Acclaimed music writer Nik Cohn’s love of hip-hop goes back to its beginnings, and his love of New Orleans even further, to when he passed through the Big Easy on tour with The Who and discovered a place with a magic that never failed to seize him. On the surface he’s the least likely candidate for a rap impresario. But with his signature charm and passion, he plunges headfirst into the wards, clubs, and projects of New Orleans, opening up a world closed to most outsiders: a journey into the heart of the hip-hop dream, and into larger question of racial identity in America. Written before Hurricane Katrina struck (and published here with an afterword that chronicles how Katrina altered the lives of those he met) Triksta now stands as an elegy to a city, its music, and its people. From the Trade Paperback edition.
Position Pieces for Cello is designed to give students a logical and fun way to learn their way around the fingerboard. Each hand position is introduced with exercises called "Target Practice," "Geography Quiz," and "Names and Numbers." Following these exercises are tuneful cello duets which have been specifically composed to require students to play in that hand position. In this way, students gain a thorough knowledge of how to find the hand positions and, once there, which notes are possible to play. Using these pieces (with names like "I Was a Teenage Monster," "The Irish Tenor," and "I've Got the Blues, Baby"), position study on the cello has never been so much fun!
This innovative study opens up a new area in sociological and urban studies: the aural experience of the social, mediated through mobile technologies of communication. Whilst we live in a world dominated by visual epistemologies of urban experience, Michael Bull argues that it is not surprising that the Apple iPod, a sound based technology, is the first consumer cultural icon of the twenty-first century. This book, in using the example of the Apple iPod, investigates the way in which we use sound to construct key areas of our daily lives. The author argues that the Apple iPod acts as an urban Sherpa for many of its users and in doing so joins the mobile army of technologies that many of us habitually use to accompany our daily lives. Through our use of such mobile and largely sound based devices, the book demonstrates how and why the spaces of the city are being transformed right in front of our ears.
Wolfgang Flür was vital cog in the Kraftwerk machine, galvanising the group’s electric drum sound throughout the 1970’s and propelling the rhythmic backbone of iconic albums such as Autobahn and Electric Café. I Was A Robot is a detailed, evocative account, written in Flür’s no-nonsense style. It takes us from his youth into the band’s formation and touring of their influential works, laying bare the acrimonious break-up and court cases that later followed. This book is the final word on Kraftwerk, their continued influence and what it felt like to be a Man-Machine. ”This is a first-hand account of human life inside the robot factory. A world that I could barely have imagined as a 16-year-old Kraftwerk fan stranded in a suburb on the wrong side of the river from Liverpool. A window into a world that I could never have imagined.” Andy McCluskey, OMD ”Kraftwerk is a myth. Wolfgang is for real. Thus handsome elder statesman of Electronic Music gives a lot of useful inside information about the Men-Machines.” Rudi Esch, ELECRI_CITY
Get more out of music with this essential guide Music Theory For Dummies makes music theory easy to understand, with a friendly, unintimidating overview of everything you need to know to become fluent at knocking out beats, reading musical scores, and learning to anticipate where a song should go—whether you're reading someone else's music or writing your own. Whether you're a music student or a music lover, you'll learn to read, write, and understand music with this informative guide. With expert instruction, you'll put it all together as you compose, arrange, and create original melodies, harmonies, and chords of your own, with helpful tips for performing your pieces in front of an audience. This new third edition presents the most current teaching techniques, the newest music genres and examples, and updated information on all aspects of understanding, creating, and performing music. Studies have shown that music training improves children's' verbal and spatial abilities, and it's been associated with cognitive and mathematical benefits in adults. The music job market is expected to increase over the coming years, and music theory is becoming an increasingly common part of education at all levels. Music Theory For Dummies provides the instruction you need to get more out of music than you ever thought possible. Master major and minor scales, intervals, pitches, and clefs Understand basic notation, time signals, tempo, dynamics, and navigation Employ melodies, chords, progressions, and phrases to form music Compose harmonies and accompanying melodies for voice and instruments Whether you intend to pursue a degree or career in music, or just enjoy listening to it, understanding the theory behind it gives you a whole new appreciation for the artistry and craftsmanship behind the pieces that give you goose bumps. It's a mix of technical skill, inborn talent, and plenty of practice – and now you can try your hand at it, with Music Theory For Dummies.
