|
Books > Music
Since the dawn of modernism, visual and music production have had a
particularly intimate relationship. From Luigi Russolo's 1913
Futurist manifesto L'Arte dei Rumori (The Art of Noise) to Marcel
Duchamp's 1925 double-sided discs Rotoreliefs, the 20th century saw
ever more fertile exchange between sounds and shapes, marks and
melodies, and different fields of composition and performance. In
Francesco Spampinato's unique anthology of artists' record covers,
we discover the rhythm of this particular cultural history. The
book presents 450 covers and records by visual artists from the
1950s through to today, exploring how modernism, Pop Art,
Conceptual Art, postmodernism, and various forms of contemporary
art practice have all informed this collateral field of visual
production and supported the mass distribution of music with
defining imagery that swiftly and suggestively evokes an aural
encounter. Along the way, we find Jean-Michel Basquiat's urban
hieroglyphs for his own Tartown record label, Banksy's stenciled
graffiti for Blur, and a skewered Salvador Dali butterfly on Jackie
Gleason's Lonesome Echo. There are insightful analyses and fact
sheets alongside the covers listing the artist, performer, album
name, label, year of release, and information on the original
artwork. Interviews with Tauba Auerbach, Shepard Fairey, Kim
Gordon, Christian Marclay, Albert Oehlen, and Raymond Pettibon add
personal accounts on the collaborative relationship between artists
and musicians. About the series TASCHEN is 40! Since we started our
work as cultural archaeologists in 1980, TASCHEN has become
synonymous with accessible publishing, helping bookworms around the
world curate their own library of art, anthropology, and aphrodisia
at an unbeatable price. Today we celebrate 40 years of incredible
books by staying true to our company credo. The 40 series presents
new editions of some of the stars of our program-now more compact,
friendly in price, and still realized with the same commitment to
impeccable production.
The revised edition of Sync or Swarm promotes an ecological view of
musicking, moving us from a subject-centered to a system-centered
view of improvisation. It explores cycles of organismic
self-regulation, cycles of sensorimotor coupling between organism
and environment, and cycles of intersubjective interaction mediated
via socio-technological networks. Chapters funnel outward, from the
solo improviser (Evan Parker), to nonlinear group dynamics (Sam
Rivers trio), to networks that comprise improvisational
communities, to pedagogical dynamics that affect how individuals
learn, completing the hermeneutic circle. Winner of the Society for
Ethnomusicology's Alan Merriam prize in its first edition, the
revised edition features new sections that highlight
electro-acoustic and transcultural improvisation, and concomitant
issues of human-machine interaction and postcolonial studies.
From his early Liverpool days, through the historic decade of The
Beatles, to Wings and his long solo career, The Lyrics pairs the
definitive texts of 154 songs by Paul McCartney with first-person
commentaries on his life and music. Spanning two alphabetically
arranged volumes, these commentaries reveal how the songs came to
be and the people who inspired them: his devoted parents, Mary and
Jim; his songwriting partner, John Lennon; his "Golden Earth Girl",
Linda Eastman; his wife, Nancy McCartney; and even Queen Elizabeth
II, amongst many others. Here are the origins of "Let It Be",
"Lovely Rita", "Yesterday", and "Mull of Kintyre", as well as
McCartney's literary influences, including Shakespeare, Lewis
Carroll and Alan Durband, his secondary school English teacher.
With images from McCartney's personal archives-handwritten texts,
paintings and photographs, hundreds previously unseen-The Lyrics,
spanning sixty-four years, is the definitive literary and visual
record of one of the greatest songwriters of all time.
Contributions by Herman Dijo, J. Ketwaru, Guilly Koster, Arthur
Lamur, Lou Lichtveld, Pondo O'Bryan, and Marcel Weltak When Marcel
Weltak's Surinamese Music in the Netherlands and Suriname was
published in Dutch in 1990, it was the first book to provide an
overview of the music styles originating from the land that had
recently gained its independence from the Netherlands. Up until the
1990s, little had been published that observed the music of the
country. Weltak's book was the first to examine both the
instruments and the way in which they are played as well as the
melodic and rhythmic components of music produced by the country's
ethnically diverse populations, including people of Amerindian,
African, Indian, Indonesian/Javanese, and Chinese descent. Since
the book's first appearance, a new generation of musicians of
Surinamese descent has carried on making music, and some of their
elders referred to in the original edition have passed away. The
catalog of recordings that have become available has also expanded,
particularly in the areas of hip-hop, rap, jazz, R&B, and new
fusions such as kaskawi. This edition, in English for the first
time, includes a new opening chapter by Marcel Weltak giving a
historical sketch of Suriname's relationship to the Netherlands. It
includes updates on the popular music of second- and
third-generation musicians of Surinamese descent in the
Netherlands, and Weltak's own subsequent and vital research into
the Amerindian and maroon music of the interior. The new
introduction is followed by the integral text of the original
edition. New appendices have been added to this edition that
include a bibliography and updated discography; a listing of films,
videos, and DVDs on or about Surinamese music or musicians; and
concise, alphabetically arranged notes on musical instruments and
styles as well as brief biographies of those authors who
contributed texts.
|
|