The Rolling Stones: Sociological Perspectives, edited by Helmut Staubmann, draws from a broad spectrum of sociological perspectives to contribute both to the understanding of the phenomenon Rolling Stones and to an in-depth analysis of contemporary society and culture that takes The Stones a starting point. Contributors approach The Rolling Stones from a range of social science perspectives including cultural studies, communication and film studies, gender studies, and the sociology of popular music. The essays in this volume focus on the question of how the worldwide success of The Rolling Stones over the course of more than half a century reflects society and the transformation of popular culture.

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.

Ferramonti di Tarsia was the largest internment camp in Southern Italy, both in terms of its size and number of internees - mainly Jews from Germany, Poland, Yugoslavia. An almost forgotten chapter of the Italian history, it served as an absurd and ephemeral meeting place of cultures, languages, religions, and traditions. Both as a fascist camp (1940-1943) and as a DP-camp under British mandate (1943-1945), Ferramonti experienced an intensive musical life, whose features and peculiarities are reconstructed in this book on the basis of personal and administrative sources. Musical practices and cultural behaviors proved fundamental for inmates' survival and preservation of their individual and collective identities.

Music in the American Diasporic Wedding explores the complex cultural adaptations, preservations, and fusions that occur in weddings between couples and families of diverse origins. Discussing weddings as a site of negotiations between generations, traditions, and religions, the essays gathered here argue that music is the mediating force between the young and the old, ritual and entertainment, and immigrant lore and assimilation. The contributors examine such colorful integrations as klezmer-tinged Mandarin tunes at a Jewish and Taiwanese American wedding, a wedding services industry in Chicago's South Asian community featuring a diversity of wedding music options, and Puerto Rican cultural activists dancing down the aisles of New York's St. Cecilia's church to the thunder of drums and maracas and rapping their marriage vows. These essays show us what wedding music and performance tell us about complex multiethnic diasporic identities and remind us that how we listen to and celebrate otherness defines who we are.

Music in the American Diasporic Wedding explores the complex cultural adaptations, preservations, and fusions that occur in weddings between couples and families of diverse origins. Discussing weddings as a site of negotiations between generations, traditions, and religions, the essays gathered here argue that music is the mediating force between the young and the old, ritual and entertainment, and immigrant lore and assimilation. The contributors examine such colorful integrations as klezmer-tinged Mandarin tunes at a Jewish and Taiwanese American wedding, a wedding services industry in Chicago's South Asian community featuring a diversity of wedding music options, and Puerto Rican cultural activists dancing down the aisles of New York's St. Cecilia's church to the thunder of drums and maracas and rapping their marriage vows. These essays show us what wedding music and performance tell us about complex multiethnic diasporic identities and remind us that how we listen to and celebrate otherness defines who we are.

Offering a rare look at the musical life of Russia Abroad as it unfolded in New York City, Natalie K. Zelensky examines the popular music culture of the post-Bolshevik Russian emigration and the impact made by this group on American culture and politics. Performing Tsarist Russia in New York begins with a rich account of the musical evenings that took place in the Russian emigre enclave of Harlem in the 1920s and weaves through the world of Manhattan's Russian restaurants, Tin Pan Alley industry, Broadway productions, 1939 World's Fair, Soviet music distributors, postwar Russian parish musical life, and Cold War radio programming to close with today's Russian ball scene, exploring how the idea of Russia Abroad has taken shape through various spheres of music production in New York over the course of a century. Engaging in an analysis of musical styles, performance practice, sheet music cover art, the discourses surrounding this music, and the sonic, somatic, and social realms of dance, Zelensky demonstrates the central role played by music in shaping and maintaining the Russian emigre diaspora over multiple generations as well as the fundamental paradox underlying this process: that music's sustaining power in this case rests on its proclivity to foster collective narratives of an idealized prerevolutionary Russia while often evolving stylistically to remain relevant to its makers, listeners, and dancers. By combining archival research with fieldwork and interviews with Russian emigres of various generations and emigration waves, Performing Tsarist Russia in New York presents a close historical and ethnographic examination of music's potential as an aesthetic, discursive, and social space through which diasporans can engage with an idea of a mythologized homeland, and, in turn, the vital role played by music in the organization, development, and reception of Russia Abroad.

In Recording History, Peter Martland uses a range of archival sources to trace the genesis and early development of the British record industry from1888 to 1931. A work of economic and cultural history that draws on a vast range of quantitative data, it surveys the commercial and business activities of the British record industry like no other work of recording history has before. Martland s study charts the successes and failures of this industry and its impact on domestic entertainment. Showcasing its many colorful pioneers from both sides of the Atlantic, Recording History is first and foremost an account of The Gramophone Company Ltd, a precursor to today s recording giant EMI, and then the most important British record company active from the late 19th century until the end of the second decade of the twentieth century. Martland s history spans the years from the original inventors through industrial and market formation and final take-off including the riveting battle in recording formats. Special attention is given to the impact of the First World War and the that followed in its wake. Scholars of recording history will find in Martland s study the story of the development of the recording studio, of the artists who made the first records (from which some like Italian opera tenor Enrico Caruso earned a fortune), and the change records wrought in the relationship between performer and audience, transforming the reception and appreciation of musical culture. Filling a much-needed gap in scholarship, Recording History documents the beginnings of the end of the contemporary international record industry."

