraced sessions and a table of Imperial masters assigned to Aladdin titles. The Imperial folk/dance sessions and the Imperial popular sessions are treated in two separate sections. The Black and White label, Minit label, foreign, and miscellaneous labels are found in Part IV. An entire chapter is devoted to single numerical listings and includes seven Aladdin Series labels and eight Imperial Series labels along with foreign series, Liberty/UA Series, 78 rpm albums, and 45 rpm albums. Part VI gives complete album numerical listings. An index of artists completes the volume. This discography has a potentially wide audience including record collectors around the globe interested in Jazz/Blues/Rhythm and Blues/Country/Rockabilly/Rock Music; music book shops; libraries; researchers; record company executives and producers; and licensees.

The problems it addresses include emotion representation, annotation of music excerpts, feature extraction, and machine learning. The book chiefly focuses on content-based analysis of music files, a system that automatically analyzes the structures of a music file and annotates the file with the perceived emotions. Further, it explores emotion detection in MIDI and audio files. In the experiments presented here, the categorical and dimensional approaches were used, and the knowledge and expertise of music experts with a university music education were used for music file annotation. The automatic emotion detection systems constructed and described in the book make it possible to index and subsequently search through music databases according to emotion. In turn, the emotion maps of musical compositions provide valuable new insights into the distribution of emotions in music and can be used to compare that distribution in different compositions, or to conduct emotional comparisons of different interpretations of the same composition.

The Boston Pops Orchestra was the first orchestra of its kind in the USA: founded in 1885 from the ranks of the Boston Symphony Orchestra, its remit was to offer concerts of light symphonic music. Over the years, and in particular during the fifty-year tenure of its most famous conductor, Arthur Fiedler, the Pops established itself as the premier US orchestra specialising in bridging the fields of 'art music' and 'popular music'. When the Hollywood composer John Williams was assigned the conductorship of the orchestra in 1980, he energetically advocated for the inclusion of film-music repertoire, changing Fiedler's approach significantly. This Element offers a historical survey of the pioneering agency that the Boston Pops had under Williams's tenure in the legitimisation of film music as a viable repertoire for concert programmes. The case study is complemented with more general discussions on the aesthetic of film music in concert.

This book illuminates the aesthetically underrated meaningfulness of particular elements in works of art and aesthetic experiences generally. Beginning from the idea of "hooks" in popular song, the book identifies experiences of special liveliness that are of enduring interest, supporting contemplation and probing discussion. When hooks are placed in the foreground of aesthetic experience, so is an enthusiastic "grabbing back" by the experiencer who forms a quasi-personal bond with the beloved singular moment and is probably inclined to share this still-evolving realization of value with others. This book presents numerous models of enthusiastic "grabbing back" that are art-critically motivated to explain how hooks achieve their effects and philosophically motivated to discover how hooks and hook appreciation contribute to a more ideally desirable life. Framing hook appreciation with a defensible general model of aesthetic experience, this book gives an unprecedented demonstration of the substantial aesthetic and philosophical interest of hook-centered inquiry.

As more and more music literature is published each year, librarians, scholars, and bibliographers are turning to music bibliography to retain control over the flood of information. Based on the Conference of Music Bibliography, this timely book provides vital information on the most important aspects of the scholarly practice of music bibliography. Foundations in Music Bibliography provides librarians with great insight into bibliographic issues they face every day including bibliographic control of primary and secondary sources, the emergence of enumerative and analytical bibliography, bibliographic instruction, and bibliographic lacunae.Foundations in Music Bibliography features the perspectives of prominent scholars and music librarians on contemporary issues in music bibliography often encountered by music librarians. It offers practical insights and includes chapters on teaching students how to use microcomputer programs to search music bibliographies, organizing a graduate course in music bibliography, and researching film music bibliography. The book also provides a supplement to Steven D. Westcott 's A Comprehensive Bibliography of Music for Film and Television. This insightful volume demonstrates the many ways that bibliography relates music publications to each other and endows grander meaning to individual scholarly observations. Some of the fascinating topics covered by Foundations in Music Bibliography include: the history of thematic catalogs indexing Gregorian chant manuscripts general principles of bibliographic instruction analyses of Debussy discographies musical ephemera and their importance in various types of musicological research bibliographical lacunae (i.e. lack of access to visual sources, failure to control primary sources, and lack of communication with the rest of the performing arts)Foundations in Music Bibliography shows librarians how bibliography can be used to help music students and researchers find the information they need among the innumerable available sources. It is an indispensable asset to the shelves of all music reference libraries that wish to provide their patrons with the latest bibliographic tools.

This is not merely a stellar book. It is absolute ballad put to page. Southern LivingLewis Nordan s fiction invents its own world--always populated by madly heroic misfits. In Music of the Swamp, he focuses his magic and imagination on a boy s utterly helpless love for his utterly hopeless father--a man who attracts bad luck like a magnet. Nordan evokes ten-year-old Sugar Mecklin s world with dazzling clarity: the smells, the tastes, and most surely the sounds of life in this peculiar, somewhat bizarre, Delta town. Sugar discovers that what his daddy says is true: The Delta is filled up with death; but he also finds an endless supply of hope.An ALA Notable BookMississippi Institute of Arts and Letters Fiction Award"

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.

