Cultural Histories of Noise, Sound and Listening in Europe, 1300-1918 presents a range of historical case studies on the sounding worlds of the European past. The chapters in this volume explore ways of thinking about sound historically, and seek to understand how people have understood and negotiated their relationships with the sounding world in Europe from the Middle Ages through to the early twentieth century. They consider, in particular: sound and music in the later Middle Ages; the politics of sound in the early modern period; the history of the body and perception during the Ancien Regime; and the sounds of the city in the nineteenth century and sound and colonial rule at the fin de siecle. The case studies also range in geographical orientation to include considerations not only of Britain and France, the countries most considered in European historical sound studies in English-language scholarship to date, but also Bosnia-Herzegovina, British Colonial India, Germany, Italy and Portugal. Out of this diverse group of case studies emerge significant themes that recur time and again, varying according to time and place: sound, power and identity; sound as a marker of power or violence; and sound, physiology and sensory perception and technologies of sound, consumption and meaning.

This new study of the intersection of romance novels with vocal music records a society on the cusp of modernisation, with a printing industry emerging to serve people's growing appetites for entertainment amidst their changing views of religion and the occult. No mere diversion, fiction was integral to musical culture and together both art forms reveal key intellectual currents that circulated in the early nineteenth-century British home and were shared by many consumers. Roger Hansford explores relationships between music produced in the early 1800s for domestic consumption and the fictional genre of romance, offering a new view of romanticism in British print culture. He surveys romance novels by Ann Radcliffe, Matthew Lewis, Sir Walter Scott, James Hogg, Edward Bulwer and Charles Kingsley in the period 1790-1850, interrogating the ways that music served to create mood and atmosphere, enlivened social scenes and contributed to plot developments. He explores the connections between musical scenes in romance fiction and the domestic song literature, treating both types of source and their intersection as examples of material culture. Hansford's intersectional reading revolves around a series of imaginative figures - including the minstrel, fairies, mermaids, ghosts, and witches, and Christians engaged both in virtue and vice - the identities of which remained consistent as influence passed between the art forms. While romance authors quoted song lyrics and included musical descriptions and characters, their novels recorded and modelled the performance of songs by the middle and upper classes, influencing the work of composers and the actions of performers who read romance fiction.

Mabel Daniels (1877-1971): An American Composer in Transition assesses Daniels within the context of American music of the first half of the twentieth century. Daniels wrote fresh sounding works that were performed by renowned orchestras and ensembles during her lifetime but her works have only recently begun to be performed again. The book explains why works by Daniels and other women composers fell out of favor and argues for their performance today. This study of Daniels's life and works evinces transition in women's roles in composition, the professionalization of women composers, and the role that Daniels played in the institutionalization of American art music. Daniels's dual role as a patron-composer is unique and expressive of her transitional status.

'Entertaining, affectionate and righteous' Guardian 'Says so much about being a woman' Cosey Fanni Tutti A TIMES BEST BOOK OF THE YEAR In 1983, backstage at the Lyceum in London, Tracey Thorn and Lindy Morrison first met. Tracey's music career was just beginning, while Lindy, drummer for The Go-Betweens, was ten years her senior. They became confidantes, comrades and best friends, a relationship cemented by gossip and feminism, books and gigs and rock 'n' roll love affairs. Morrison - a headstrong heroine blazing her way through a male-dominated industry - came to be a kind of mentor to Thorn. They shared the joy and the struggle of being women in a band, trying to outwit and face down a chauvinist music media. In My Rock 'n' Roll Friend Thorn takes stock of thirty-seven years of friendship, teasing out the details of connection and affection between two women who seem to be either complete opposites or mirror images of each other. This important book asks what people see, who does the looking, and ultimately who writes women out of - and back into - history.

This title was first published in 1983.

The chapters collected in this volume shed light on the areas of interaction between film studies and heavy metal research, exploring how the audio-visual medium of film relates to, builds on and shapes metal culture. At one end of the spectrum, metal music serves as a form of ambient background in horror films that creates an intense and somewhat threatening atmosphere; at the other end, the high level of performativity attached to the metal spectacle is emphasized. Alongside these tendencies, the recent and ongoing wave of metal documentaries has taken off, relying on either satire or hagiography.

