The Evolution of Electronic Dance Music establishes EDM's place on the map of popular music. The book accounts for various ambiguities, variations, transformations, and manifestations of EDM, pertaining to its generic fragmentation, large geographical spread, modes of consumption and, changes in technology. It focuses especially on its current state, its future, and its borders - between EDM and other forms of electronic music, as well as other forms of popular music. It accounts for the rise of EDM in places that are overlooked by the existing literature, such as Russia and Eastern Europe, and examines the multi-media and visual aspects such as the way EDM events music are staged and the specificity of EDM music videos. Divided into four parts - concepts, technology, celebrity, and consumption - this book takes a holistic look at the many sides of EDM culture.

Nicole Grimes provides a compellingly fresh perspective on a series of Brahms's elegiac works by bringing together the disciplines of historical musicology, German studies, and cultural history. Her exploration of the expressive potential of Schicksalslied, Nanie, Gesang der Parzen, and the Vier ernste Gesange reveals the philosophical weight of this music. She considers the German tradition of the poetics of loss that extends from the late-eighteenth-century texts by Hoelderlin, Schiller and Goethe set by Brahms, and includes other philosophical and poetic works present in his library, to the mid-twentieth-century aesthetics of Adorno, who was preoccupied as much by Brahms as by their shared literary heritage. Her multifaceted focus on endings - the end of tonality, the end of the nineteenth century, and themes of loss in the music - illuminates our understanding of Brahms and lateness, and the place of Brahms in the fabric of modernist culture.

In The Sound of Nonsense, Richard Elliott highlights the importance of sound in understanding the 'nonsense' of writers such as Lewis Carroll, Edward Lear, James Joyce and Mervyn Peake, before connecting this noisy writing to works which engage more directly with sound, including sound poetry, experimental music and pop. By emphasising sonic factors, Elliott makes new and fascinating connections between a wide range of artistic examples to ultimately build a case for the importance of sound in creating, maintaining and disrupting meaning.

Vision dominates philosophical thinking about perception, and theorizing about experience in cognitive science has traditionally focused on a visual model. In a radical departure from established practice, Casey O'Callaghan provides a systematic treatment of sound and sound experience, and shows how thinking about audition and appreciating the relationships between multiple sense modalities can enrich our understanding of perception and the mind.
Sounds proposes a novel theory of sounds and auditory perception. Against the widely accepted philosophical view that sounds are among the secondary or sensible qualities, O'Callaghan argues that, on any perceptually plausible account, sounds are events. But this does not imply that sounds are waves that propagate through a medium, such as air or water. Rather, sounds are events that take place in one's environment at or near the objects and happenings that bring them about. This account captures the way in which sounds essentially are creatures of time, and situates sounds in a world populated by items and events that have significance for us. Sounds are not ethereal, mysterious entities.
O'Callaghan's account of sounds and their perception discloses far greater variety among the kinds of things we perceive than traditional views acknowledge. But more importantly, investigating sounds and audition demonstrates that considering other sense modalities teaches what we could not otherwise learn from thinking exclusively about the visual. Sounds articulates a powerful account of echoes, reverberation, Doppler effects, and perceptual constancies that surpasses the explanatory richness of alternative theories, and also reveals a number ofsurprising cross-modal perceptual illusions. O'Callaghan argues that such illusions demonstrate that the perceptual modalities cannot be completely understood in isolation, and that the visuocentric model for theorizing about perception --according to which perceptual modalities are discrete modes of experience and autonomous domains of philosophical and scientific inquiry--ought to be abandoned.

In Resonant Matter, Lutz Koepnick considers contemporary sound and installation art as a unique laboratory of hospitality amid inhospitable times. Inspired by Ragnar Kjartansson’s nine-channel video installation The Visitors (2012), the book explores resonance—the ability of objects to be affected by the vibrations of other objects—as a model of art’s fleeting promise to make us coexist with things strange and other. In a series of nuanced readings, Koepnick follows the echoes of distant, unexpected, and unheard sounds in twenty-first century art to reflect on the attachments we pursue to sustain our lives and the walls we need to tear down to secure possible futures. The book’s nine chapters approach The Visitors from ever-different conceptual angles while bringing it into dialogue with the work of other artists and musicians such as Lawrence Abu Hamdan, Guillermo Galindo, Mischa Kuball, Philipp Lachenmann, Alvien Lucier, Teresa Margolles, Carsten Nicolai, Camille Norment, Susan Philipsz, David Rothenberg, Juliana Snapper, and Tanya Tagaq. With this book, Koepnick situates resonance as a vital concept of contemporary art criticism and sound studies. His analysis encourages us not only to expand our understanding of the role of sound in art, of sound art, but to attune our critical encounter with art to art’s own resonant thinking.

