Heitor Villa-Lobos's Bachianas Brasileiras demonstrates how the composer achieved his own Brazilian neoclassical style in a group of works, nine suites in total, that is arguably one of the best examples of homage to J.S. Bach's music in the twentieth century. In this book, the corpus of Bachianas Brasileiras is contextualised and critically examined according to its structure and intertextual aspects, as well as its relationship to Bach's music, Brazilian popular music, and other works by contemporaries of Villa Lobos. A range of musical examples illustrate instances of the selected topics in the works, encompassing urban Brazilian popular music such as the choro, Brazilian northeast and afro rhythms, and citation of folkloric melodies. Dudeque's comprehensive examination of the Bachianas Brasileiras will be invaluable for scholars and researchers of music theory and analysis.

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

Patrice Larroque hypothesizes that early blues singers may have been influenced by the trochaic rhythm of English. English is stressed and timed, which means that there is a regular beat to the language, just like there is a beat in a blues song. This regular beat falls on important words in the sentence and unimportant ones do not get stressed. They are "squeezed" between the salient words to keep the rhythm. The apparent contradiction between the fundamentally trochaic rhythm of spoken English and the syncopated ternary rhythm of blues may be resolved as the stressed syllables of the trochee (a stressed-unstressed sequence) is naturally lengthened and assumes the role of one strongly and one weakly stressed syllable in a ternary rhythm. The book suggests investigating the rhythm of English and the rhythm of blues in order to show how the linguistic rhythm of a culture can be reflected in the rhythm of its music.

- First volume in almost 10 years to bring together a broad collection on world music analysis, capturing where the field is now - Wide-reaching scope makes this the perfect first stop for anyone interested in world music analysis, and could make it a good focus for seminars at graduate or advanced undergraduate level.

From Prince's superstardom to studio seclusion, this second book in the Prince Studio Sessions series chronicles the tumultuous years immediately following the Purple Rain era. Duane Tudahl takes us back into the world of Prince's musical masterpieces and personal battles, weaving together the voices of those who knew Prince best during this period. As Prince's relationship with his band, the Revolution, and his fiancee, Susan Melvoin, crumbled, he threw himself into creative catharsis, recording and releasing multiples studio albums and side projects. Prince and the Parade and Sign "O" the Times Era Studio Sessions provides a definitive chronicle of more than 260 recording sessions and two tours during 1985 and 1986. These years were full of struggle, but as millions of fans know, Prince would emerge from this darkness to show that the fire of true genius cannot be extinguished.

Driving Identities examines long-standing connections between popular music and the automotive industry and how this relationship has helped to construct and reflect various socio-cultural identities. It also challenges common assumptions regarding the divergences between industry and art, and reveals how music and sound are used to suture the putative divide between human and non-human. This book is a ground-breaking inquiry into the relationship between popular music and automobiles, and into the mutual aesthetic and stylistic influences that have historically left their mark on both industries. Shaped by new historicism and cultural criticism, and by methodologies adapted from gender, LGBTQ+, and African-American studies, it makes an important contribution to understanding the complex and interconnected nature of identity and cultural formation. In its interdisciplinary approach, melding aspects of ethnomusicology, sociology, sound studies, and business studies, it pushes musicological scholarship into a new consideration and awareness of the complexity of identity construction and of influences that inform our musical culture. The volume also provides analyses of the confluences and coactions of popular music and automotive products to highlight the mutual influences on their respective aesthetic and technical evolutions. Driving Identities is aimed at both academics and enthusiasts of automotive culture, popular music, and cultural studies in general. It is accompanied by an extensive online database appendix of car-themed pop recordings and sheet music, searchable by year, artist, and title.

