Музыка, балет
Различные книги в жанре Музыка, балетNoise Uprising
A radically new reading of the origins of recorded music In a handful of years between the development of electrical recording in 1925 and the outset of the Great Depression in the early 1930s, the soundscape of modern music unfolded in a series of relatively unnoticed recording sessions around the world. These included the recording of tango in Buenos Aires, son in Havana, and samba in Rio; of hula in Honolulu, shidaiqu in Shanghai, and kroncong in Jakarta, and; of taraab in East Africa and marabi in Johannesburg. In this ground-breaking study, Michael Denning draws a global map of a musical revolution that had more profound consequences than the “modern” musics of the European avant-garde.
Derek Bailey
Lifts the lid on an artistic ferment which has defied every known law of the music business This outstanding biography of the cult guitar player will likely cause you to abandon everything you thought you knew about jazz improvisation, post-punk and the avant-garde. Derek Bailey was at the top of his profession as a dance band and record-session guitarist when, in the early 1960s, he began playing an uncompromisingly abstract form of music. Today his anti-idiom of “Free Improvisation” has become the lingua franca of the “avant” scene, with Pat Metheny, John Zorn, David Sylvian and Sonic Youth’s Thurston Moore among his admirers.
Close to the Edge
The global politics of hip hop. “Fernandes brilliantly captures the moment when a global generation curved toward a unifying language and culture and found something that was both much more and much less than what it was searching for. Close to the Edge is a beautifully told tale of the collective and the personal, the cultural and political—a classic of hip hop writing and a poignant tribute to urban youth.” —Jeff Chang, author of Can’t Stop Won’t Stop: A History of the Hip Hop Generation At its rhythmic, beating heart, Close to the Edge asks whether hip hop can change the world. Hip hop—rapping, beat-making, b-boying, deejaying, graffiti—captured the imagination of the teenage Sujatha Fernandes in the 1980s, inspiring her and politicizing her along the way. Years later, armed with mc-ing skills and an urge to immerse herself in global hip hop, she embarks on a journey into street culture around the world. From the south side of Chicago to the barrios of Caracas and Havana and the sprawling periphery of Sydney, she grapples with questions of global voices and local critiques, and the rage that underlies both. An engrossing read and an exhilarating travelogue, this punchy book also asks hard questions about dispossession, racism, poverty and the quest for change through a microphone.
An Interpretive Guide to Operatic Arias
A premier singer and master teacher here tells other singers how to get the most from 151 famous arias selected for their popularity or their greatness from 66 operas, ranging in time and style from Christopher Gluck to Carlisle Floyd, from Mozart to Menotti. “The most memorable thrills in an opera singer's life,” according to the author's Introduction, “may easily derive from the great arias in his or her repertoire.” This book continues the work Martial Singher has done, in performances, in concerts, and in master classes and lessons, by drawing attention “not only to precise features of text, notes, and markings but also to psychological motivations and emotional impulses, to laughter and tears, to technical skills, to strokes of genius, and even here and there to variations from the original works that have proved to be fortunate.” For each aria, the author gives the dramatic and musical context, advice about interpretation, and the lyric—with the original language (if it is not English) and an idiomatic American English translation, in parallel columns. The major operatic traditions—French, German, Italian, Russian, and American—are represented, as are the major voice types—soprano, mezzo-soprano, tenor, baritone, bass-baritone, and bass. The dramatic context is not a mere summary of the plot but is a penetrating and often witty personality sketch of an operatic character in the midst of a situation. The musical context is presented with the dramatic situation in a cleverly integrated way. Suggestions about interpretation, often illustrated with musical notation and phonetic symbols, are interspersed among the author's explication of the music and the action. An overview of Martial Singher’s approach—based on fifty years of experience on stage in a hundred roles and in class at four leading conservatories—is presented in his Introduction. As the reader approaches each opera discussed in this book, he or she experiences the feeling of participation in a rehearsal on stage under an urbane though demanding coach and director. The Interpretive Guide will be of value to professional singers as a source of reference or renewed inspiration and a memory refresher, to coaches for checking and broadening personal impressions, to young singers and students for learning, to teachers who have enjoyed less than a half century of experience, and to opera broadcast listeners and telecast viewers who want to understand what goes into the sounds and sights that delight them.