Since the 1960s, the Grateful Dead have welcomed and participated in academic work on the band, encouraging scrutiny from a wide variety of disciplinary and theoretical perspectives, from anthropology to sociology. Interest in Dead studies is growing across the country and around the world, and UC Santa Cruz s Grateful Dead Archive continues to attract a high level of attention. In Reading the Grateful Dead: A Critical Survey, Nicholas G. Meriwether has assembled essays that examine the development of Grateful Dead studies. This volume features work from three generations of scholars, including a wide variety of perspectives on the band and its cultural significance. From insiders like lyricist John Perry Barlow and longtime band publicist and historian Dennis McNally to well-known Deadhead scholars such as Barry Barnes and Rebecca Adams, the contributors to this volume offer valuable insights into the Grateful Dead phenomenon. No other Dead book focuses on the growth and development of the discourse, contains such a range of critical approaches, nor features work by luminaries Stan Krippner and Barnes, among others. The four sections of the book describe aspects and approaches to Dead studies, along with overviews of how the discipline evolved and what it comprises today. This collection will appeal to scholars, students, and teachers interested in Dead studies and fans of the band.

Pairing history's 100 greatest rock stars with recipes for their iconic drink of choice, How to Drink Like a Rock Star is the perfect guide to summoning the muse for music fans, rock and roll bartenders, and cocktail enthusiasts. Have you longed for a taste of the rock and roll lifestyle without the trashed hotel rooms, constrictive leather pants, and weeks lost on a cramped tour bus? Whether you want to know what fueled Ozzy Osbourne's bat-biting Prince of Darkness persona, quaff a Jack and Coke like Motoerhead's Lemmy, or learn Madonna's recipe for a perfect dirty martini, How to Drink Like a Rock Star will delight fans of all genres of rock and roll and anyone searching for the perfect cocktail. From AC/DC to ZZ Top, this lavish illustrated follow-up to How to Drink Like a Writer offers 100 spirited drink recipes, fascinating rock star profiles, a special sections dedicated to epic rock clubs to drink, dance, and perform in, and even unusual hangover cures and favorite food pairings, all accompanied by original illustrations of ingredients and finished cocktails, and a wealth of photographs. This remarkable book, the result of a deep dive into interviews, backstage tour riders, and much more, is sure to inspire, impress, and inebriate. Sure, becoming a rock legend takes dedication, connections, and talent, but it also takes vodka, gin, tequila, and whiskey.

Recognized for its distinctive musical features and its connection to periods of social innovation and ferment, the genre of psychedelia has exerted long-term influence in many areas of cultural production, including music, visual art, graphic design, film, and literature. William Echard explores the historical development of psychedelic music and its various stylistic incarnations as a genre unique for its fusion of rock, soul, funk, folk, and electronic music. Through the theory of musical topics-highly conventional musical figures that signify broad cultural concepts-and musical meaning, Echard traces the stylistic evolution of psychedelia from its inception in the early 1960s, with the Beatles' Rubber Soul and Revolver and the Kinks and Pink Floyd, to the German experimental bands and psychedelic funk of the 1970s, with a special emphasis on Parliament/Funkadelic. He concludes with a look at the 1980s and early 1990s, touching on the free festival scene, rave culture, and neo-jam bands. Set against the cultural backdrop of these decades, Echard's study of psychedelia lays the groundwork and offers lessons for analyzing the topic of popular music in the twentieth and twenty-first centuries.

The playback of recordings is the primary means of experiencing music in contemporary society, and in recent years 'classical' musicologists and popular music theorists have begun to examine the ways in which the production of recordings affects not just the sound of the final product but also musical aesthetics more generally. Record production can, indeed, be treated as part of the creative process of composition. At the same time, training in the use of these forms of technology has moved from an apprentice-based system into university education. Musical education and music research are thus intersecting to produce a new academic field: the history and analysis of the production of recorded music. This book is designed as a general introductory reader, a text book for undergraduate degree courses studying the creative processes involved in the production of recorded music. The aim is to introduce students to the variety of approaches and methodologies that are currently being employed by scholars in this field. The book is divided into three sections covering historical approaches, theoretical approaches and case studies and practice. There are also three interludes of commentary on the academic contributions from leading record producers and other industry professionals. This collection gives students and scholars a broad overview of the way in which academics from the analytical and practice-based areas of the university system can be brought together with industry professionals to explore the ways in which this new academic field should progress.

The Beatles loom large over the musical landscape even now that nearly a half-century has passed since the four men from Liverpool played their last notes together. While the story of their stunning rise and brief but brilliant time together on top of the pop music world is undoubtedly fascinating, it would ring hollow without the scores of incredible songs that accompanied each milestone. These songs are the focus of rock writer Jim Beviglia's latest foray into the catalogs of rock royalty. Counting Down the Beatles: Their 100 Finest Songs features Beviglia's list of the best songs in the band's unparalleled oeuvre. Ranked in descending order from #100 to #1, each song is accompanied by a lengthy essay providing information on the song's writing and recording, context on where it falls within the band's timeline, and the author's analysis and explanation why it deserves its position in this hallowed canon. Every fan of the Beatles, from attendees at their first U.S.tour to the newest generation's devotees, will find this collection an informative, insightful, and entertaining adventure. Not only will it reveal little-known facts, but it just may start some arguments and settle a few debates.

