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Studie over hoe de moderne opname- en geluidstechnieken van na de oorlog in de Verenigde Staten het idioom van de populaire muziek, inclusief beeldvorming en appreciatie, ingrijpend hebben gewijzigd.
Composers, arrangers, conductors, session musicians, and executives worked in easy listening and scoring, complicating an academic focus that lionizes film music while ignoring or deriding easy listening. This book documents easy listening’s connections with film music, an aspect overlooked in academic and popular literature. Fueled by the rise of the LP and home entertainment, easy listening became the largest midcentury commercial music market, generating more actual income for the record business than 7- inch singles. Easy listening roped in subgenres including classical, baroque, jazz, Latin, Polynesian, "exotica," rock, Broadway, and R&B, appropriated and reinterpreted just as they were for cinema. Easy listening provided opportunities in orchestral music for conservatory- trained composers. Major film composers such as Henry Mancini and Michel Legrand had a prodigious output of easy listening albums. Critics fault easy listening for structural racisms, overlooking its evolution and practitioners. Easy listening helped destabilize a tripartite record business that categorized product as race records, old time records, or general popular music. Charlie Parker’s with Strings records altered the direction of jazz, profoundly influencing other performers, encouraging bold crosspollinations, and making money. The influence of technology and historical contexts of music for work and leisure are explored. Original interviews and primary sources will fascinate scholars, historians, and students of cinema, television, film scoring, and midcentury popular music.
Composers, arrangers, conductors, session musicians, and executives worked in easy listening and scoring, complicating an academic focus that lionizes film music while ignoring or deriding easy listening. This book documents easy listening’s connections with film music, an aspect overlooked in academic and popular literature. Fueled by the rise of the LP and home entertainment, easy listening became the largest midcentury commercial music market, generating more actual income for the record business than 7- inch singles. Easy listening roped in subgenres including classical, baroque, jazz, Latin, Polynesian, "exotica," rock, Broadway, and R&B, appropriated and reinterpreted just as they were for cinema. Easy listening provided opportunities in orchestral music for conservatory- trained composers. Major film composers such as Henry Mancini and Michel Legrand had a prodigious output of easy listening albums. Critics fault easy listening for structural racisms, overlooking its evolution and practitioners. Easy listening helped destabilize a tripartite record business that categorized product as race records, old time records, or general popular music. Charlie Parker’s with Strings records altered the direction of jazz, profoundly influencing other performers, encouraging bold crosspollinations, and making money. The influence of technology and historical contexts of music for work and leisure are explored. Original interviews and primary sources will fascinate scholars, historians, and students of cinema, television, film scoring, and midcentury popular music.
What defines pop music? Why do we consider some styles as easier listening than others? Arranged in three parts: Aesthetics and Authenticity - Groove, Sampling and Industry - Subjectivity, Ethnicity and Politics, this collection of essays by a group of international scholars deals with these questions in diverse ways. This volume prepares the reader for the debates around pop's intricate historical, aesthetic and cultural roots. The intellectual perspectives on offer present the interdisciplinary aspects of studying music and, spanning more than twenty-five years, these essays form a snapshot of some of the authorial voices that have shaped the specific subject matter of pop criticism within the broader field of popular music studies. A common thread running through these essays is the topic of interpretation and its relation to conceptions of musicality, subjectivity and aesthetics. The principle aim of this collection is to demonstrate that pop music needs to be evaluated on its own terms within the cultural contexts that make it meaningful.
Marriage is supposed to be fun...why should a book about marriage be any different? This guide to improved communication still packs a meaningful punch. As the foreword by Gary Chapman will attest, this is a serious approach to relationships, even if the reader can't keep a straight face. It is packed with practical resources to help you understand your partner's personality, thought patterns, and love languages. You'll rediscover one of the great lost relics of Western Civilization: stimulating conversation.
Listening is an essential life skill that helps children achieve success at school, follow safety rules and show others that they care about them. In a world filled with distractions, being a "good listener" has become more difficult than ever. The playful rhymes of Yes, I Can Listen! encourage children to appreciate the rewards of attentive listening. With sweet characters, varied type faces, and vivid colors, this picture book introduces a variety of listening scenarios. Each two-page spread let children imagine how they might listen in a number of common situations. Yes, I Can Listen! concludes with a page of suggestions for parents who wish to explore more activities that encourage and develop their children's listening skills.
It is possible for an act to wrongfully harm a person, even if the act takes place after the person is dead. David Boonin defends this view in Dead Wrong and explains the puzzle of posthumous harm. In doing so, he makes three central claims. First, that it is possible for an act to wrongfully harm a person while they are alive even if the act has no effect on that person's conscious experiences. Second, that if this is so, then frustrating a person's desires is one way to wrongfully harm a person. And third, that it is possible for an act to wrongfully harm a person even if the act takes place after the person is dead. Over the course of the book, Boonin introduces the significance of posthumous harm, deals with each of his three main claims in turn, responds to the objections that might be raised against the book's thesis, and examines some of the ethical implications for issues such as posthumous organ and gamete removal, posthumous publication of private documents, damage to graves and corpses, and posthumous punishment and restitution.
In its 114th year, Billboard remains the world's premier weekly music publication and a diverse digital, events, brand, content and data licensing platform. Billboard publishes the most trusted charts and offers unrivaled reporting about the latest music, video, gaming, media, digital and mobile entertainment issues and trends.
