Sheila E., born Sheila Escovedo in 1957, picked up the drumsticks and started making music at the precocious age of three, inspired by her legendary father, percussionist Pete Escovedo. By nineteen, she had fallen in love with Carlos Santana. By twenty-one, she met Prince at one of her concerts. After the show, he told her that he and his bassist "were just fighting about which one of us would be your husband." Sheila E. and Prince would eventually join forces and collaborate for more than two decades, creating hits that catapulted Sheila to her own pop superstardom. The Beat of My Own Drumis both a walk through four decades of Latin and pop music-from her tours with Marvin Gaye, Lionel Richie, Prince, and Ringo Starr-to her own solo career. At the same time, it's also a heart-breaking, ultimately redemptive look at how the sanctity of music can save a person's life. Having endured sexual abuse as a child, Sheila credits her parents, music, and God with giving her the will to carry on and to build a lasting legacy. Rich in musical detail, pop and Latin music history from the '70s and '80s, and Sheila's personal story, this memoir is a unique glimpse into a drummer's singular life-a treat for both new and long-time fans of Sheila E. And above all, it is a testament to how the positive power of music serves as the heartbeat of her life.

Ce livre presente une exploration etendue des possibilites sonores liees a la systematisation d'un effet particulier deploye par le vibraphoniste Andre Cayer: le bending tone. Il inclut egalement l'information pertinente a sa realisation concrete et efficace, permettant de l'integrer de facon systematique dans une interpretation musicale fluide. Le potentiel offert par cette nouvelle approche developpee par Andre Cayer ouvre la voie a une toute nouvelle facon d'aborder le vibraphone de facon beaucoup plus expressive qu'auparavant.

Al momento de esta edicion, existen en el planeta aproximadamente 20 titulos dedicados al conocimiento y ensenanza del tabla, de los cuales tres estan escritos en hindi, uno bilingue (hindi e ingles) y el resto en ingles. Por ello el autor sintio la necesidad de escribir este libro en espanol. El fascinante mundo del tabla, es un compendio de investigaciones de sus libros de consulta, anotaciones durante clases en el Instituto Gandharva Mahavidyalaya, informacion recibida en clases privadas, largas horas de aprendizaje, y conversaciones con sus maestros en Nueva Delhi y Varanasi (India), asi como en Katmandu (Nepal). Informacion que ha venido acumulando y que ahora plasma en este primer libro editado en idioma espanol sobre la musica del norte de la India y del instrumento clasico de percusion denominado tabla. Durante los anos que vivio en la India el autor estudio dos de esas escuelas tradicionales, la dilli gharana en la Gandharva Mahavidyalaya, Nueva Delhi, y la benares gharana, que estudio undamentalmente bajo la supervision y control de Pt. Kishan Maharaj (1923-2008) en Varanasi. Esta ensenanza fue al estilo tradicional conocido como guru-shishya parampara, ademas tuvo el honor de recibir de sus propias manos la ganda bandh shagird. Otros de sus maestros Pt. Ramkumar Mishra (nieto de Pt.Anokhelal Mishra, 1914-1958), Pt.Kishori Kumar Mishra, y Shubh Maharaj (nieto de Pt. Kishan Maharaj, 1923-2008). Ademas de un Junior diploma en tabla de la Prayag Sangeet Samiti, Allahabad, India. Dha Maharaj en su actividad como ejecutante del tabla, en los ultimos anos ha acompanado a bandas y artistas de diferentes estilos y generos musicales, como son el reggae, blues, jazz, pop, ska, flamenco, rock & roll como la leyenda viviente Ptt Lizardo y Pablo Dagnino, fusion con Hector Buitriago, la banda Gaelica; asi como participado como invitado en proyectos de la banda de ska Desorden Publico (Las estrellas del Caos. 2007), el guitarrista Bartolome Diaz (Ageless Friends. 2008), y con el guitarrista Emilio Mendoza (Emilio Mendoza & Ozono Jazz - Natura. 2009) con quien en los ultimos 9 anos viene tocando el tabla en sus diferentes formatos. El autor hasta la fecha ha compuesto dos obras de expresiones plasticas como son la danza contemporanea (Improvisaciones en teen taal, para bailarin y tabla) y la poesia (Cuatro poetas y un tabal-ji). Suele cooperar con la Embajada de la India en Caracas y con agrupaciones que practican disciplinas religiosas hindues, yoga y cantos devocionales, junto a organizaciones reconocidas como son los Hare Krishna, Amma, Sai Baba y Ananda Marga. En la medida de lo posible y motivado por su deseo de difundir la musica de la India, Dha Maharaj trata de asistir a congresos, impartir charlas, dar clases privadas y publicas, y ofrecer seminarios de ritmica del norte de la India a percusionista profesionales expertos en musica popular y musicos clasicos academicos de musica occidental, como es el caso de la Fundacion del Estado para el Sistema Nacional de las Orquestas Juveniles e Infantiles de Venezuela - (FESNOJIV) invitado por el profesor Edgar Saume (bateria) o en el seminario Los latidos del Planeta que en su primera edicion agrupo a destacados percusionista venezolanos como son el maestro Carlos "Nene" Quintero, (percusionista afro latino), Carlos Rojas Zoccolo (percusion brasilena) y Elio Fernandez (bateria de rock & roll), acto realizado en las salas de UNEARTE Bellas Artes en la ciudad de Caracas, Venezuela. El fascinante mundo del tabla, es el primer libro escrito en espanol sobre la musica clasica de la India y enfocado primordialmente al instrumento de percusion del norte de India conocido como tabla. Su autor, el musico venezolano Dha Maharaj (Ulises J. Farias Yeguez) de una forma simple y amena traza la historia de la musica India, sus estilos, los instrumentos musicales melodicos y de percusion (del norte y sur), el sistema de notac"