A complete pedagogical method for students of trumpet and cornet, this "brass bible" contains hundreds of exercises from basics to advanced. Includes the author's famous arrangement of Carnival in Venice.
Acclaimed author Mary Morris returns to her Chicago roots in this sweeping novel that brilliantly captures the dynamic atmosphere and the dazzling music of the Jazz Age. In the midst of boomtown Chicago, two Jewish families have suffered terrible blows. The Lehrmans, who run a small hat factory, lost their beloved son Harold in a blizzard. The Chimbrovas, who run a saloon, lost three of their boys on the SS Eastland when it sank in 1915. Each family holds out hope that one of their remaining children will rise to carry on the family business. But Benny Lehrman has no interest in making hats. His true passion is piano—especially jazz. At night he sneaks down to the South Side, slipping into predominantly black clubs to hear jazz groups play. Along the way he meets a black trumpeter, a man named Napoleon who becomes Benny’s close friend and musical collaborator. Their adventures together take Benny far from the life he knew as a delivery boy. Pearl Chimbrova recognizes their talent and invites them to start playing at her family’s saloon, which Napoleon dubs “The Jazz Palace.” Even as the novel charts the story of its characters, it also tells the tale of the city where they live. It is a world of gangsters, musicians, and clubs, in which black musicians are no freer than they were before the Civil War, white youths head down to the South Side to “slum,” and Al Capone and Louis Armstrong become legends. As The Jazz Palace steams through the 1920s, Benny, Pearl, and Napoleon forge a bond that is as memorable as it is lasting. From the Hardcover edition.
Drawing from his highly praised French work, Une simple flute, distinguished flutist and teacher Michel Debost has compiled a useful and imaginative introduction to playing the flute. This alphabetically arranged compendium of advice and insight covers essential topics such as breathing, articulation, and tone, but also explores "jawboning," "finger phrasing," "the little devils," and other quirky and vexing aspects of flute playing. Full of practical advice on technique and axioms that lend moral support during tough practice sessions, The Simple Flute will be a welcome addition to any serious or novice flutist's library. In addition, the book includes original exercises such as "Debost's Scale Game," making it an excellent resource for flute teachers. Debost concludes each essay with "In a nutshell" and "Please refer to" boxes that make the book easy to browse, dog-ear, and return to again and again. Offering concise, common-sense solutions for flutists of all levels, this book is an ideal reference guide on flute performance.
(Piano Solo Songbook). 14 fantastic arrangements of popular songs from contemporary Disney hit movies for piano solo, including: Almost There * Do You Want to Build a Snowman? * Falling for Ya * He's a Pirate * I See the Light * Let It Go * The Medallion Calls * Touch the Sky * True Love's Kiss * We Belong Together * and more.
This Handy Guide shows the notation, fingering and keyboard diagrams for all the important chords used in modern popular music. Only the most practical position of each chord is shown. Two bass notes are given for each chord. Major, minor, diminished, augmented, sixth chords, seventh chords, ninth chords, eleventh chords and thirteenth chords are clearly shown. Includes a chord chart and major scale chart.
Covering—the musical practice of one artist recording or performing another composer's song—has always been an attribute of popular music. In 2009, the internet database Second Hand Songs estimated that there are 40,000 songs with at least one cover version. Some of the more common variations of this "appropriationist" method of musical quotation include traditional forms such as patriotic anthems, religious hymns such as Amazing Grace, Muzak's instrumental interpretations, Christmas classics, and children's songs. Novelty and comedy collections from parodists such as Weird Al Yankovic also align in the cover category, as does the "larcenous art" of sampling, and technological variations in dance remixes and mash-ups. Film and television soundtracks and advertisers increasingly rely on versions of familiar pop tunes to assist in marketing their narratives and products. The cover phenomenon in popular culture may be viewed as a postmodern manifestation in music as artists revisit, reinterpret and re-examine a significant cross section of musical styles, periods, genres, individual records, and other artists and their catalogues of works.The cover complex, with its multiple variations, issues, contexts, and re-contextualizations comprises an important and rich popular culture text. These re-recordings represent artifacts which embody artistic, social, cultural, historical, commercial, biographical, and novel meanings. Through homage, allusion, apprenticeship, and parody, among other modes, these diverse musical quotations express, preserve, and distribute popular culture, popular music and their intersecting historical narratives. Play it Again represents the first collection of critical perspectives on the many facets of cover songs in popular music.