Much controversy surrounds Schenker's mature theory and its attempt to explain musical pitch motion. Becoming Heinrich Schenker brings a new perspective to Schenker's theoretical work, showing that ideas characteristic of his mature theory, although in many respects fundamentally different, developed logically out of his earlier ideas. Robert P. Morgan provides an introduction to Schenker's mature theory and traces its development through all of his major publications, considering each in detail and with numerous music examples. Morgan also explores the relationship between Schenker's theory and his troubled ideology, which crucially influenced the evolution of his ideas and was heavily dependent upon both the empirical and idealist strains of contemporary German philosophical thought. Relying where possible on quotations from Schenker's own words, this book offers a balanced approach to his theory and a unique overview of this central music figure, generally considered to be the most prominent music theorist of the twentieth century.

Popular music and masculinity have rarely been examined through the lens of research into monstrosity. The discourses associated with rock and pop, however, actually include more ‘monsters’ than might at first be imagined. Attention to such individuals and cultures can say things about the operation of genre and gender, myth and meaning. Indeed, monstrosity has recently become a growing focus of cultural theory. This is in part because monsters raise shared concerns about transgression, subjectivity, agency, and community. Attention to monstrosity evokes both the spectre of projection (which invokes familial trauma and psychoanalysis) and shared anxieties (that in turn reflect ideologies and beliefs). By pursuing a series of insightful case studies, Scary Monsters considers different aspects of the connection between music, gender and monstrosity. Its argument is that attention to monstrosity provides a unique perspective on the study of masculinity in popular music culture.

This scarce antiquarian book is a selection from Kessinger Publishing's Legacy Reprint Series. Due to its age, it may contain imperfections such as marks, notations, marginalia and flawed pages. Because we believe this work is culturally important, we have made it available as part of our commitment to protecting, preserving, and promoting the world's literature. Kessinger Publishing is the place to find hundreds of thousands of rare and hard-to-find books with something of interest for everyone

Joe Davis, the focus of "The Melody Man" enjoyed a 50-year career in the music industry, which covered nearly every aspect of the business. He hustled sheet music in the 1920s, copyrighted compositions by artists as diverse as Fats Waller, Carson Robison, Otis Blackwell, and Rudy Vallee, oversaw hundreds of recording session, and operated several record companies beginning in the 1940s. Davis also worked fearlessly to help insure that black recording artists and song writers gained equal treatment for their work.

Much more than a biography, this book is an investigation of the role played by music publishers during much of the twentieth century. Joe Davis was not a music "great" but he was one of those individuals who enabled "greats" to emerge. A musician, manager, and publisher, his long career reveals much about the nature of the music industry and offers insight into how the industry changed from the 1920s to the 1970s. By the summer of 1924, when Davis was handling the "Race talent" for Ajax records, he had already worked in the music business for most of a decade and there was more than five decades of musical career ahead of him. The fact that his fascinating life has gone so long under-appreciated is remedied by the publication of Never Sell A Copyright.

Originally published in England, in 1990, Never Sell a Copyright: Joe Davis and His Role in the New York Music Scene, 1916-1978 was never released in the United States and available in a very limited print run in England. The author, noted blues scholar and folklorist Bruce Bastin, has worked with fellow music scholar Kip Lornell to completely update, condense, and improve the book for this first-ever American edition.

Musical Understandings presents an engaging collection of essays on the philosophy of music, written by Stephen Davies--one of the most distinguished philosophers in the field. He explores a range of topics in the philosophy of music, including how music expresses emotion and what is distinctive to the listener's response to this expressiveness; the modes of perception and understanding that can be expected of skilled listeners, performers, analysts, and composers and the various manners in which these understandings can be manifest; the manner in which musical works exist and their relation to their instances or performances; and musical profundity. As well as reviewing the work of philosophers of music, a number of the chapters both draw on and critically reflect on current work by psychologists concerning music. The collection includes new material, a number of adapted articles which allow for a more comprehensive, unified treatment of the issues at stake, and work published in English for the first time.

