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The rise of the Canadian music industry, along with anecdotes and exclusive photos of international rock and pop stars, from the perspective of Canada's foremost music magazine from the 70s to the 90s.
This book shows how cultural production derived from, or in anticipation of, conflict can be used to create specific social identities, national histories, and contemporary concepts of memory in Britain and Australia. Studies on the politics of cultural production have usually focussed on one conflict, or on one particular cultural medium, at a time. This volume, however, presents a broader horizon to draw attention to more popular forms of cultural production from the Great War up to and including its Centenary. The chapters in this volume interrogate the contentious philosophical notion that culture thrives in times of war, and expires in peace, and asks whether ‘art’, as a form of social barometer, can anticipate conflict rather than merely respond to it. This is a fascinating read for students, researchers, and academics interested in British and Australian History and its relationship with Popular Culture. The chapters in this book were originally published as a special issue of Contemporary British History.
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.
Two of the most important social skills in humans are the ability to determine the moods of those around us, and to use this to guide our behavior. To accomplish this, we make use of numerous cues. Among the most important are vocal cues from both speech and non-speech sounds. Music is also a reliable method for communicating emotion. It is often present in social situations and can serve to unify a group's mood for ceremonial purposes (funerals, weddings) or general social interactions. Scientists and philosophers have speculated on the origins of music and language, and the possible common bases of emotional expression through music, speech and other vocalizations. They have found increasing evidence of commonalities among them. However, the domains in which researchers investigate these topics do not always overlap or share a common language, so communication between disciplines has been limited. The aim of this Research Topic is to bring together research across multiple disciplines related to the production and perception of emotional cues in music, speech, and non-verbal vocalizations. This includes natural sounds produced by human and non-human primates as well as synthesized sounds. Research methodology includes survey, behavioral, and neuroimaging techniques investigating adults as well as developmental populations, including those with atypical development. Studies using laboratory tasks as well as studies in more naturalistic settings are included.
This volume presents a new collection of essays, all of them dealing with music, by Jerrold Levinson, one of the most prominent philosophers of art today. It follows in the line of Levinson's earlier collections, Music, Art, and Metaphysics (1990), The Pleasures of Aesthetics (1996), and Contemplating Art (2006), and is representative of the most stimulating work being done under the rubric of analytic aesthetics. The essays, which are wide-ranging, should appeal to aestheticians, philosophers, musicologists, music theorists, music critics and music lovers of all kinds. Three of the twelve essays comprising the volume have not previously been published, and in somewhat of a departure for Levinson, four of the essays focus on music in the jazz tradition.
A new, definitive biography of the iconic and mysterious singer, Warhol superstar, Velvet Underground collaborator: influential solo artist Nico. YOU ARE BEAUTIFUL AND YOU ARE ALONE is a new biography of Nico, the mysterious singer best known for her work with the Velvet Underground and her solo album Chelsea Girl. Her life is tangled in myth--much of it of her own invention. Rock and roll cultural historian Jennifer Bickerdike delivers a definitive book that unravels the story while making a convincing case for Nico's enduring importance. Over the course of her career, Nico was an ever-evolving myth: art film house actress, highly coveted fashion model, Dietrich of Punk, Femme Fatale, Chelsea Girl, Garbo of Goth, The Last Bohemian, Heroin Junkie. Lester Bangs described her as 'a true enigma.' At age 27, Nico became Andy Warhol's newest Superstar, featuring in his one commercial break out hit film Chelsea Girls and garnering the position of chanteuse for the Velvet Underground. It wasn't Nico's musical chops which got her the gig; it was her striking beauty. Her seeming otherworldly and unattainable presence was further amplified by her reputation for dating rock stars (Brian Jones, Bob Dylan, Jim Morrison, among others). She became famous for being Nico. Yet Nico's talent and her contribution to rock culture are often overlooked. She spent most of her career as a solo artist on the road, determined to make music, seemingly against all the odds, enduring empty concert halls, abusive fans, and the often perilous reality of being an ageing artist and drug addict. She created mesmerizing and unique projects that inspired a generation of artists, including Henry Rollins, Morrissey, Siousxie Sioux and the Banshees and Iggy Pop. Drawing on the archives at the Andy Warhol Museum and at Nico's record labels, various private collections, and rarely seen footage, and featuring exclusive new interviews from those who knew her best, including Iggy Pop and Danny Fields, and those inspired by her legacy, YOU ARE BEAUTIFUL AND YOU ARE ALONE reveals the complicated, often compromised, self-destructive and always head strong woman behind the one-dimensional myths.
