Released in 2008, J-pop trio Perfume's GAME shot to the top of Japanese music charts and turned the Hiroshima trio into a household name across the country. It was also a high point for techno-pop, the genre's biggest album since the heyday of Yellow Magic Orchestra. This collection of maximalist but emotional electronic pop stands as one of the style's finest moments, with its influence still echoing from artists both in Japan and from beyond. This book examines Perfume's underdog story as a group long struggling for success, the making of GAME, and the history of techno-pop that shaped it. 33 1/3 Global, a series related to but independent from 33 1/3, takes the format of the original series of short, music-basedbooks and brings the focus to music throughout the world. With initial volumes focusing on Japanese and Brazilian music, the series will also include volumes on the popular music of Australia/Oceania, Europe, Africa, the Middle East, and more.

Using cine-ethnomusicology as a focus, Cineworlding introduces readers to ways of thinking eco-cinematically. Screens are omnipresent, we carry digital cinema production equipment in our pockets, but this screen-based technological revolution has barely impacted social science scholarship. Mixing existential phenomenological fiction about social science digital cinema research practice followed by theoretical reflection and discussion of methods, this book has emerged from a decade-long inquiry into cineworlding and a desire to help others produce digital media to engage creatively with the digital networks that surround us.

From the Tin Pan Alley 32-bar form, through the cyclical forms of modal jazz, to the more recent accumulation of digital layers, beats, and breaks in Electronic Dance Music, repetition as both an aesthetic disposition and a formal property has stimulated a diverse range of genres and techniques. From the angles of musicology, psychology, sociology, and science and technology, Over and Over reassesses the complexity connected to notions of repetition in a variety of musical genres. The first edited volume on repetition in 20th- and 21st-century popular music, Over and Over explores the wide-ranging forms and use of repetition - from large repetitive structures to micro repetitions - in relation to both specific and large-scale issues and contexts. The book brings together a selection of original texts by leading authors in a field that is, as yet, little explored. Aimed at both specialists and neophytes, it sheds important new light on one of the fundamental phenomena of music of our times.

Sonic Rupture applies a practitioner-led approach to urban soundscape design, which foregrounds the importance of creative encounters in global cities. This presents an alternative to those urban soundscape design approaches concerned with managing the negative health impacts of noise. Instead, urban noise is considered to be a creative material and cultural expression that can be reshaped with citywide networks of sonic installations. By applying affect theory the urban is imagined as an unfolding of the Affective Earth, and noise as its homogenous (and homogenizing) voice. It is argued that noise is an expressive material with which sonic practitioners can interface, to increase the creative possibilities of urban life. At the heart of this argument is the question of relationships: how do we augment and diversify those interconnections that weave together the imaginative life and the expressions of the land? The book details seven sound installations completed by the author as part of a creative practice research process, in which the sonic rupture model was discovered. The sonic rupture model, which aims to diversify human experiences and urban environments, encapsulates five soundscape design approaches and ten practitioner intentions. Multiple works of international practitioners are explored in relation to the discussed approaches. Sonic Rupture provides the domains of sound art, music, creative practice, urban design, architecture and environmental philosophy with a unique perspective for understanding those affective forces, which shape urban life. The book also provides a range of practical and conceptual tools for urban soundscape design that can be applied by the sonic practitioner.

Through a transnational, comparative and multi-level approach to the relationship between youth, migration, and music, the aesthetic intersections between the local and the global, and between agency and identity, are presented through case studies in this book. Transglobal Sounds contemplates migrant youth and the impact of music in diaspora settings and on the lives of individuals and collectives, engaging with broader questions of how new modes of identification are born out of the social, cultural, historical and political interfaces between youth, migration and music. Thus, through acts of mobility and environments lived in and in-between, this volume seeks to articulate between musical transnationalism and sense of place in exploring the complex relationship between music and young migrants and migrant descendant's everyday lives.

Breaking is the first and most widely practiced hip-hop dance in the world today, with an estimated one million participants taking part in this dynamic, multifaceted artform. Yet, despite its global reach and over 40 years of existence, historical treatments of the dance have largely neglected the African Americans who founded it. Dancer and scholar Serouj "Midus" Aprahamian offers, for the first time, a detailed look into the African American beginnings of breaking in the Bronx, New York, during the 1970s. Given the pivotal impact the dance had on hip-hop's formation, this book also challenges numerous myths and misconceptions that have permeated studies of hip-hop culture's emergence. Aprahamian draws on untapped archival material, primary interviews, and detailed descriptions of early breaking to bring this buried history to life, with a particular focus on the early aesthetic development of the dance, the institutional settings in which hip-hop was conceived, and the movement's impact on sociocultural conditions in New York throughout the 1970s. By featuring the overlooked first-hand accounts of over 50 founding b-boys and b-girls, this book also shows how indebted breaking is to African American culture and interrogates the disturbing factors behind its historical erasure.

Translating for Singing discusses the art and craft of translating singable lyrics, a topic of interest in a wide range of fields, including translation, music, creative writing, cultural studies, performance studies, and semiotics. Previously, such translation has most often been discussed by music critics, many of whom had neither training nor experience in this area. Written by two internationally-known translators, the book focusses mainly on practical techniques for creating translations meant to be sung to pre-existing music, with suggested solutions to such linguistic problems as those associated with rhythm, syllable count, vocal burden, rhyme, repetition and sound. Translation theory and translations of lyrics for other purposes, such as surtitles, are also covered. The book can serve as a primary text in courses on translating lyrics and as a reference and supplementary text for other courses and for professionals in the fields mentioned. Beyond academia, the book is of interest to professional translators and to librettists, singers, conductors, stage directors, and audience members.

Although David Bowie has famously characterized himself as a "leper messiah," a more appropriate moniker might be "rock god" someone whose influence has crossed numerous sub-genres of popular and classical music and can at times seem ubiquitous. By looking at key moments in his career (1972, 1977-79, 1980-83, and 1995-97) through several lenses--theories of sub-culture, gender/sexuality studies, theories of sound, post-colonial theory, and performance studies Waldrep will examine Bowie's work in terms not only of his auditory output but his many reinterpretations of it via music videos, concert tours, television appearances, and occasional movie roles. Future Nostalgia will look at all aspects of Bowie's career--musical recordings, live concerts, music videos, film performances, and television appearance--in an attempt to trace Bowie's contribution to the performative paradigms that constitute contemporary rock music.