American Music Librarianship is a biographical and historical review of the musical situation in American libraries from its roots in the late 19th century to the 1980s. Beginning with the period from 1854-55 when the Boston Public Library began to buy music for its collections, Bradley tracks the development of the Music Division in the Library of Congress under the guidance of chief librarian Oscar Senneck.

The opening section examines the professional careers of America's first music librarians and the subsequent development of music libraries, taken from information provided in their papers; documentation in their libraries; and from oral interviews with the librarians, their spouses and their successors. In the second and third sections, Bradley covers the librarians involved in the formulation of classification schemes and rules for cataloguing. The fourth section covers the colleagues of these pioneer librarians who are noteworthy for their own efforts on behalf of music in American libraries. The Music Library Association is reviewed in the final section, from its inception in 1931 through the activities of its professionals, to current goals. The book's appendices include tables and plates illustrative of various aspects discussed in the body of the book. A detailed index comprehends personal names, names of libraries, titles of publications, concepts and subjects. This book is a source book for all music libraries and librarians, school libraries, and music research collections.

How do people make music? What is the relationship between live music and the music we hear in music videos? How has the digital revolution affected music-making in industrialized and developing nations?
"Media Policy and Music Activity" explores the relationships between policies governing the output of the music media and music activity in society. Investigating musical activity in six smaller nations -- Jamaica, Trinidad, Kenya, Tanzania, Sweden, and Wales -- Wallis and Malm include interviews with a wide range of musicians, policy-makers, and media and music industry employees. They discover that, all too often, media policies designed to encourage local industries fail due to non-implementation.
Combining case study material with a broad theoretical framework, "Media Policy and Music Activity" provides a unique introduction to media policy and its relation to cultural production. It will be of interest not only to students and researchers, but to policymakers, media practitioners, and anyone interested in the role music plays in our everyday lives.

It seems excessive…but that doesn’t mean it didn’t happen. The mass of black curls. The top hat. The cigarette dangling from pouty lips. These are the trademarks of one of the world’s greatest and most revered guitarists, a celebrity musician known by one name: Slash. Saul “Slash” Hudson was born in Hampstead to a Jewish father and a black American mother who created David Bowie’s look in The Man Who Fell to Earth. He was raised in Stoke until he was 11, when he and his mother moved to LA. Frequent visitors to the house were David Bowie, Joni Mitchell, Ronnie Wood and Iggy Pop. At this time Slash got into BMX bikes and would eventually turn professional, winning major awards and money, but at 15 his grandmother gave him his first guitar. Sessions with numerous local LA rock bands followed until a fateful meeting with singer W Axl Rose…and the rest was rock history. Guns N’ Roses spent two years builiding their reputation before Appetite for Destruction was unleashed on an unsuspecting world. Chart success and global domination followed but with it came the inevitable fall – addicted to heroin, booze and cigarettes the band imploded in a rift between Axl and Slash that is as deep today as ever. But with a new wife, kids and new band Velvet Revolver, Slash is back on track. As raucous and edgy as his music, Slash sets the record straight and tells the real story as only Slash can.

What does sovereignty sound like? Sonic Sovereignty explores how contemporary Indigenous musicians champion self-determination through musical expression in Canada and the United States. The framework of “sonic sovereignty” connects self-definition, collective determination, and Indigenous land rematriation to the immediate and long-lasting effects of expressive culture. Przybylski covers online and offline media spaces, following musicians and producers as they, and their music, circulate across broadcast and online networks. Przybylski documents and reflects on shifts in both the music industry and political landscape in the last fifteen years: just as the ways in which people listen to, consume, and interact with popular music have radically changed, large public conversations have flourished around contemporary Indigenous culture, settler responsibility, Indigenous leadership, and decolonial futures. Sonic Sovereignty encourages us to experiment with the temporal possibilities of listening by detailing moments when a sample, lyric, or musical reference moves a listener out of time. Przybylski maintains that hip hop and many North American Indigenous practices, all drawn from storytelling, welcome nonlinear listening. The musical readings presented in this book thus explore how musicians use tools to help listeners embrace rupture, and how out-of-time listening creates decolonial possibilities.

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.

This book examines the American Sixties, and how that period's socio-political essence was reflected and refracted in certain forms of the period's music. Its five main chapters bear the names of familiar musical categories: 'Folk,' 'Rock,' 'Jazz,' 'Avant-Garde,' 'Classical.' But the book's real subject matter-treated at length in the Prologue and the Epilogue but spread throughout all that comes between-is the Sixties' tangled mess of hopes and frustrations, of hungers as much for self-identity as for self-indulgence, of crises of conscience that bothered Americans of almost all ages and regardless of political persuasion.