The Art Songs of Louise Talma presents some of Talma's finest compositions and those most frequently performed during her life. It includes pieces appropriate for beginning, intermediate, and advanced singers and collaborative pianists. The songs include text settings of American, English, and French poets and writers, including Native American poems, works by W. H. Auden, Elizabeth Barrett Browning, Emily Dickinson, e. e. cummings, John Donne, Gerald Manley Hopkins, William Shakespeare, and Wallace Stevens, as well as poems from medieval France and religious texts. Because of the popularity of Talma's choral works and the fact that her works for voice and piano were performed often, this sourcebook will be useful to singers at all stages of their careers, as well as scholars of twentieth-century music as a whole. The diversity of compositional approaches Talma used provides a snapshot of American trends in composition during the twentieth century; during the course of her career, Talma moved from neo-classicism to serialism and finally to non-strict serial-derived atonality in her works. Inclusion of performance and reception histories of the songs helps trace changing public taste in American art song and the repertoire of performers, particularly those interested in contemporary music.

This book delves into the aural splendor of the Beatles' discography, breaking down each song and taking a close look at how the group's music sounds through headphones rather than external speakers. Mistakes, studio chatter, secret meanings and other audio esoterica are all identified and discussed. Thousands of books have been written about the Beatles' music, but this is the first to look at their discography through the prism of headphones, which yield a unique, artistic listening experience. The author argues that the Beatles should be heard through headphones to appreciate the real depth of their musical creativity and to fully understand the timeless songs that remain influential to this day.

David Bowie is a global superstar. One of the most extraordinary icons of our times, Bowies career spans five decades of popular music. From his first recordings in the sixties, through the invented characters of the seventies (Ziggy Stardust, Aladin Sane and The Thin White Duke), to the stadium rock of the eighties and attempts to recapture his creativity in more recent times, David Bowie has inspired millions of followers and fans the world over.
This culturally sensitive re-reading of the life, image and music of David Bowie offers a detailed understanding of his importance to modern times. The story of David Bowie involves questions of comodification, youth culture, history, individualisation, racism and gender and sexual politics. Yet this is also a tale of ambiguity and pleasurable confusion. Among the many talents of David Bowie has been his ability to capture through popular culture key contradictions of the modern era. Through the interpretation of images, music, text and interviews with many Bowie fans this book seeks to unravel some of the mystery that continues to surround the bohemian prince of pop.
Nick Stevenson has written a sympathetic and critical study of one of the enduring stars of popular music. David Bowie is a subtle and accessible exploration of the complex cultures of celebrity.
This text will appeal to those teaching and studying cultural and media studies, visual culture, sociology and popular culture, as well as to general readers interested in David Bowie.

This collection explores the centrality of The Who's classic album, and Franc Roddam's cult classic film of adolescent life, Quadrophenia to the recent cultural history of Britain, to British subcultural studies, and to a continuing fascination with Mod style and culture. The interdisciplinary chapters collected here set the album and film amongst critical contexts including gender and sexuality studies, class analysis, and the film and album's urban geographies, seeing Quadrophenia as a transatlantic phenomenon and as a perennial adolescent story. Contributors view Quadrophenia through a variety of lenses, including the Who's history and reception, the 1970s English political and social landscape, the adolescent novel of development (the bildungsroman), the perception of the film through the eyes of Mods and Mod revivalists, 1970s socialist politics, punk, glam, sharp suits, scooters and the Brighton train, arguing for the continuing richness of Quadrophenia's depiction of the adolescent dilemma. The volume includes new interviews with Franc Roddam, director of Quadrophenia, and the photographer Ethan Russell, who took the photos for the album's famous photo booklet.

The Rolling Stones' Beggars Banquet is one of the seminal albums in rock history. Arguably it not only marks the advent of the 'mature' sound of the Rolling Stones but lays out a new blueprint for an approach to blues-based rock music that would endure for several decades. From its title to the dark themes that pervade some of its songs, Beggars Banquet reflected and helped define a moment marked by violence, decay, and upheaval. It marked a move away from the artistic sonic flourishes of psychedelic rock towards an embrace of foundational streams of American music - blues, country - that had always underpinned the music of the Stones but assumed new primacy in their music after 1968. This move coincided with, and anticipated, the 'roots' moves that many leading popular music artists made as the 1960s turned toward a new decade; but unlike many of their peers whose music grew more 'soft' and subdued as they embraced traditional styles, the music and attitude of the Stones only grew harder and more menacing, and their status as representatives of the dark underside of the 60s rock counterculture assumed new solidity. For the Rolling Stones, the 1960s ended and the 1970s began with the release of this album in 1968.

