Becoming Noise Music tells the story of noise music in its first 50 years, using a focus on the music's sound and aesthetics to do so. Part One focuses on the emergence and stabilization of noise music across the 1980s and 1990s, whilst Part Two explores noise in the twenty-first century. Each chapter contextualizes - tells the story - of the music under discussion before describing and interpreting its sound and aesthetic. Stephen Graham uses the idea of 'becoming' to capture the unresolved 'dialectical' tension between 'noise' disorder and 'musical' order in the music itself; the experiences listeners often have in response; and the overarching 'story' or 'becoming' of the genre that has taken place in this first fifty or so years. The book therefore doubles up on becoming: it is about both the becoming it identifies in, and the larger, genre-making process of the becoming of, noise music. On the latter count, it is the first scholarly book to focus in such depth and breadth on the sound and story of noise music, as opposed to contextual questions of politics, history or sociology. Relevant to both musicology and noise audiences, Becoming Noise Music investigates a vital but analytically underexplored area of avant-garde musical practice.

This edited collection provides an in-depth and wide-ranging exploration of pragmatist philosopher Richard Shusterman's distinctive project of "somaesthetics," devoted not only to better understanding bodily experience but also to greater mastery of somatic perception, performance, and presentation. Against contemporary trends that focus narrowly on conceptual and computational thinking, Shusterman returns philosophy to what is most fundamental-the sentient, expressive, human body with its creations of living beauty. Twelve scholars here provide penetrating critical analyses of Shusterman on ontology, perception, language, literature, culture, politics, aesthetics, cuisine, music, and the visual arts, including films of his work in performance art.

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.

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 Belwin String Builder is a string class method in which the violin, viola, cello, and bass play together throughout. Each book, however, is a complete unit and may be used separately for class or individual instruction. The material in this book is realistically graded so that only a minimum of explanatory material is required. Each melody is interesting and will provide the basis for a fine left hand technic and bow arm. Available in three levels for violin, viola, cello, bass, piano accompaniment, and teacher's manual.

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.

This is an annotated edition of a traditional song text, written in the Zhuang character script. The Brigands' Song is part of a living tradition, sung antiphonally by two male and two female singers. The song is probably unique in presenting the experiences of ordinary men and women during wartime in pre-modern China. The narrative relates how the men are sent off to war, fighting as native troops on behalf of the Chinese imperial armies. The song dates from the Ming dynasty and touches on many topics of historical significance, such as the use of firearms and other operational details.