Today, country music enjoys a national fan base that transcends both economic and social boundaries. Sixty years ago, however, it was primarily the music of rural, working-class whites living in the South and was perceived by many Americans as hillbilly music. In Smile When You Call Me a Hillbilly, Jeffrey J. Lange examines the 1940s and early 1950s as the most crucial period in country music s transformation from a rural, southern folk art form to a national phenomenon. In his meticulous analysis of changing performance styles and alterations in the lifestyles of listeners, Lange illuminates the acculturation of country music and its audience into the American mainstream. Dividing country music into six subgenres (progressive country, western swing, postwar traditional, honky-tonk, country pop, and country blues), Lange discusses the music s expanding appeal. As he analyzes the recordings and comments of each of the subgenre s most significant artists, including Roy Acuff, Bob Wills, Bill Monroe, Hank Williams, and Red Foley, he traces the many paths the musical form took on its road to respectability. Lange shows how along the way the music and its audience became more sophisticated, how the subgenres blended with one another and with American popular music, and how Nashville emerged as the country music hub. By 1954, the transformation from hillbilly music to country music was complete, precipitated by the modernizing forces of World War II and realized by the efforts of promoters, producers, and performers.

Minas Gerais is a state in southeastern Brazil deeply connected to the nation's slave past and home to many traditions related to the African diaspora. Addressing a wide range of traditions helping to define the region, ethnomusicologist Jonathon Grasse examines the complexity of Minas Gerais by exploring the intersections of its history, music, and culture. Instruments, genres, social functions, and historical accounts are woven together to form a tapestry revealing a cultural territory's development. The deep pool of Brazilian scholarship referenced in the book, with original translations by the author, cites over two hundred Portuguese-language publications focusing on Minas Gerais. This research was augmented by fieldwork, observations, and interviews completed over a twenty-five-year period and includes original photographs, many taken by the author. Hearing Brazil: Music and Histories in Minas Gerais surveys the colonial past, the vast hinterland countryside, and the modern, twenty-first-century state capital of Belo Horizonte, the metropolitan region of which is today home to over six million. Diverse legacies are examined, including an Afro-Brazilian heritage, eighteenth- and nineteenth-century liturgical music of the region's "Minas Baroque," the instrument known as the viola, a musical profile of Belo Horizonte, and a study of the regionalist themes developed by the popular music collective the Clube da Esquina (Corner Club) led by Milton Nascimento with roots in the 1960s. Hearing Brazil champions the notion that Brazil's unique role in the world is further illustrated by regionalist studies presenting details of musical culture.

When did Russia become "modern?" Historians of Russia - including even many Russian historians - have long tried to identify Russia's "modern" moment. While most scholars have looked to economic or ideological transitions, noted historian and critic Paul du Quenoy approaches the problem through culture, and specifically the performing arts, as told through the prism of one of its leading nineteenth-century practitioners, the composer and critic Alexander Serov. Born in 1820, Serov grew to adulthood under the reign of Tsar Nicholas I (1825-1855). Long disparaged as a dark and reactionary period of Russia's past, it instead offered many educational, cultural, and professional opportunities that conventional histories have failed to appreciate. Educated in law and tutored in music, Serov rose to become Russia's first significant music critic and a noted composer whose three operas won him fame and gestured toward the creation of a national style. Although his renown was fleeting after his untimely death in 1871, his life and observations provide a vital eyewitness account to a Russia poised to embrace a fresh and fully modern identity. In a new and revised edition prepared to mark the 150th anniversary of Serov's death, du Quenoy's pastiche of Russian life offers one of the best approaches to Russia's imperial past and its legacies today.

It is common to hear people say rock and roll music has lost its edge. Disillusioned by the sound of modern pop radio, many fans wonder why a revolutionary voice has not yet emerged to define these tumultuous times the way Bob Dylan, The Clash, and Public Enemy once did. In many people's minds, rock and roll is dead, killed off by Britney Spears and an MTV that has taken the music out of television.