- Filled with contributions from world-leading academics and practitioners, from a variety of backgrounds and countries. - Highly interdisciplinary overview of live music, which will be relevant to professionals and students interested in music business, music technology, music production and performance. - Includes papers on cutting-edge issues, such as augmented reality and virtual reality.

Sound Heritage is the first study of music in the historic house museum, featuring contributions from both music and heritage scholars and professionals in a richly interdisciplinary approach to central issues. It examines how music materials can be used to create narratives about past inhabitants and their surroundings - including aspects of social and cultural life beyond the activity of music making itself - and explores how music as sound, material, and practice can be more consistently and engagingly integrated into the curation and interpretation of historic houses. The volume is structured around a selection of thematic chapters and a series of shorter case studies, each focusing on a specific house, object or project. Key themes include: Different types of historic house, including the case of the composer or musician house; what can be learned from museums and galleries about the use of sound and music and what may not transfer to the historic house setting Musical instruments as part of a wider collection; questions of restoration and public use; and the demands of particular collection types such as sheet music Musical objects and pieces of music as storytelling components, and the use of music to affectively colour narratives or experiences. This is a pioneering study that will appeal to all those interested in the intersection between Music and Museum and Heritage Studies. It will also be of interest to scholars and researchers of Music History, Popular Music, Performance Studies and Material Culture.

Nicknamed the "Godmother of Punk," Patti Smith rose to fame during the 1970s New York counterculture movement where she welcomed a new breed of rock and roll. Smith sanctioned the presence of a strong-willed woman in the mainstream rock community by breaking not only the fragile glass ceiling, but also the "rules" about women on the rock stage. Smith pushed right up to the front of the punk scene, stripping down sexual, religious, and emotional barriers to create a raw, viscerally personal message. In Patti Smith: America's Punk Rock Rhapsodist, musician and historian Eric Wendell delves into the volatile mix of religious upbringing and musical and literary influences that gave shape to Smith's lyrics, music, and artistic output. Wendell explores how Smith's androgynous stage presence pulled the various societal triggers, adding a new layer of meaning to popular music performance. Songwriter and singer, performance artist and poet, Smith created work that drew together biography, history, and music into a powerful collage of an artist who shaped a generation of musicians. For poets and performers, as well as fans of Patti Smith and punk rock history, Patti Smith: America's Punk Rock Rhapsodist is the perfect introduction to Smith's achievements and the politics and art of a generation that is still felt.

A practical but scholarly guide to Japanese instruments by one of the country's leading composers. The unique sounds of the biwa, shamisen, and other traditional instruments from Japan are heard more and more often in works for the concert hall and opera house. Composing for Japanese Instruments is a practical orchestration and instrumentation manual with contextual and relevant historical information for composers who wish to learn how to compose for traditional Japanese instruments. Widely regarded as the authoritative text on the subject in Japan and China, it contains hundreds of musical examples, diagrams, photographs, and fingering charts. Many of the musical examples can be heard on a companion website. The book also contains valuable appendices, one of works author Minoru Miki composed using Japanese traditional instruments, and one of works by other composers -- including Toru Takemitsu and Henry Cowell -- using these instruments. Minoru Miki was a composer of international renown, recognized in Japan as a pioneer in writing for Japanese traditional instruments. Marty Regan is associate professor of music at Texas A&M University. Philip Flavin is associate professor at the Osaka University of Economicsand Law and adjunct senior research associate of Monash University in Melbourne, Australia.