Constellations
As well as providing a very readable and comprehensive study of the life and music of John Buckley,Constellations also offers an up-to-date and informative catalogue of compositions, a complete discography, translations of set texts and the full libretto of his chamber opera, making this book an essential guide for both students and professional scholars alike.
Music Scenes and Migrations
‘Music Scenes and Migrations’ brings together new work from Brazilian and European scholars around the themes of musical place and transnationalism across the Atlantic triangle connecting Brazil, Africa and Europe. Moving beyond now-contested models for conceptualizing international musical relations and hierarchies of powers and influence, such as global/local or centre/periphery, the volume draws attention instead to the role of the city, in particular, in producing, signifying and mediating music-making in the colonial and post-colonial Portuguese-speaking world. In considering the roles played by cities as hubs of cultural intersection, socialization, exchange and transformation; as sites of political intervention and contestation; and as homes to large concentrations of consumers, technologies and media, Rio de Janeiro necessarily figures prominently, given its historical importance as an international port at the centre of the Lusophone Atlantic world. The volume also gives attention to other urban centres, within Brazil and abroad, towards which musicians and musical traditions have migrated and converged – such as São Paulo, Lisbon and Madrid – where they have reinvented themselves; where notions of Brazilian and Lusophone identity have been reconfigured; and where independent, peripheral and underground scenes have contested the hegemony of the musical ‘mainstream’. The contributions to the volume are grouped according to three key thematic areas. ‘Colonial and Post-Colonial Transnationalisms, Migrations and Diasporas’ focuses on the musical movements and fluxes that have traversed the Atlantic world since the colonial period, including the diasporic extensions of African music-making; the role of early forms of mechanical music-recording in mediating between Portuguese and Brazilian popular songs in nineteenth-century Rio de Janeiro; the story of música caipira in articulating the ‘rooting’ and ‘uprooting’ migratory experience of the São Paulo peasantry in the twentieth century; and the contemporary phenomenon of Brazilian musicians living in the cities of Lisbon and Madrid, where they negotiate the needs and expectations of their expatriate communities, tourists and local audiences. ‘Relocating Rio de Janeiro’ considers how, in its identification with key musical traditions such as samba, pagode and choro, the city has been a contested space – geographically, symbolically and politically – whether in the memories and mythologies of key neighbourhoods and locations of music-making as expressed in the musical discourses themselves, through music’s involvement in the material forms of community life and popular culture, including religion, carnival and other festivals, or through the competing claims of official state institutions and policies, the recording industry and grassroots communitarian initiatives. The essays in ‘Demetropolitanizing the Musical City: Other Scenes, Industries, Technologies’ explore how contemporary developments in the independent, underground and peripheral music scenes in Brazil and Portugal have challenged traditional narratives and hierarchies that dichotomized the field in terms of national tradition v. internationalism, mainstream v. margins, pop v. popular. Genres such as sertaneja universitária, funk, heavy metal, Brazilian jazz and instrumental music, post-Vanguarda Paulista MPB and rap are considered in the light of profound shifts in the economy and technology of the music industry, including fluctuations in the recording sector, the internationalization of audiences, and the rise of YouTube, among other video-based digital platforms, as a predominant medium for the consumption of music.
Blue Notes
Music, like romance, is the language of the soul. Music allows us to express ourselves, and in so doing makes us feel alive. Jazz music, the only art form created by Americans, reminds us that the genius of America is improvisation; a good beat, a contagious rhythm, an emotional ballad, creative improvisation, jazz has it all. Jazz is the story of extraordinary human beings, black and white, male and female, children of privilege and children of despair, who were able to do what most of us only dream of doing: create art on the spot. Their stories are told in Blue Notes.
