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The Bloomsbury Handbook of Rock Music Research is the first
comprehensive academic survey of the field of rock music as it
stands today. More than 50 years into its life and we still ask -
what is rock music, why is it studied, and how does it work, both
as music and as cultural activity? This volume draws together 37 of
the leading academics working on rock to provide answers to these
questions and many more. The text is divided into four major
sections: practice of rock (analysis, performance, and recording);
theories; business of rock; and social and culture issues. Each
chapter combines two approaches, providing a summary of current
knowledge of the area concerned as well as the consequences of that
research and suggesting profitable subsequent directions to take.
This text investigates and presents the field at a level of depth
worthy of something which has had such a pervasive influence on the
lives of millions.
Democracy can mean a range of concepts, covering everything from
freedoms, rights, elections, governments, processes, philosophies
and a panoply of abstract and concrete notions that can be mediated
by power, positionality, culture, time and space. Democracy can
also be translated into brute force, hegemony, docility, compliance
and conformity, as in wars will be decided on the basis of the
needs of elites, or major decisions about spending finite resources
will be the domain of the few over the masses, or people will be
divided along the lines of race, ethnicity, class, religion, etc.
because it is advantageous for maintaining exploitative political
systems in place to do so. Often, these frameworks are developed
and reified based on the notion that elections give the right to
societies, or segments of societies, to install regimes,
institutions and operating systems that are then supposedly
legitimated and rendered infinitely just because formal power
resides in the hands of those dominating forces. This book is
interested in advancing a critical analysis of the hegemonic
paradigm described above, one that seeks higher levels of political
literacy and consciousness, and one that makes the connection with
education. What does education have to do with democracy? How does
education shape, influence, impinge on, impact, negate, facilitate
and/or change the context, contours and realities of democracy? How
can we teach for and about democracy to alter and transform the
essence of what democracy is, and, importantly, what it should be?
This book advances the notion of decency in relation to democracy,
and is underpinned by an analysis of meaningful, critically-engaged
education. Is it enough to be kind, nice, generous and hopeful when
we can also see signs of rampant, entrenched and debilitating
racism, sexism, poverty, violence, injustice, war and other social
inequalities? If democracy is intended to be a legitimating force
for good, how does education inform democracy? What types of
knowledge, experience, analysis and being are helpful to bring
about newer, more meaningful and socially just forms of democracy?
Throughout some twenty chapters from a range of international
scholars, this book includes three sections: Constructing Meanings
for Democracy and Decency; Justice for All as Praxis; and Social
Justice in Action for Democracy, Decency, and Diversity:
International Perspectives. The underlying thread that is
interwoven through the texts is a critical reappraisal of
normative, hegemonic interpretations of how power is infused into
the educational realm, and, importantly, how democracy can be
re-situated and re-formulated so as to more meaningfully engage
society and education.
This collection of essays, documented by an international and
interdisciplinary array of scholars, represents the first
academically focused volume exploring the creative idiolect of
Frank Zappa. Several of the authors are known for contributing
significantly to areas such as popular music, cultural, and
translation studies, with expertise and interests ranging from
musicology to poetics. The publication presents the reader with an
understanding of the ontological depth of Zappa's legacy by
relating the artist and his texts to a range of cultural, social,
technological and musicological factors, as encapsulated in the
book's title - Frank Zappa and the And. Zappa's interface with
religion, horror, death, movies, modernism, satire, freaks,
technology, resistance, censorship and the avant-garde are brought
together analytically for the first time, and approached non
chronologically, something that strongly complies with the non
linear perspective of time Zappa highlights in both his
autobiography and recordings. The book employs a variety of
analytical approaches, ranging from literary and performance
theory, 'horrality' and musicology, to post modern and textually
determined readings, and serves as a unique and invaluable guide to
Zappa's legacy and creative force.
This collection of essays, documented by an international and
interdisciplinary array of scholars, represents the first
academically focused volume exploring the creative idiolect of
Frank Zappa. Several of the authors are known for contributing
significantly to areas such as popular music, cultural, and
translation studies, with expertise and interests ranging from
musicology to poetics. The publication presents the reader with an
understanding of the ontological depth of Zappa's legacy by
relating the artist and his texts to a range of cultural, social,
technological and musicological factors, as encapsulated in the
book's title - Frank Zappa and the And. Zappa's interface with
religion, horror, death, movies, modernism, satire, freaks,
technology, resistance, censorship and the avant-garde are brought
together analytically for the first time, and approached non
chronologically, something that strongly complies with the non
linear perspective of time Zappa highlights in both his
autobiography and recordings. The book employs a variety of
analytical approaches, ranging from literary and performance
theory, 'horrality' and musicology, to post modern and textually
determined readings, and serves as a unique and invaluable guide to
Zappa's legacy and creative force.
The incredible true story of living as a modern-day nomad. Bored,
broke and struggling to survive in one of the most expensive cities
on earth, Paul Carr realises that it would actually be cheaper to
live in a hotel in Manhattan than in his one-bedroom London flat.