Christians and Christianity have been central to Hip Hop since its inception. This book explores the intersection of Christians and Hip Hop and the multiple outcomes of this intersection. It lays out the ways in which Christians and Hip Hop overlap and diverge. The intersection of Christians and Hip Hop brings together African diasporic cultures, lives, memories and worldviews. Moving beyond the focus on rappers and so-called "Christian Hip Hop," each chapter explores three major themes of the book: identifying Hip Hop, irreconcilable Christianity, and boundaries.There is a self-identified Christian Hip Hop (CHH) community that has received some scholarly attention. At the same time, scholars have analyzed Christianity and Hip Hop without focusing on the self-identified community. This book brings these various conversations together and show, through these three themes, the complexities of the intersection of Christians and Hip Hop. Hip Hop is more than rap music, it is an African diasporic phenomenon. These three themes elucidate the many characteristics of the intersection between Christians and Hip Hop and our reasoning for going beyond "Christian Hip Hop." This collection is a multi-faceted view of how religious belief plays a role in Hip Hoppas' lives and community. It will, therefore, be of great interest to scholars of Religion and Hip Hop, Hip Hop, African Diasporas, Religion and the Arts, Religion and Race and Black Theology as well as Religious Studies more generally.

Blending the insights of musicians and psychologists from D.W. Winnicott to Gregory Bateson to Ornette Coleman, Jazz and Psychotherapy is a groundbreaking exploration of improvisation that reveals its potential to transform our experience of ourselves and the challenges we face as a species. What we all share with the professional improvisers known as "psychotherapists" and "jazz musicians" is the reality of not knowing what those around us-or even we ourselves-are going to do next. Rather than avoiding it, however, these practitioners have learned to revere our inherent unpredictability as precisely the feature of human living that makes transformative change possible, fully incorporating it into the theories and practices that constitute their disciplines. Jazz and Psychotherapy provides a sophisticated but accessible overview of the revolutionary approaches to human development and creative expression embodied in these two seemingly disparate twentieth-century cultural traditions. Readers interested in music, psychotherapy, social psychology and contemporary theories of complexity will find Jazz and Psychotherapy engaging and useful. Its colorful synthesis of perspectives and multidimensional scope make it an essential contribution to our understanding of improvisation in music and in life.

Experiencing Alice Cooper: A Listener's Companion takes a long overdue look at the music and stage act of rock music's self-styled arch-villain. A provocateur from the very start of his career in the mid-1960s, Alice Cooper, aka Vince Furnier, son of a lay preacher in the Church of Jesus Christ, carved a unique path through five decades of rock'n'roll. Despite a longevity that only a handful of other artists and acts can match, Alice Cooper remains a difficult act and artist to pin down and categorize. During the last years of the 1960s and the heydays of commercial success in the 1970s, Cooper's groundbreaking theatricality, calculated offensiveness, and evident disregard for the conventions of rock protocols sowed confusion among his critics and evoked outrage from the public. Society's watchdogs demanded his head, and Cooper willingly obliged at the end of each performance with his on-stage self-guillotining. But as youth anthem after youth anthem - "I'm Eighteen," "School's Out," "Elected," "Department of Youth"-rang out in his arena concerts the world over and across airwaves, fans flocked to experience Cooper's unique brand of rock. Critics searched for proper descriptions: "pantomime," "vaudeville," "retch-rock," "Grand Guignol." In 1973 Cooper headlined in Time magazine as "Schlock Rock's Godzilla." In Experiencing Alice Cooper: A Listener's Companion, Ian Chapman surveys Cooper's career through his twenty-seven studio albums (1969-2017). While those who have written about Cooper have traditionally kept their focus on the stage spectacle, too little attention has been paid to Cooper's recordings. Throughout, Chapman argues that while Cooper may have been rock's most accomplished showman, he is first and foremost a musician, with his share of gold and platinum albums to vouch for his qualifications as a musical artist.

The Tragic Odes of Jerry Garcia and the Grateful Dead is a multifaceted study of tragedy in the group's live performances showing how Garcia brought about catharsis through dance by leading songs of grief, mortality, and ironic fate in a collective theatrical context. This musical, literary, and historical analysis of thirty-five songs with tragic dimensions performed by Garcia in concert with the Grateful Dead illustrates the syncretic approach and acute editorial ear he applied in adapting songs of Robert Hunter, Bob Dylan, and folk tradition. Tragically ironic situations in which Garcia found himself when performing these songs are revealed, including those related to his opiate addiction and final decline. This book examines Garcia's musical craftsmanship and the Grateful Dead's collective art in terms of the mystery-rites of ancient Greece, Friedrich Nietzsche's Dionysus, 20th century American music rooted in New Orleans, Hermann Hesse's Magic Theater, and the Greek Theatre at Berkeley, offering a clear prospect on an often misunderstood phenomenon. Featuring interdisciplinary analysis, close attention to musical and poetic strategies, and historical and critical contexts, this book will be of interest to scholars and researchers of Popular Music, Musicology, Cultural Studies, and American Studies, as well as to the Grateful Dead's avid listeners.