"Rock 'N' Politics" aims to breathe new life into the spirit of rock and roll. It explains how the virtues of great political action are present in great rock music. By surveying the contemporary music scene in chapters about Bruce Springsteen, Green Day, Bono, Madonna, indie rock, and OutKast, "Rock 'N' Politics" reveals how rock music recently lost touch with its political ambitions and explains how musicians and fans can-and must-restore rock and roll's revolutionary voice.

In an era characterized by lackluster rock music and uninspiring politics, "Rock 'N' Politics" captures the excitement of world-changing rock and roll for a generation longing for music that matters. Written with intelligence and a passion for rock and roll music from all styles and eras, "Rock 'N' Politics" offers readers a new perspective on a subject crucial to our times.

An iconic symbol and sound of the Lucumi/Santeria religion, Afro-Cuban bata are talking drums that express the epic mythological narratives of the West African Yoruba deities known as "orisha." By imitating aspects of speech and song, and by metaphorically referencing salient attributes of the deities, bata drummers facilitate the communal praising of "orisha" in a music ritual known as a "toque de santo."

In "The Artistry of Afro-Cuban Bata Drumming," Kenneth Schweitzer blends musical transcription, musical analysis, interviews, ethnographic descriptions, and observations from his own experience as a ritual drummer to highlight the complex variables at work during a live Lucumi performance.

Integral in enabling trance possessions by the "orisha," by far the most dramatic expressions of Lucumi faith, bata drummers are also entrusted with controlling the overall ebb and flow of the four- to six-hour "toque de santo." During these events, bata drummers combine their knowledge of ritual with an extensive repertoire of rhythms and songs. Musicians focus on the many thematic acts that unfold both concurrently and in quick succession. In addition to creating an emotionally charged environment, playing salute rhythms for the "orisha," and supporting the playful song competitions that erupt between singers, bata drummers are equally dedicated to nurturing their own drumming community by creating a variety of opportunities for the musicians to grow artistically and creatively."

Increasing numbers of children and adolescents internationally are being diagnosed with secondary health problems (e.g., overweight-obesity, diabetes, asthma, anxiety, etc.) due in part, or at least related to, a lack of physical activity. Children and adolescents with various forms of special needs (for example, children and adolescents with physical or intellectual disabilities, children and adolescents from disadvantaged social backgrounds and children and adolescents with chronic illnesses) seem to be particularly at risk for secondary health problems, which in the end limit their social participation and inclusion, as well as their ability to achieve their full potential and to lead happy and fulfilling lives. For these children and adolescents, involvement in regular physical activities (including fitness activities and sports) may have far reaching benefits. For instance, organized physical activities are known to represent an effective vehicle for interventions for children and adolescents with special needs who do not seem to benefit as much as others from more traditional, verbal-oriented approaches. Organized physical activities (in or out of school) further provide these children and adolescents with opportunities to interact in a positive manner with prosocial peers and adults who may serve as positive role models for them. There is currently a paucity of research about physical activities that effectively include children and adolescents with a range of special needs or research that identifies evidence-based strategies that seed success in maximizing the involvement in, and the positive biopsychosocial outcomes associated with, the practice of physical activity. This dearth of research is impeding progress in addressing the biopsychosocial disadvantage that these children and adolescents encounter, the development of new solutions for enabling full potential, and ensuring that children and adolescents with special needs not only succeed, but also flourish in life. This volume includes examples of theory, research, policy, and practice that will advance our understanding of how best to encourage these children and adolescents to participate regularly in physical activity, how to maximize the biopsychosocial benefits of involvement in physical activities, and how to ensure that these physical activities are inclusive for children and adolescents with special needs. The focus will be placed on research-derived physical activity practices that seed success for children and adolescents with special needs, and new directions in theory, research, and practice that have implications for enhancing physical activity practices with at-risk children and adolescents. The themes covered in this volume include: Strategies to maximise participation of children and adolescents with special needs in physical activity as a global priority; Strategies to maximise the social inclusion of children and adolescents with special needs in general physical activities; Effective physical education strategies to enhance biopsychosocial outcomes for children and adolescents with special needs; Advancing the practice of educators and coaches to cultivate the social inclusion and participation in physical activity of children and adolescents with special needs; and Challenging the meaning and implementation of inclusive practices in physical education globally.