The 1960s saw the nexus of the revolution in popular music by a post-war generation amid demographic upheavals and seismic shifts in technology. Over the past two decades, musicians associated with this period have produced a large amount of important autobiographical writing. This book situates these works -- in the forms of formal autobiographies and memoirs, auto-fiction, songs, and self-fashioned museum exhibitions -- within the context of the recent expansion of interest in autobiography, disability, and celebrity studies. It argues that these writings express anxiety over musical originality and authenticity, and seeks to dispel their writers' celebrity status and particularly the association with a lack of seriousness. These works often constitute a meditation on the nature of postmodern fame within a celebrity-obsessed culture, and paradoxically they aim to regain the private self in a public forum.

The New International Edition of Suzuki Piano School, Volume 1 includes French, German and Spanish translations as well as a newly recorded CD performed by internationally renowned recording artist Seizo Azuma. Now the book and CD can be purchased together or separately. While the music selections in Volume 1 remain the same as the earlier edition, the spacious new engraving with minimal editing generally keeps only one piece per page. Instruction material in many pieces from Volume 1 has been removed in lieu of right-hand studies at the top of the page and left-hand studies at the bottom. Tempo markings are now included on many pieces.
Titles: "Twinkle, Twinkle, Little Star" Variations (Shinichi Suzuki) * Lightly Row (German Folk Song) * The Honeybee (Bohemian Folk Song) * Cuckoo (German Folk Song) * Lightly Row (German Folk Song) * French Children's Song (French Folk Song) * London Bridge (English Folk Song) * Mary Had a Little Lamb (American Nursery Song) * Go Tell Aunt Rhody (Folk Song) * Au Clair de la Lune (J. B. Lully) * Long, Long Ago (T. H. Bayly) * Little Playmates (F. X. Chwatal) * Chant Arabe (Anonymous) * Allegretto 1 (C. Czerny) * Goodbye to Winter (Folk Song) * Allegretto 2 (C. Czerny) * Christmas-Day Secrets (T. Dutton) * Allegro (S. Suzuki) * Musette (Anonymous).

The present volume is a double edition in English and Arabic about the art of ornamentations in the performance of the Arabic qanun (psaltery), and a historical document spanning more than one hundred years. It is based on George Sawa's experience as an artist and performer, as well as the experience of his teachers and their teachers. For the latter, Dr Sawa used his recollections of what his teachers said about their teachers, as well as recordings made by European companies that recorded their works on 78 rpm at the beginning of the 20th century. .

Life in ancient Greece was musical life. Soloists competed onstage for popular accolades, becoming centrepieces for cultural conversation and even leading Plato to recommend that certain forms of music be banned from his ideal society. And the music didn't stop when the audience left the theatre: melody and rhythm were woven into the whole fabric of daily existence for the Greeks. Vocal and instrumental songs were part of religious rituals, dramatic performances, dinner parties, and even military campaigns. Like Detroit in the 1960s or Vienna in the 18th century, Athens in the 400s BC was the hotspot where celebrated artists collaborated and diverse strands of musical tradition converged. The conversations and innovations that unfolded there would lay the groundwork for musical theory and practice in Greece and Rome for centuries to come. In this perfectly pitched introduction, Spencer Klavan explores Greek music's origins, forms, and place in society. In recent years, state-of-the-art research and digital technology have enabled us to decipher and understand Greek music with unprecedented precision. Yet many readers today cannot access the resources that would enable them to grapple with this richly rewarding subject. Arcane technical details and obscure jargon veil the subject - it is rarely known, for instance, that authentic melodies still survive from antiquity, helping us to imagine the vivid soundscapes of the Classical and Hellenistic eras. Music in Ancient Greece distills the latest discoveries into vivid prose so readers can come to grips with the basics as never before. With the tools in this book, beginners and specialists alike will learn to hear the ancient world afresh and come away with a new, musical perspective on their favourite classical texts.

The hitmakers behind Elvis Presley's "Hound Dog" and "Jailhouse Rock" recount their rise to songwriting stardom while authoring the classic American R&B sound of countless chart-topping singles. In 1950 a couple of rhythm and blues-loving teenagers named Jerry Leiber and Mike Stoller met for the first time. They discovered their mutual affection for R&B and, as Jerry and Mike put it in this fascinating autobiography, began an argument that has been going on for over fifty years with no resolution in sight. Leiber and Stoller were still in their teens when they started working with some of the pioneers of rock and roll, writing such hits as Hound Dog, which eventually became a #1 record for Elvis Presley. Jerry and Mike became the King's favorite songwriters, giving him Jailhouse Rock and other #1 songs. Their string of hits with the Coasters, including Yakety Yak, Poison Ivy, and Charlie Brown, is a part of rock 'n' roll history. They founded their own music label and introduced novel instrumentation into their hits for the Drifters and Ben E. King, including On Broadway and Stand by Me. They worked with everyone from Phil Spector to Burt Bacharach and Peggy Lee. Their smash musical Smokey Joe's Cafe became the longest-running musical revue in Broadway history. Lively, colorful, and irreverent, Hound Dog describes how two youngsters with an insatiable love of good old American R&B created the soundtrack for a generation.

What do exotic area rugs, handcrafted steel-string guitars, and fiddling have in common today? Many contemporary tradition bearers embrace complexity in form and content. They construct objects and performances that draw on the past and evoke nostalgia effectively but also reward close attention. In Rugs, Guitars, and Fiddling: Intensification and the Rich Modern Lives of Traditional Arts, author Chris Goertzen argues that this entails three types of change that can be grouped under an umbrella term: intensification. First, traditional creativity can be intensified through virtuosity, through doing hard things extra fluently. Second, performances can be intensified through addition, by packing increased amounts of traditional materials into the conventionally sized packages. Third, in intensification through selection, artistic impact can grow even if amount of information recedes by emphasizing compelling ideas-e.g., crafting a red and black viper poised to strike rather than a pretty duck decoy featuring more colors and contours. Rugs handwoven in southern Mexico, luthier-made guitars, and southern US fiddle styles experience parallel changes, all absorbing just enough of the complex flavors, dynamics, and rhythms of modern life to translate inherited folklore into traditions that can be widely celebrated today. New mosaics of details and skeins of nuances don't transform craft into esoteric fine art, but rather enlist the twists and turns and endless variety of the contemporary world therapeutically, helping transform our daily chaos into parades of negotiable jigsaw puzzles. Intensification helps make crafts and traditional performances more accessible and understandable and thus more effective, bringing past and present closer together, helping folk arts continue to perform their magic today.

Living Genres in Late Modernity rehears the American 1970s through the workings of its musical genres. Exploring stylistic developments from the late 1960s through the early 1980s, including soul, funk, disco, pop, the nocturne, and the concerto, Charles Kronengold treats genres as unstable constellations of works, people, practices, institutions, technologies, money, conventions, forms, ideas, and multisensory experiences. What these genres share is a significant cultural moment: they arrive just after "the sixties" and are haunted by a sense of belatedness, loss, or doubt, even as they embrace narratives of progress or abundance. These genres give us reasons-and means-to examine our culture's self-understandings. Through close readings and large-scale mappings of cultural and stylistic patterns, the book's five linked studies reveal how genres help construct personal and cultural identities that are both partial and overlapping, that exist in tension with one another, and that we experience in ebbs and flows.