Blue Notes contains profiles of 365 jazz personalities, one for each day of the year. Each vignette tells a story, some heartwarming, others tragic, but all memorable. The daily entries also provide valuable information on jazz styles, jazz history, instruments and instrumentalists, and such related topics as jazz and religion, women in jazz, drug and alcohol abuse, and racism. These topics can be referenced through an extensive set of indexes. The book's appendix includes helpful background information, a concise overview of jazz music, and even a quiz on jazz biography.
While Blue Notes is written for jazz fans in general, experts will value its comprehensive nature. So whether you are curious about jazz or simply love and appreciate music, Blue Notes will provide daily moments of discovery and help you recognize what the rest of the world already has, a music so compelling that it can be said to define the human being in the twentieth century.
Pulse of the People
Hip-Hop music encompasses an extraordinarily diverse range of approaches to politics. Some rap and Hip-Hop artists engage directly with elections and social justice organizations; others may use their platform to call out discrimination, poverty, sexism, racism, police brutality, and other social ills. In Pulse of the People , Lakeyta M. Bonnette illustrates the ways rap music serves as a vehicle for the expression and advancement of the political thoughts of urban Blacks, a population frequently marginalized in American society and alienated from electoral politics. Pulse of the People lays a foundation for the study of political rap music and public opinion research and demonstrates ways in which political attitudes asserted in the music have been transformed into direct action and behavior of constituents. Bonnette examines the history of rap music and its relationship to and extension from other cultural and political vehicles in Black America, presenting criteria for identifying the specific subgenre of music that is political rap. She complements the statistics of rap music exposure with lyrical analysis of rap songs that espouse Black Nationalist and Black Feminist attitudes. Touching on a number of critical moments in American racial politics—including the 2008 and 2012 elections and the cases of the Jena 6, Troy Davis, and Trayvon Martin— Pulse of the People makes a compelling case for the influence of rap music in the political arena and greatly expands our understanding of the ways political ideologies and public opinion are formed.
Turn It Up
For nearly 25 years, Greg Kot of the Chicago Tribune has been reviewing all parts of the popular music world: from indie up-and-comers and underground hip-hop artists to arena-filling rock-and-rollers and celebrity pop superstars. Turn It Up: A Guided Tour Through the Worlds of Pop, Rock, Rap and More is the first-ever collection of Kot's Tribune articles, covering the years of 2000–2013.Beyond informative and entertaining features, concert recaps, and album reviews, Turn It Up covers major issues associated with music and the music industry since the turn of the millennium. Kot delves deeply into issues that matter regarding the essential acts of the 21st century, the business of music as a whole, and the Chicago music scene in particular.With chapters grouped by genre—pop, rock, and rap—and a catch-all final chapter containing insights on digital music, record labels, and the evolving «music biz,» Turn It Up is an easy-to-follow guide to where the music world has come from and where it is going. Kot's deep knowledge of the subject matter and unpretentious writing will make this a fascinating read for his longtime local fans, as well as music lovers far and wide.
The Bakersfield Sound
In California's Central Valley, two thousand miles away from country music's hit machine, the hard edge of the Bakersfield Sound transformed American music in the latter half of the twentieth century. It turned displaced Oklahomans like Buck Owens and Merle Haggard into household names, and it aggressively pushed style, instrumentation, and attitude that countered the orchestral country pop churned out from Nashville. In this compelling book, Robert E. Price traces the Sound's roots from the Dust Bowl and World War II migrations through the heyday of Owens, Haggard, and <i>Hee Haw</i>, and into the twenty-first century. Outlaw country demands good storytelling, and Price obliges: to fully understand the Sound and its musicians we dip into honky-tonks, dives, and radio stations playing the songs of sun-parched days spent on oil rigs and in cotton fields, the melodies of hardship and kinship, a soundtrack for dancing and brawling. In other words, <i>The Bakersfield Sound</i> immerses us in the unique cultural convergence that gave rise to a visceral and distinctly California country music.