In The Drum: A History, drummer, instructor, and blogger Matt Dean details the earliest evidence of the drum from all regions of the planet, looking at cave paintings, statues, temple reliefs, and burial remains before finding existing relics of actual drums, which have survived thousands of years. Highlighting the different uses and customs associated with drumming, Dean examines how the drum developed across many cultures and over thousands of years before they became the instruments we know today. A celebration of this remarkable instrument, The Drum: A History explores how war, politics, trade routes, and religion have influenced the drum. Bringing its history to the present, Dean considers the modern cultural and commercial face of the drum, detailing its role in military settings and the development of the "modern drum kit." This study charts the evolution of the recording studio environment, as well as specific analysis of the development of drum heads, sticks, and the often overlooked role of women on the drum kit. In addition, there is a look at the continuing evolution of the drum and its role through surveys of main manufacturers and the increased dependence on electronic drums, sampling machines, and drum recorders. As the first book to detail the entire development of the drum, The Drum: A History will appeal to every drummer, regardless of genre or style, as well as any reader with a general interest in the evolution of this universal instrument.

(Book). Here is a hard rock memoir essentially an authorized bio on the endearing British rock band Humble Pie as told from the drum throne and backstage hallways during the emerging days of the Seventies classic rock era. In 1969, Jerry Shirley was chosen to drum in a new band led by Steve Marriott and Peter Frampton. He had just turned 17. Along with bassist Greg Ridley, and manager Dee Anthony, the Pie started a 6-year journey that stormed the US and defined Arena Rock bigger sound, bigger contracts, and bigger parties. Along the way Jerry meets with future legends that make for a star-studded bio and rare glimpse into the rock music industry. Written in his own voice and with a wicked musician sense of humor, Jerry details the vibrant scene that created the explosive sound of heavy rock. He explains how sessions were conducted by iconic engineers like Glyn Johns and Eddie Kramer, describes his session work with Syd Barrett and George Harrison and tells amusing tales like drum shopping with the Who's Keith Moon. What was it like to perform a sold-out show at Shea Stadium, play for 250,000 in Hyde Park, charter a private jet for tour, record the trend-setting live record at the Fillmore East (that spawned the FM radio staple "I Don't Need No Doctor"), get hyped for the stage by Dee Anthony, and deal with the drugs and excesses of this inhibitive era of rock? This book definitely answers those question as well as "What was it like to meet, play, record, tour, party, and fight with cult hero Steve Marriott?" No other book can cover it like this.

Composed of a core set of two drums and two gongs, "p'ungmul" is a South Korean tradition of rural folk percussion. Steeped in music, dance, theater, and pageantry, but centrally focused on rhythm, such ensembles have been an integral part of village life in South Korea for centuries, serving as musical accompaniment in the often overlapping and shifting contexts of labor, ritual, and entertainment.
The first full-length book to introduce Korean drumming and dance to the English-speaking world, Nathan Hesselink's "P'ungmul" offers detailed descriptions of its instrumentation, dance formations, costuming, characters, teaching lineages, and the complexities of training. Hesselink also evaluates how this tradition has taken on new roles and meanings in the twentieth and early twenty-first centuries, investigating the interrelated yet contested spheres of history, memory, government policy, grassroots politics, opportunities for musical transmission, and performance practices and aesthetics.
" P'ungmul" offers those interested in ethnomusicology, world music, anthropology, sociology, and Asian studies a special glimpse into the inner workings of a historically rich, artistically complex, and aesthetically and aurally beautiful Korean music and dance tradition.

The 1903 Mrdang aur Tabla Vadanpaddhati is a revelatory text that has never been translated or analysed. It is a manual for playing the two most important drums of North Indian (Hindustani) music, the pakhavaj (mrdang) and the tabla. Owing to its relative obscurity, it is a source that has never been discussed in the literature on Hindustani music. Its author, Gurudev Patwardhan, was Vice Principal of V.D. Paluskar's first music school in Lahore from its inception in 1901 to 1908. Professor James Kippen provides the first translation of this immensely important text and examines its startling implications for rhythmic and metric theory. It is the earliest work on Indian drumming to contain a notation sufficiently precise to allow definitive reconstruction. The compositions are of considerable musical interest, for they can be readily realized on the tabla or pakhavaj. Kippen sets the work and objectives of the original author in the context of a rich historical, social and political background. By also discussing radical differences in the second edition of 1938, published by Gurudev's nephew, the vocalist Vinayakrao Patwardhan, Kippen illuminates the process by which 'tabla theory' was being created in the early 20th century. Both Patwardhans were enthusiastic supporters of Paluskar's nationalist imperatives, and active participants in his drive to institutionalize music, codify and publish notations of it, and promote a modern, Hindu vision of India wherein its identity could once again be linked to a glorious golden age in distant antiquity.

The age-old craft of bellfounding involves specialised techniques and equipment that have been passed down through generations and are still used today. For centuries, the large bells in churches, clocks and public buildings throughout Britain have been cast, hung, and tuned by bellfounders and this book surveys the history of bell production and the development of moulding and casting techniques. To achieve the correct pitch each bell would be hand corrected with a hammer and chisel, an extremely noisy process which continued until the nineteenth century when the mechanised lathe was introduced. This book describes the intricate tuning process and the role of the bellfounder and specially prepared photographs illustrate the production process of some of the most famous foundries in Britain, such as those at Whitechapel and Loughborough.