Covers the entire mixing process – from fundamental concepts to advanced techniques Features new sections on console emulation, the loudness war, LUFS targets, and DIY mastering, as well as updated figures and illustrations throughout Offers a robust companion website featuring over 2,000 audio samples as well as Pro Tools/ Multitrack Audio Sessions

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.

When singer Amy Winehouse was found dead at her London home in 2011, the press inducted her into what Kurt Cobain's mother named the 27 Club. Now he's gone and joined that stupid club, she said in 1994, after being told that her son, the front man of Nirvana, had committed suicide. I told him not to... Kurt's mom was referring to the extraordinary roll call of stars who died at the same young age, including Brian Jones of the Rolling Stones, Jimi Hendrix, Janis Joplin, and Jim Morrison of the Doors. All were talented. All were dissipated. All were 27. In this haunting book, author Howard Sounes conducts the definitive forensic investigation into the lives and deaths of the six most iconic members of the Club, as well as some lesser known members, to discover what, apart from coincidence, this phenomenon signifies. In a grimly fascinating journey through the dark side of the music business, Sounes uncovers a common story of excess, madness, and self-destruction. The fantasies, half-truths, and mythologies that have become associated with the Club are debunked. Instead, a clear and compelling narrative emerges, one based on hard facts, that unites these lost souls in both life and death.

In late eighteenth-century Vienna and the surrounding Habsburg territories, over 50 minor-key symphonies by at least 11 composers were written. These include some of the best-known works of the symphonic repertoire, such as Haydn's 'Farewell' Symphony and Mozart's Symphony No. 40 in G minor, K. 550. The driving energy, intense pathos and restlessness of these compositions demand close attention and participation from the listener, and pose urgent questions about meaning and interpretation.
In response to these questions, The Viennese Minor-Key Symphony in the Age of Haydn and Mozart combines historical perspectives with recent developments in music analysis to shed new light on this distinctive part of the repertoire. Through an intertextual, analytical approach, author Matthew Riley treats the minor-key symphony as a subgenre of several strands, reconstructing the compositional world it occupied. His work enables signals to be understood, puts characteristic strategies in clear relief, and ultimately reveals the significance this music held for both composers and listeners of the time. Riley gives us a fresh picture of the familiar masterpieces of Haydn and Mozart, while also focusing on lesser known composers.

Carl Stumpf (1848-1936) was a German philosopher and psychologist and a visionary and important academic. During his lifetime, he ranked among the most prominent scientists of his time. Stumpf's intention, as evident in his book, Tone Psychology, was to investigate the phenomenon of tone sensation in order to understand the general psychic functions and processes underlying the perception of sound and music. It could be argued that modern music psychology has lost or perhaps ignored the epistemological basis that Carl Stumpf developed in his Tone Psychology. To gain a confident psychological basis, the relevance of Stumpf's deliberations on music psychology cannot be overestimated. Analyses of the essence of tones, complex tones and sounds are fundamental topics for general psychology and epistemology. By the end of this two-volume work, Stumpf had established an epistemology of hearing. The subject of Volume I is the sensation of successive single tones. Stumpf demonstrates that analysis leads to the realisation of a plurality (is there only one tone or are there several tones?), which is then followed by a comparison: an increase may be observed (one tone is higher than the other) or a similarity may be realised (both tones have the same pitch or the same loudness). With almost mathematical stringency, Stumpf developed a topology of tones. Volume II deals with the sensation of two simultaneous tones (musical intervals). The books are stimulating, rewarding and provocative and will appeal to music psychologists, music theorists, general psychologists, philosophers, epistemologists and neuroscientists.

The book defines and describes the relationships between Chopin's music and one of the oldest but still used monastic rules, the Rule of Saint Benedict. Its goal is to construct bridges between music and spirituality. Since these two realms both refer to human life, the chapters of the book deal with current and existential issues such as beginnings, authority, weakness, interactions, emotions and others. The Rule of Saint Benedict and Chopin's music appear to belong to the same stylistic category of human culture, characterized by nobleness, moderation and high sensibility. In this way two seemingly incompatible realities reveal their affinity to each other, and the one may explain the other. The book is situated at the boundary of musicology and theology. Its discourse is illustrated by many examples, carefully chosen from Chopin's music.