Boy Bands and the Performance of Pop Masculinity provides a history of the boy band from the Beatles to One Direction, placing the modern male pop group within the wider context of twentieth- and twenty-first-century popular music and culture. Offering the first extended look at pop masculinity as exhibited by boy bands, this volume links the evolving expressions of gender and sexuality in the boy band to wider economic and social changes that have resulted in new ways of representing what it is to be a man. The popularity of boy bands is unquestionable, and their contributions to popular music are significant, yet they have attracted relatively little study. This book fills that gap with chapters exploring the challenges of defining the boy band phenomenon, its origins and history from the 1940s to the present, the role of management and marketing, the performance of gender and sexuality, and the nature of fandom and fan agency. Throughout, the author illuminates the ways in which identity politics influence the production and consumption of pop music and shows how the mainstream pop of boy bands can both reinforce and subvert gender and class hierarchies.

Born into poverty--the entire family slept in a single room--Ozzy Osbourne endured a challenging childhood. It was a struggle from which he sought shelter in music, and his time as a member of Black Sabbath revolutionized heavy metal and catapulted him to worldwide fame. With the acclaim, however, came the excesses and heartbreaks; and in this engaging and revealing autobiography, Osbourne writes as candidly about his struggles with addictive substances and the loss of close friends as he does about his legendary stage performances and tours, and also discusses his more recent reinvention as a reality TV star. This is the definitive insider's account of the heavy metal scene from the 1970s through the 1990s and a more general cultural history of that same period. Heavy metal, rock and roll, and pop culture fans alike will find this essential reading. "Nacido en la pobreza--su familia entera dormia en una sola habitacion--Ozzy Osbourne tuvo una ninez dificil. Fue una lucha de la cual consiguio un refugio en la musica, y su tiempo como un miembro de Black Sabbath sirvio tanto para revolucionar al heavy metal como para catapultarlo a la fama. Con la aclamacion, sin embargo, vinieron tambien los excesos y desenganos; y en esta autobiografia simpatica y reveladora, Osbourne escribe tan francamente sobre su lucha con las substancias adictivas y la perdida de amigos cercanos asi como sobre sus interpretaciones y giras legendarias, y discute tambien su reinvencion reciente como una estrella de la telerrealidad. Este es el relato definitivo del mundo del heavy metal desde los 70 hasta los 90 y una historia cultural general del mismo periodo. Los fanaticos del heavy metal, el rock y la cultura popular consideraran esto lectura imprescindible."

On the fiftieth anniversary of David Bowie's magical album, Aladdin Sane 50 is the ultimate celebration of a musical masterpiece - and the most famous photograph in pop history. This landmark book contains hundreds of photographs, including dozens of David from the Aladdin Sane session that have never been seen until now, fifty years since they were taken. Aladdin Sane 50 also features essays by renowned experts and authors Paul Morley, Charles Shaar Murray, Nicholas Pegg, Kevin Cann, Jerome Soligny and Geoffrey Marsh on Bowie's remarkable album and the story behind the famous cover. In a breathtaking package designed by long-time Bowie collaborators Barnbrook creative studio, Aladdin Sane 50 pays tribute to a seminal album and an iconic image, one that will live forever more in rock 'n' roll history.

A RADIO 4 BOOK OF THE WEEK 'Full of delightful nuggets' Guardian online 'Entertaining, informative and philosphical ... An essential read' All About History 'Extraordinary range ... All the world and more is here' Evening Standard 165 million years ago saw the birth of rhythm. 66 million years ago came the first melody. 40 thousand years ago Homo sapiens created the first musical instrument. Today music fills our lives. How we have created, performed and listened to music throughout history has defined what our species is and how we understand who we are. Yet it is an overlooked part of our origin story. The Musical Human takes us on an exhilarating journey across the ages - from Bach to BTS and back - to explore the vibrant relationship between music and the human species. With insights from a wealth of disciplines, world-leading musicologist Michael Spitzer renders a global history of music on the widest possible canvas, from global history to our everyday lives, from insects to apes, humans to artificial intelligence. 'Michael Spitzer has pulled off the impossible: a Guns, Germs and Steel for music' Daniel Levitin 'A thrilling exploration of what music has meant and means to humankind' Ian Bostridge