In 1983, Ronald Reagan signed into law a federal holiday to honor Martin Luther King, Jr. Three years later, the holiday was first formally observed by the federal government. In response to the growing number of musical celebrations surrounding the holiday, Anthony McDonald published in 1996 the first edition of The Catalog of Music Written in Honor of Martin Luther King, Jr. Now, more than a decade since its second edition in 1999, McDonald presents his definitive third edition of the catalog. McDonald organizes information on music suitable for concert performances by symphony orchestras, school music departments, church choirs, or solo performers, including works that celebrate not only Martin Luther King Day, but Black History Month as well. His selections comprise musical work written to honor King, as well as other Americans engaged in the struggle for equality and freedom such as Abraham Lincoln, Malcolm X, Harriet Tubman, Frederick Douglass, and John F. Kennedy. McDonald also incorporates works that more broadly address African American history and culture, such as William Grant Still's Afro-American Symphony. This third edition contains a considerable number of revisions, updates, and new work and includes entirely new sections devoted to jazz and blues songs, sample programs of Martin Luther King, Jr. Day concerts, and a discography, along with appendixes of works listed by orchestration, subject, and a list of publishers and sources. A Catalog of Music Written in Honor of Martin Luther King Jr. is the ideal tool for symphony orchestras, choruses, music departments, and other performing groups and organizations seeking to present concerts that celebrate Martin Luther King Jr., his legacy, and African American history more broadly.
The movie High Fidelity is sacred ground for music lovers and cinephiles alike. Through the story of hapless record store owner Rob Gordon and his coterie of vinyl snobs, the 1997 film made it cool to let your geek flag fly and embrace your irrational enthusiasms. In Top Five, journalist Andrew Buss offers a rollicking oral history of the making of the film and its continued influence on popular culture. When a book is as universally praised as Nick Hornby’s original novel, adapting it for screen can be a tricky prospect. Top Five examines the difficulties that went into writing the movie: although the book was set in London, the screenwriting team (which included star John Cusack) transplanted the story to Chicago, drawing on their own experiences growing up there. Fears that the film would be an Americanized dilution of the source material evaporated when fans of the book saw just how true the film stayed to Rob’s story. Buss draws on interviews with actors like Cusack, Jack Black, and Iben Hjejle, along with all the key principals behind the scenes, including director Stephen Frears and the movie’s screenwriter, producers, and composer. Together they offer a multi-perspectival account that captures the legacy of the film, showing how it created an indelible snapshot of ’90s culture while anticipating our current era of media surfeit and content overload.
The Psychology of Music serves as an introduction to an interdisciplinary field in psychology, which focuses on the interpretation of music through mental function. This interpretation leads to the characterization of music through perceiving, remembering, creating, performing, and responding to music. In particular, the book provides an overview of the perception of musical tones by discussing different sound characteristics, like loudness, pitch and timbre, together with interaction between these attributes. It also discusses the effect of computer resources on the psychological study of music through computational modeling. In this way, models of pitch perception, grouping and voice separation, and harmonic analysis were developed. The book further discusses musical development in social and emotional contexts, and it presents ways that music training can enhance the singing ability of an individual. The book can be used as a reference source for perceptual and cognitive psychologists, neuroscientists, and musicians. It can also serve as a textbook for advanced courses in the psychological study of music. Encompasses the way the brain perceives, remembers, creates, and performs music Contributions from the top international researchers in perception and cognition of music Designed for use as a textbook for advanced courses in psychology of music
Can music really arouse emotions? If so, what emotions, and how? Why do listeners respond with different emotions to the same piece of music? Are emotions to music different from other emotions? Why do we respond to fictional events in art as if they were real, even though we know they're not? What is it that makes a performance of music emotionally expressive? Based on ground-breaking research, Musical Emotions Explained explores how music expresses and arouses emotions, and how it becomes an object of aesthetic judgments. Within the book, Juslin demonstrates how psychological mechanisms from our ancient past engage with meanings in music at multiple levels of the brain to evoke a broad variety of affective states - from startle responses to profound aesthetic emotions. He also explores why these mechanisms respond to music. Written by one of the leading researchers in the field, the book is richly illustrated with music examples from everyday life, and explains with clarity and rigour the manifold ways in which music may engage our emotions.