In 1971, French jazz critics Philippe Carles and Jean-Louis Comolli co-wrote Free Jazz/Black Power, a treatise on the racial and political implications of jazz and jazz criticism. It remains a testimony to the long ignored encounter of radical African American music and French left-wing criticism. Carles and Comolli set out to defend a genre vilified by jazz critics on both sides of the Atlantic by exposing the new sound’s ties to African American culture, history, and the political struggle that was raging in the early 1970s. The two offered a political and cultural history of black presence in the United States to shed more light on the dubious role played by jazz criticism in racial oppression. This analysis of jazz criticism and its production is astutely self-aware. It critiques the critics, building a work of cultural studies in a time and place where the practice was virtually unknown. The authors reached radical conclusions—free jazz was a revolutionary reaction against white domination, was the musical counterpart to the Black Power movement, and was a music that demanded a similar political commitment. The impact of this book is difficult to overstate, as it made readers reconsider their response to African American music. In some cases it changed the way musicians thought about and played jazz. Free Jazz / Black Power remains indispensable to the study of the relation of American free jazz to European audiences, critics, and artists. This monumental critique caught the spirit of its time and also realigned that zeitgeist.
Survol de quelque trois mille ans de musique juive, ce livre, le premier du genre, retrace l'histoire des liens qu'a noués au fil des siècles la musique avec la religion et la culture juives. Une manière de revivre, selon un angle d'approche inédit, la trajectoire du peuple juif, depuis les temps bibliques jusqu'à nos jours avec ses temps de gloire, de grandeur mystique et de paix comme avec ses moments d'humiliation, d'exil et de larmes, d'horreur tragique et en final de dignité reconquise. Du Jubal de la Genèse, père des instrumentistes, à David, roi et musicien-poète, des cérémonies grandioses et festives du Temple au rigorisme et à l'austérité des synagogues, la musique des temps bibliques n'a laissé d'autre trace que des évocations. C'est la diaspora qui va donner à la musique juive ses formes et sa diversité au sein des communautés séfarades et ashkénazes. Celles-ci vont connaître une histoire jalonnée de moments dramatiques dont la musique porte témoignage (Croisades, expulsion d'Espagne...) suivis de périodes d'épanouissement heureux au sein de quelques oasis de tolérance (Cordoue, Ferrare..). Mais stimulés par la Réforme, d'innombrables musiciens européens (Haendel, Charpentier, Vivaldi...) vont puiser leur inspiration dans ce trésor inépuisable de la judéité qu'est l'Ancien Testament composant force psaumes, lamentations et oratorios. Le siècle des Lumières va créer des conditions favorables à une coexistence voire une assimilation harmonieuse illustrée de façon exemplaire par la famille Mendelssohn en Allemagne et par les immenses succès que connaissent en France Halévy, Meyerbeer et Offenbach. Tout ceci ne durera guère et, anticipé par le couple Wagner puis par certains des membres de leur famille, l'antisémitisme nazi multipliera les victimes, à travers les épreuves de l'émigration ou, pire, la déportation. Pour certains musiciens ces épreuves s'achèveront avec l'hypocrisie monstrueuse du camp de Terezin, antichambre musicale d'Auschwitz, tandis qu'en France ils se trouveront confrontés aux mesures discriminatoires du régime de Vichy. Deux très grands musiciens - Mahler et Schoenberg - traduiront de leur côté cette errance de l'identité propre à nombre d'artistes juifs. Mais parallèlement l'émigration vers la Pologne et la Russie puis vers les Etats-Unis et Israël fera naître et grandir sur le sol de ces pays d'accueil des compositeurs de renom (Gershwin, Bernstein...) et quantité d'interprètes illustres (Heifetz, Horowitz, Oistrakh, Milstein...). Document tout autant historique que musical, cet ouvrage présente en complément l'itinéraire artistique d'une trentaine de compositeurs juifs parmi les plus significatifs. Entre judéité et antisémitisme, l'histoire de trois mille ans de relations entre la musique et le fait culturel juif.