The Eurovision Song Contest is famous for its camp spectacles and political intrigues, but what about its actual music? With more than 1,500 songs in over 50 languages and a wide range of musical styles since it began in 1956, Eurovision features the most musically and linguistically diverse song repertoire in history. Listening closely to its classic fan favorites but also to songs that scored low because they were too different or too far ahead of their time, this book delves into the musical tastes and cultural values the contest engages through its international reach and popular appeal. Chapters discuss the iconic fanfare that introduces the broadcast, the supposed formulas for composing successful contest entries, how composers balance aspects of sameness and difference in their songs, and the tension between national genres of European popular music and musical trends beyond the nation's borders, especially the American influences on a show that is supposed to celebrate an idealized pan-European identity. The book also explores how audiences interact with the contest through musicking experiences that bring people together to celebrate its sounds and spectacles. What can seem like a silly song-and-dance show offers valuable insights into the bonds between popular music and cosmopolitan values for its many followers around the world. From dance parties to flashmobs, parodies to plagiarisms, and orchestras to artificial intelligence, Another Song for Europe will be of particular interest to Eurovision fans, critics, and scholars of popular music, popular culture, ethnomusicology, and European studies.

Featuring a distinguished editorial team who have brought together a group of international and reputable scholars. The collection is interdisciplinary by design, encompassing cultural theory, gender and race studies, musicology, and record production analysis Offering analysis of tracks from the blues, hip-hop, R&B, pop, Motown, funk, disco, rock, metal, and country An ideal companion to William Moylan's previous work, Recording Analysis, which outlines the framework upon which these analyses are developed

This book will be of interest to scholars, students and practitioners in the fields of ethnomusicology, music education, social learning and community music. It applies concepts and approaches from these disciplines with ethnographic data to identify a pedagogy for the learning and teaching of traditional music in community-based organisations.

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.

The Eurovision Song Contest is famous for its camp spectacles and political intrigues, but what about its actual music? With more than 1,500 songs in over 50 languages and a wide range of musical styles since it began in 1956, Eurovision features the most musically and linguistically diverse song repertoire in history. Listening closely to its classic fan favorites but also to songs that scored low because they were too different or too far ahead of their time, this book delves into the musical tastes and cultural values the contest engages through its international reach and popular appeal. Chapters discuss the iconic fanfare that introduces the broadcast, the supposed formulas for composing successful contest entries, how composers balance aspects of sameness and difference in their songs, and the tension between national genres of European popular music and musical trends beyond the nation's borders, especially the American influences on a show that is supposed to celebrate an idealized pan-European identity. The book also explores how audiences interact with the contest through musicking experiences that bring people together to celebrate its sounds and spectacles. What can seem like a silly song-and-dance show offers valuable insights into the bonds between popular music and cosmopolitan values for its many followers around the world. From dance parties to flashmobs, parodies to plagiarisms, and orchestras to artificial intelligence, Another Song for Europe will be of particular interest to Eurovision fans, critics, and scholars of popular music, popular culture, ethnomusicology, and European studies.

Featuring a distinguished editorial team who have brought together a group of international and reputable scholars. The collection is interdisciplinary by design, encompassing cultural theory, gender and race studies, musicology, and record production analysis Offering analysis of tracks from the blues, hip-hop, R&B, pop, Motown, funk, disco, rock, metal, and country An ideal companion to William Moylan's previous work, Recording Analysis, which outlines the framework upon which these analyses are developed

Disruptive Divas: Feminism, Identity and Popular Music focuses on four female musicians who have marked contemporary popular culture in unexpected ways. Tori Amos, Courtney Love, Me'Shell Ndegéocello and P. J. Harvey have impelled and disturbed the boundaries of "acceptable" female musicianship. Burns and Lafrance give close readings to individual, representative songs by each of these artists, in order to make general statements about the role of women in popular music. The artists and songs selected explore a range of textural themes and musical studies. This book shows how this material has disrupted the general expectations of popular music style, performance and marketing and empowered women in their creativity.