This highly original and accessible book draws on the author's personal experience as a musician, producer and teacher of popular music to discuss the ways in which audio technology and musical creativity in pop music are inextricably bound together. This relationship, the book argues, is exemplified by the work of Trevor Horn, who is widely acknowledged as the most important, innovative and successful British pop record producer of the early 1980s. In the first part of the book, Timothy Warner presents a definition of pop as distinct from rock music, and goes on to consider the ways technological developments, such as the transition from analogue to digital, transform working practices and, as a result, impact on the creative process of producing pop. Part two analyses seven influential recordings produced by Trevor Horn between 1979 and 1985: 'Video Killed the Radio Star' (The Buggles), 'Buffalo Gals' (Malcolm McClaren),'Owner of a Lonely Heart' (Yes), 'Relax' (Frankie Goes to Hollywood), 'Slave to the Rhythm' (Grace Jones), and albums by The Art of Noise and Propaganda. These records reveal how the creative use of technology in the modern pop recording studio has informed Horn's work, a theme that is then explored in an extensive interview with Horn himself.

(Berklee Guide). Learn deep funk/R&B guitar These hands-on exercises, licks, and technical discussions will help you play in the style of Kool and the Gang, Prince, James Brown, Sly and the Family Stone, Jimi Hendrix, Curtis Mayfield, Soulive, and other great artists, spanning from old school to contemporary funk/R&B grooves. The CD features demonstration and practice tracks, played by the Boston-based R&B/funk group the Thaddeus Hogarth Band. Guitar tablature, fretboard diagrams, and traditional notation are included. You'll learn how to: play lead lines and build solos; understand and use scales over funk/R&B harmonies; create rhythm-guitar parts that support funk/R&B grooves; bend strings to expand your palette of scales, harmonies, and ornamentation; and much more

George Harrison was one of the most prolific popular music composers of the late 20th century. During his tenure with the Beatles, he caught the wave of 1960s pop culture and began channeling its pervasive influence through his music. Often described as "The Invisible Singer," his solo recordings reveal him to be an elusive, yet essential, element in the Beatles' sound. The discussion of George Harrison's Beatle tracks featured in the text employs a Songscape approach that blends accessible music analysis with an exploration of the virtual space created on the sound recording. This approach is then used to explore Harrison's extensive catalog of solo works, which, due to their varied cultural sources, seem increasingly like early examples of Global Pop. In that sense, the music of George Harrison may ultimately be viewed as an important locus for pan-cultural influence in the 20th century, making this book essential reading for those interested in the history of songwriting and recording as well as the cultural study of popular music.

World Music Pedagogy, Volume VI: School-Community Intersections provides students with a resource for delving into the meaning of "world music" across a broad array of community contexts and develops the multiple meanings of community relative to teaching and learning music of global and local cultures. It clarifies the critical need for teachers to work in tandem with community musicians and artists in order to bridge the unnecessary gulf that often separates school music from the music of the world beyond school and to consider the potential for genuine collaborations across this gulf. The five-layered features of World Music Pedagogy are specifically addressed in various school-community intersections, with attention to the collaboration of teachers with local community artist-musicians and with community musicians-at-a-distance who are available virtually. The authors acknowledge the multiple routes teachers are taking to enable and encourage music learning in community contexts, such as their work in after-school academies, museums and libraries, eldercare centers, places of worship, parks and recreation centers, and other venues in which adults and children gather to learn music, make music, and become convivial through music This volume suggests that the world's musical cultures may be found locally, can be tapped virtually, and are important in considerations of music teaching and learning in schools and community contexts. Authors describe working artists and teachers, scenarios, vignettes, and teaching and learning experiences that happen in communities and that embrace the role of community musicians in schools, all of which will be presented with supporting theoretical frameworks.

In Britain during the late 1970s and early 1980s, a new phenomenon emerged, with female guitarists, bass-players, keyboard-players and drummers playing in bands. Before this time, women's presence in rock bands, with a few notable exceptions, had always been as vocalists. This sudden influx of female musicians into the male domain of rock music was brought about partly by the enabling ethic of punk rock ('anybody can do it!') and partly by the impact of the Equal Opportunities Act. But just as suddenly as the phenomenon arrived, the interest in these musicians evaporated and other priorities became important to music audiences. Helen Reddington investigates the social and commercial reasons for how these women became lost from the rock music record, and rewrites this period in history in the context of other periods when female musicians have been visible in previously male environments. Reddington draws on her own experience as bass-player in a punk band, thereby contributing a fresh perspective on the socio-political context of the punk scene and its relationship with the media. The book also features a wealth of original interview material with key protagonists, including the late John Peel, Geoff Travis, The Raincoats and the Poison Girls.