This collection presents a contemporary evaluation of the changing structures of music delivery and enjoyment. Exploring the confluence of music consumption, burgeoning technology, and contemporary culture; this volume focuses on issues of musical communities and the politics of media.

The year 1972 brought together two legends of rock 'n' roll at the peaks of their careers: Jim Marshall and the Rolling Stones. Selected by LIFE magazine to photograph the Stones' EXILE ON MAIN ST. tour, Marshall had a week of unlimited access. The results are his now-iconic images of the band, onstage in their full glory and backstage in moments of unguarded camaraderie. Marshall's ability to capture the essential spirit of an artist and the transformative power of music is matched only by the Stones' larger-than-life energy. Fifty years after these photographs were taken, they retain the power to thrill and inspire. This definitive edition presents the images as they were meant to be seen: at a larger size and in the rich, high-contrast tones Marshall favored. The original content is enhanced with never-before-seen proof sheets and two new essays by photographer and film director Anton Corbijn and Nikki Sixx of Motley Crue. This is the ultimate, immersive experience of one of the greatest moments in music history.

This book is an exploration into the history, aesthetics, social reality, regulation, and transformation of dance and dance music in Egypt. It covers Oriental dance, known as belly dance or danse du ventre, regional or group-specific dances and rituals, sha'bi (lower-class urban music and dance style), mulid (drawing on Sufi tradition and saints' day festivals) and mahraganat (youth-created, primarily electronic music with lively rhythms and biting lyrics). The chapters discuss genres and sub-genres and their evolution, the demeanor of dancers, trends old and new, and social and political criticism that use the imagery of dance or a dancer. Also considered are the globalization of Egyptian dance, the replication or fantasies of raqs sharqi outside of Egypt, as well as the dance as a hobby, competitive dance form, and focus of international dance festivals.

This book explores the relevance of David Bowie's life and music for contemporary legal and cultural theory. Focusing on the artist and artworks of David Bowie, this book brings to life, in essay form, particular theoretical ideas, creative methodologies and ethical debates that have contemporary relevance within the fields of law, social theory, ethics and art. What unites the essays presented here is that they all point to a beyond law: to the fact that law is not enough, or to be more precise, too much, too much to bear. For those who, like Bowie, see art, creativity and love as what ought to be the central organising principles of life, law will not do. In the face of its certainties, its rigidities, and its conceits, these essays, through Bowie, call forth the monster who laughs at the law, celebrate inauthenticity as a deeper truth, explore the ethical limits of art, cut up the laws of writing and embrace that which is most antithetical to law, love. This original engagement with the limits of law will appeal to those working in legal theory, ethics and law and popular culture, as well as in art and cultural studies.

This book explores the relevance of David Bowie's life and music for contemporary legal and cultural theory. Focusing on the artist and artworks of David Bowie, this book brings to life, in essay form, particular theoretical ideas, creative methodologies and ethical debates that have contemporary relevance within the fields of law, social theory, ethics and art. What unites the essays presented here is that they all point to a beyond law: to the fact that law is not enough, or to be more precise, too much, too much to bear. For those who, like Bowie, see art, creativity and love as what ought to be the central organising principles of life, law will not do. In the face of its certainties, its rigidities, and its conceits, these essays, through Bowie, call forth the monster who laughs at the law, celebrate inauthenticity as a deeper truth, explore the ethical limits of art, cut up the laws of writing and embrace that which is most antithetical to law, love. This original engagement with the limits of law will appeal to those working in legal theory, ethics and law and popular culture, as well as in art and cultural studies.