Disruptive Divas: Feminism, Identity and Popular Music focuses on four female musicians who have marked contemporary popular culture in unexpected ways. Tori Amos, Courtney Love, Me'Shell Ndegéocello and P. J. Harvey have impelled and disturbed the boundaries of "acceptable" female musicianship. Burns and Lafrance give close readings to individual, representative songs by each of these artists, in order to make general statements about the role of women in popular music. The artists and songs selected explore a range of textural themes and musical studies. This book shows how this material has disrupted the general expectations of popular music style, performance and marketing and empowered women in their creativity.

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.

Teachers the world over are discovering the importance and benefits of incorporating popular culture into the music classroom. The cultural prevalence and the students' familiarity with recorded music, videos, games, and other increasingly accessible multimedia materials help enliven course content and foster interactive learning and participation. Pop-Culture Pedagogy in the Music Classroom: Teaching Tools from American Idol to YouTube provides ideas and techniques for teaching music classes using elements of popular culture that resonate with students' everyday lives. From popular songs and genres to covers, mixes, and mashups; from video games such as Dance Dance Revolution and Guitar Hero to television shows like American Idol, this exciting collection offers pedagogical models for incorporating pop culture and its associated technologies into a wide variety of music courses. Biamonte has collected well-rounded essays that consider a variety of applications. After an introduction, the essays are organized in 3 sections. The first addresses general tools and technology that can be incorporated into almost any music class: sound-mixing techniques and the benefits of using iPods and YouTube. The middle section uses popular songs, video games, or other aspects of pop culture to demonstrate music-theory topics or to develop ear-training and rhythmic skills. The final section examines the musical, lyrical, or visual content in popular songs, genres, or videos as a point of departure for addressing broader issues and contexts. Each chapter contains notes and a bibliography, and two comprehensive appendixes list popular song examples for teaching harmony, melody, and rhythm. Two indexes cross-reference the material by title and by general subject. While written with college and secondary-school teachers in mind, the methods and materials presented here can be adapted to any educational level.

Teachers the world over are discovering the importance and benefits of incorporating popular culture into the music classroom. The cultural prevalence and the students' familiarity with recorded music, videos, games, and other increasingly accessible multimedia materials help enliven course content and foster interactive learning and participation. Pop-Culture Pedagogy in the Music Classroom: Teaching Tools from American Idol to YouTube provides ideas and techniques for teaching music classes using elements of popular culture that resonate with students' everyday lives. From popular songs and genres to covers, mixes, and mashups; from video games such as Dance Dance Revolution and Guitar Hero to television shows like American Idol, this exciting collection offers pedagogical models for incorporating pop culture and its associated technologies into a wide variety of music courses. Biamonte has collected well-rounded essays that consider a variety of applications. After an introduction, the essays are organized in 3 sections. The first addresses general tools and technology that can be incorporated into almost any music class: sound-mixing techniques and the benefits of using iPods and YouTube. The middle section uses popular songs, video games, or other aspects of pop culture to demonstrate music-theory topics or to develop ear-training and rhythmic skills. The final section examines the musical, lyrical, or visual content in popular songs, genres, or videos as a point of departure for addressing broader issues and contexts. Each chapter contains notes and a bibliography, and two comprehensive appendixes list popular song examples for teaching harmony, melody, and rhythm. Two indexes cross-reference the material by title and by general subject. While written with college and secondary-school teachers in mind, the methods and materials presented here can be adapted to any educational level.

Within popular music there are entire genres (jazz 'standards'), styles (hip hop), techniques (sampling), and practices (covers) that rely heavily on musical intertextuality and references between music of different styles and genres. This interdisciplinary collection of essays covers a wide range of musical styles and artists to investigate intertextuality-the shaping of one text by another-in popular music. The Pop Palimpsest offers new methodologies and frameworks for the analysis of intertextuality in popular music, an emerging area of research that offers musicologists an analytic lens for examining relationships between a variety of texts both musical and non-musical. Providing perspectives from multiple sub-disciplines, The Pop Palimpsest considers a broad range of intertextual relationships in popular music to explore creative practices and processes and the networks that intertextual practices create between artists and listeners.