While attention has been paid to various aspects of music education in China, to date no single publication has systematically addressed the complex interplay of sociopolitical transformations underlying the development of popular music and music education in the multilevel culture of China. Before the implementation of the new curriculum reforms in China at the beginning of the twenty-first century, there was neither Chinese nor Western popular music in textbook materials. Popular culture had long been prohibited in school music education by China's strong revolutionary orientation, which feared 'spiritual pollution' by Western cultures. However, since the early twenty-first century, education reform has attempted to help students deal with experiences in their daily lives and has officially included learning the canon of popular music in the music curriculum. In relation to this topic, this book analyses how social transformation and cultural politics have affected community relations and the transmission of popular music through school music education. Ho presents music and music education as sociopolitical constructions of nationalism and globalization. Moreover, how popular music is received in national and global contexts and how it affects the construction of social and musical meanings in school music education, as well as the reformation of music education in mainland China, is discussed. Based on the perspectives of school music teachers and students, the findings of the empirical studies in this book address the power and potential use of popular music in school music education as a producer and reproducer of cultural politics in the music curriculum in the mainland.

Status Quo were one of the most successful, influential and innovative bands of the 1970s. During the first half of the decade, they wrote, recorded and performed a stream of inventive and highly complex rock compositions, developed 12 bar forms and techniques in new and fascinating ways, and affected important musical and cultural trends. But, despite global success on stage and in the charts, they were maligned by the UK music press, who often referred to them as lamebrained three-chord wonders, and shunned by the superstar Disk Jockeys of the era, who refused to promote their music. As a result, Status Quo remain one of the most misunderstood and underrated bands in the history of popular music. Cope redresses that misconception through a detailed study of the band's music and live performances, related musical and cultural subtopics and interviews with key band members. The band is reinstated as a serious, artistic and creative phenomenon of the 1970s scene and shown to be vital contributors to the evolution of rock.

Warren Zevon was one of the most original songwriters to emerge from the prolific 1970s Los Angeles music scene. Beyond his most familiar song-the rollicking 1978 hit "Werewolves of London"-Zevon's smart, often satirical songbook is rich with cinematic, literary, and comic qualities; dark narratives; complex characters; popular culture references; and tender, romantic ballads of parting and longing. Warren Zevon: Desperado of Los Angeles is the first book-length, critical exploration of one of popular music's most talented and tormented antiheroes. George Plasketes provides a comprehensive chronicle of Zevon's 40-year, 20-record career and his enduring cultural significance. Beginning with Zevon's classical training and encounters as a youth with composers Robert Craft and Igor Stravinsky, Plasketes surveys Zevon's initiation into the 1960s through the Everly Brothers, the Turtles, and the film Midnight Cowboy. Plasketes then follows Zevon from his debut album with Asylum Records in 1976, produced by mentor Jackson Browne, through his successes and struggles from a Top Ten album to record label limbo during the 1980s, through a variety of music projects in the 1990s, including soundtracks and scores, culminating with a striking trio of albums in the early 2000s. Despite his reckless lifestyle and personal demons, Zevon made friends and alliances with talk show host David Letterman and such literary figures as Hunter S. Thompson and Carl Hiaasen. It was only after his death in 2003 that Zevon received Grammy recognition for his work. Throughout this book, Plasketes explores the musical, cinematic, and literary influences that shaped Zevon's distinctive style and songwriting themes and continue to make Zevon's work a telling portrait of Los Angeles and American culture.

Music and Irish Identity represents the latest stage in a life-long project for Gerry Smyth, focusing here on the ways in which music engages with particular aspects of Irish identity. The nature of popular music and the Irish identity it supposedly articulates have both undergone profound change in recent years: the first as a result of technological and wider industrial changes in the organisation and dissemination of music as seen, for example, with digital platforms such as YouTube, Spotify and iTunes. A second factor has been Ireland's spectacular fall from economic grace after the demise of the "Celtic Tiger", and the ensuing crisis of national identity. Smyth argues that if, as the stereotypical association would have it, the Irish have always been a musical race, then that association needs re-examination in the light of developments in relation to both cultural practice and political identity. This book contributes to that process through a series of related case studies that are both scholarly and accessible. Some of the principal ideas broached in the text include the (re-)establishment of music as a key object of Irish cultural studies; the theoretical limitations of traditional musicology; the development of new methodologies specifically designed to address the demands of Irish music in all its aspects; and the impact of economic austerity on musical negotiations of Irish identity. The book will be of seminal importance to all those interested in popular music, cultural studies and the wider fate of Ireland in the twenty-first century.