Inspired by that possibility, he decides to sell most of his
possessions, abandon his old life and spend a year living entirely
without commitments. Thanks to Paul's highly developed blagging
skills, what begins as a one-year experiment soon becomes a
permanent lifestyle - a life lived in luxury hotels and
mountain-top villas. A life of fast cars, Hollywood actresses and
Icelandic rock stars. And, most bizarrely of all, a life that still
costs less than surviving on cold pizza in London. Yet, as word of
Paul's exploits starts to spread - first online, then through a
newspaper column and a book deal - he finds himself forced to up
the stakes in order to keep things interesting. With his behaviour
spiralling to dangerous levels, he is forced to ask the question:
is there such a thing as too much freedom?
Born in a mainly working-class area of North Tyneside in 1951,
Gordon Sumner would become one of the world's best-selling music
artists. Known professionally as Sting, he was the lead singer for
the band The Police from 1977 to 1984, before launching a hugely
successful solo career. The foundations of Sting's creativity and
drive for success were established in the region of his birth, with
vestiges of his 'Northern Englishness' continuing to emerge in his
music long after he left the area. Published to coincide with the
40th anniversary of the formation of The Police, this is the first
book to examine the relationship between Sting's working-class
background in Newcastle and the creativity and inspiration behind
his music. Focusing on the sometimes-blurry borderlines between
nostalgia, facts, imagination and memories - as told by Sting, the
people who knew (and know) him, and those who have written about
him - Carr investigates the often complex resonance between local
boy Gordon Sumner and the star the world knows as Sting. This book
will be of great interest to the many fans of Sting and The Police,
as well as those interested in the history of popular music.
Encountering Ensemble, is a text for students, teachers,
researchers and practitioners who wish to develop a deeper
understanding of the history, conceptual foundations and
practicalities of the world of ensemble theatre. It is the first
book to draw together definitions and practitioner examples, making
it a cutting edge work on the subject. Encountering Ensemble
combines historical and contemporary case studies with a wide range
of approaches and perspectives. It is written collaboratively with
practitioners and members from the academic community and is
divided into three sections: 1. Introduction and an approach to
training ensembles 2. Practitioner case studies and analysis of
specific practical approaches to training ensembles (or individuals
in an ensemble context) 3. Succinct perspectives from practitioners
reflecting on a range of questions including: What is an ensemble?;
the place of ensemble in the contemporary theatre landscape; and
training issues.
Democracy can mean a range of concepts, covering everything from
freedoms, rights, elections, governments, processes, philosophies
and a panoply of abstract and concrete notions that can be mediated
by power, positionality, culture, time and space. Democracy can
also be translated into brute force, hegemony, docility, compliance
and conformity, as in wars will be decided on the basis of the
needs of elites, or major decisions about spending finite resources
will be the domain of the few over the masses, or people will be
divided along the lines of race, ethnicity, class, religion, etc.
because it is advantageous for maintaining exploitative political
systems in place to do so. Often, these frameworks are developed
and reified based on the notion that elections give the right to
societies, or segments of societies, to install regimes,
institutions and operating systems that are then supposedly
legitimated and rendered infinitely just because formal power
resides in the hands of those dominating forces. This book is
interested in advancing a critical analysis of the hegemonic
paradigm described above, one that seeks higher levels of political
literacy and consciousness, and one that makes the connection with
education. What does education have to do with democracy? How does
education shape, influence, impinge on, impact, negate, facilitate
and/or change the context, contours and realities of democracy? How
can we teach for and about democracy to alter and transform the
essence of what democracy is, and, importantly, what it should be?
This book advances the notion of decency in relation to democracy,
and is underpinned by an analysis of meaningful, critically-engaged
education. Is it enough to be kind, nice, generous and hopeful when
we can also see signs of rampant, entrenched and debilitating
racism, sexism, poverty, violence, injustice, war and other social
inequalities? If democracy is intended to be a legitimating force
for good, how does education inform democracy? What types of
knowledge, experience, analysis and being are helpful to bring
about newer, more meaningful and socially just forms of democracy?
Throughout some twenty chapters from a range of international
scholars, this book includes three sections: Constructing Meanings
for Democracy and Decency; Justice for All as Praxis; and Social
Justice in Action for Democracy, Decency, and Diversity:
International Perspectives. The underlying thread that is
interwoven through the texts is a critical reappraisal of
normative, hegemonic interpretations of how power is infused into
the educational realm, and, importantly, how democracy can be
re-situated and re-formulated so as to more meaningfully engage
society and education.
The Bloomsbury Handbook of Rock Music Research is the first
comprehensive academic survey of the field of rock music as it
stands today. More than 50 years into its life and we still ask -
what is rock music, why is it studied, and how does it work, both
as music and as cultural activity? This volume draws together 37 of
the leading academics working on rock to provide answers to these
questions and many more. The text is divided into four major
sections: practice of rock (analysis, performance, and recording);
theories; business of rock; and social and culture issues. Each
chapter combines two approaches, providing a summary of current
knowledge of the area concerned as well as the consequences of that
research and suggesting profitable subsequent directions to take.
This text investigates and presents the field at a level of depth
worthy of something which has had such a pervasive influence on the
lives of millions.
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