David Damschroder's ongoing reformulation of harmonic theory continues with a dynamic exploration of how Beethoven molded and arranged chords to convey bold conceptions. This book's introductory chapters are organized in the manner of a nineteenth-century Harmonielehre, with individual considerations of the tonal system's key features illustrated by easy-to-comprehend block-chord examples derived from Beethoven's piano sonatas. In the masterworks section that follows, Damschroder presents detailed analyses of movements from the symphonies, piano and violin sonatas, and string quartets, and compares his outcomes with those of other analysts, including William E. Caplin, Robert Gauldin, Nicholas Marston, William J. Mitchell, Frank Samarotto, and Janet Schmalfeldt. Expanding upon analytical practices from the eighteenth and nineteenth centuries, and strongly influenced by Schenkerian principles, this fresh perspective offers a stark contrast to conventional harmonic analysis - both in terms of how Roman numerals are deployed and how musical processes are described in words.

Contributions by Nilanjana Bhattacharjya, Benjamin Burkhart, Ivy Chevers, Martha I. Chew Sanchez, Athena Elafros, William Garcia-Medina, Sara Goek, Eyvind Kang, Junko Oba, Juan David Rubio Restrepo, and Gareth Dylan Smith In Scattered Musics, editors Martha I. Chew Sanchez and David Henderson, along with a range of authors from a variety of scholarly backgrounds, consider the musics that diaspora and migrant populations are inspired to create, how musics and musicians travel, and how they change in transit. The authors cover a lot of ground: cumbia in Mexico, musica sertaneja in Japan, hip-hop in Canada, Irish music in the US and the UK, reggae and dancehall in Germany, and more. Diasporic groups transform the musical expressions of their home countries as well as those in their host communities. The studies collected here show how these transformations are ways of grappling with ever-changing patterns of movement. Different diasporas hold their homelands in different regards. Some communities try to recreate home away from home in musical performances, while others use music to critique and redefine their senses of home. Through music, people seek to reconstruct and refine collective memory and a collective sense of place. The essays in this volume-by sociologists, historians, ethnomusicologists, and others-explore these questions in ways that are theoretically sophisticated yet readable, making evident the complexities of musical and social phenomena in diaspora and migrant populations. As the opening paragraph of the introduction to the volume observes, ""What remains when people have been scattered apart is a strong urge to gather together, to collect."" At few times in our lives has that ever been more apparent than right now.

This book offers an overview of issues related to the regulated, formal organization of sound and speech in verse intended for singing. Particularly, it is concerned with the structural properties and underlying mechanisms involved in the association of lyrics and music. While in spoken verse the underlying metrical scheme is grounded in the prosody of the language in which it is composed, in sung verse the structure is created by the mapping of specific prosodic units of the text (syllables, moras, tones, etc.) onto the rhythmic-melodic structure provided by the tune. Studying how this mapping procedure takes place across different musical genres and styles is valuable for what it can add to our knowledge of language and music in general, and also for what it can teach us about individual languages and poetic traditions. In terms of empirical coverage, the collection includes a wide variety of (Western) languages and metrical/musical forms, ranging from the Latin hexameter to the Norwegian stev, from the French chant courtois to the Sardinian mutetu longu. Readers interested in formal analyses of vocal music, or in metrics and linguistics, will find useful insights here.

The book was published in Polish language in edition of the Foundation for Polish Science (Wrocław University Press, Wrocław 2003) and awarded by the Polish Ministry of National Education (2004). Musical Work Analysis is a holistic approach to the cognitive theory of the musical work. The book develops some of Roman Ingarden's concepts on the epistemology of an actually existing work of music. The author outlines an epistemological theory of the musical work by discussing the role of musical analysis in modern musicology, defining sources and objects of epistemological activity, formulating a systematization of analytical terms, issues and methods, both normative and descriptive, and addressing the relation between analysis and interpretation of a musical work.

As one of the salient forces in the ritual life of those who worship the pre-Christian and Muslim deities called orishas, the Yoruba god of drumming, known as Ayan in Africa and Ana in Cuba, is variously described as the orisha of drumming, the spirit of the wood, or the more obscure Yoruba praise name AsoroIgi (Wood That Talks). With the growing global importance of orisha religion and music, the consequence of this deity's power for devotees continually reveals itself in new constellations of meaning as a sacred drum of Nigeria and Cuba finds new diasporas. Despite the growing volume of literature about the orishas, surprisingly little has been published about the ubiquitous Yoruba music spirit. Yet wherever one hears drumming for the orishas, Ayan or Ana is nearby. This groundbreaking collection addresses the gap in the research with contributions from a cross-section of prestigious musicians, scholars, and priests from Nigeria, the Americas, and Europe who have dedicated themselves to studying Yoruba sacred drums and the god sealed within. As well as offering multidisciplinary scholarly insights from transatlantic researchers, the volume includes compelling first-hand accounts from drummer-priests who were themselves history-makers in Nigerian and Cuban diasporas in the United States, Venezuela, and Brazil. This collaboration between diverse scholars and practitioners constitutes an innovative approach, where differing registers of knowledge converge to portray the many faces and voices of a single god.