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Music from the True Vine: Mike Seeger's Life and Musical Journey
by Bill C. MaloneA musician, documentarian, scholar, and one of the founding members of the influential folk revival group New Lost City Ramblers, Mike Seeger (1933-2009) spent more than fifty years collecting, performing, and commemorating the culture and folk music of white and black southerners, which he called "music from the true vine. " In this fascinating biography, Bill Malone explores the life and musical contributions of folk artist Seeger, son of musicologists Charles and Ruth Crawford Seeger and brother of folksingers Pete and Peggy Seeger. Malone argues that Seeger, while not as well known as his brother, may be more important to the history of American music through his work in identifying and giving voice to the people from whom the folk revival borrowed its songs. Seeger recorded and produced over forty albums, including the work of artists such as Libba Cotton, Tommy Jarrell, Dock Boggs, and Maybelle Carter. In 1958, with an ambition to recreate the southern string bands of the twenties, he formed the New Lost City Ramblers, helping to inspire the urban folk revival of the sixties. Music from the True Vinepresents Seeger as a gatekeeper of American roots music and culture, showing why generations of musicians and fans of traditional music regard him as a mentor and an inspiration.
Music in Action Film: Sounds Like Action!
by James Buhler Mark DurrandMusic in Action Film is the first volume to address the central role of music and sound in action film—arguably the most dominant form of commercial cinema today. Bringing together 15 essays by established and emerging scholars, the book encompasses both Hollywood blockbusters and international films, from classic works such as The Seven Samurai to contemporary superhero franchises. The contributors consider action both as genre and as a mode of cinematic expression, in chapters on evolving musical conventions; politics, representation, and identity; musical affect and agency; the functional role of music and sound design in action film; and production technologies. Breaking new critical ground yet highly accessible, this book will be of interest to students and scholars of music and film studies.
Music in American Crime Prevention and Punishment
by Hirsch Lily E.Although the use of music for extramusical purposes has been a part of American culture for some time, the phenomenon remained largely unknown to the general public until revelations became widespread of startling military practices during the second Iraq War. In Music in American Crime Prevention and Punishment, Lily E. Hirsch explores the related terrain at the intersection of music and law, demonstrating the ways in which music has become a tool of law enforcement and justice through: police and community leaders’ use of classical music in crime deterrence and punishment; the use of rap lyrics as prosecutorial evidence; allegations of music as incitement to violence; and the role of music in U. S. prisons and in detention centers in Guantanamo, Iraq, and Afghanistan. In the course of her study, Hirsch asks several questions: How does the law treat music? When and why does music participate in the law? How does music influence the legal process? How does the legal process influence music? And how do these appropriations affect the Romantic ideals underlying our view of music?
Music in Cinema (Film and Culture Series)
by Michel ChionMichel Chion is renowned for his explorations of the significance of frequently overlooked elements of cinema, particularly the role of sound. In this inventive and inviting book, Chion considers how cinema has deployed music. He shows how music and film not only complement but also transform each other.The first section of the book examines film music in historical perspective, and the second section addresses the theoretical implications of the crossover between art forms. Chion discusses a vast variety of films across eras, genres, and continents, embracing all the different genres of music that filmmakers have used to tell their stories. Beginning with live accompaniment of silent films in early movie houses, the book analyzes Al Jolson’s performance in The Jazz Singer, the zither in The Third Man, Godard’s patchwork sound editing, the synthesizer welcoming the flying saucer in Close Encounters of the Third Kind, and the Kinshasa orchestra in Felicité, among many more. Chion considers both original scores and incorporation of preexisting works, including the use and reuse of particular composers across cinematic traditions, the introduction of popular music such as jazz and rock, and directors’ attraction to atonal and dissonant music as well as musique concrète, of which he is a composer.Wide-ranging and original, Music in Cinema offers a welcoming overview for students and general readers as well as refreshingly new and valuable perspectives for film scholars.
Music in Everyday Life
by Tia DenoraThe power of music to influence mood, create scenes, routines and occasions is widely recognised and this is reflected in a strand of social theory from Plato to Adorno that portrays music as an influence on character, social structure and action. There have, however, been few attempts to specify this power empirically and to provide theoretically grounded accounts of music's structuring properties in everyday experience. Music in Everyday Life uses a series of ethnographic studies - an aerobics class, karaoke evenings, music therapy sessions and the use of background music in the retail sector - as well as in-depth interviews to show how music is a constitutive feature of human agency. Drawing together concepts from psychology, sociology and socio-linguistics it develops a theory of music's active role in the construction of personal and social life and highlights the aesthetic dimension of social order and organisation in late modern societies.
Music in Films on the Middle Ages: Authenticity vs. Fantasy (Routledge Research in Music #7)
by John HainesThis book explores the role of music in the some five hundred feature-length films on the Middle Ages produced between the late 1890s and the present day. Haines focuses on the tension in these films between the surviving evidence for medieval music and the idiomatic tradition of cinematic music. The latter is taken broadly as any musical sound occurring in a film, from the clang of a bell off-screen to a minstrel singing his song. Medieval film music must be considered in the broader historical context of pre-cinematic medievalisms and of medievalist cinema’s main development in the course of the twentieth century as an American appropriation of European culture. The book treats six pervasive moments that define the genre of medieval film: the church-tower bell, the trumpet fanfare or horn call, the music of banquets and courts, the singing minstrel, performances of Gregorian chant, and the music that accompanies horse-riding knights, with each chapter visiting representative films as case studies. These six signal musical moments, that create a fundamental visual-aural core central to making a film feel medieval to modern audiences, originate in medievalist works predating cinema by some three centuries.
Music in Other Words: Victorian Conversations
by Ruth A. SolieJust as the preoccupations of any given cultural moment make their way into the language of music, the experience of music makes its way into other arenas of life. To unearth these overlapping meanings and vocabularies from the Victorian era, Ruth A. Solie examines sources as disparate as journalism, novels, etiquette manuals, religious tracts, and teenagers' diaries for the muffled, even subterranean, conversations that reveal so much about what music meant to the Victorians. Her essays, giving voice to "what goes without saying" on the subject--that cultural information so present and pervasive as to go unsaid--fill in some of the most intriguing blanks in our understanding of music's history. This much-anticipated collection, bringing together new and hard-to-find pieces by an acclaimed musicologist, mines the abundant casual texts of the period to show how Victorian-era people--English and others--experienced music and what they understood to be its power and its purposes. Solie's essays start from topics as varied as Beethoven criticism,Macmillan's Magazine,George Eliot'sDaniel Deronda,opera tropes in literature, and the Victorian myth of the girl at the piano. They evoke common themes--including the moral force that was attached to music in the public mind and the strongly gendered nature of musical practice and sensibility--and in turn suggest the complex links between the history of music and the history of ideas.
Music in Star Trek: Sound, Utopia, and the Future
by Jessica Getman Brooke McCorkle Okazaki Evan WareThe tensions between utopian dreams and dystopian anxieties permeate science fiction as a genre, and nowhere is this tension more evident than in Star Trek. This book breaks new ground by exploring music and sound within the Star Trek franchise across decades and media, offering the first sustained look at the role of music in shaping this influential series. The chapters in this edited collection consider how the aural, visual, and narrative components of Star Trek combine as it constructs and deconstructs the utopian and dystopian, shedding new light on the series’ political, cultural, and aesthetic impact. Considering how the music of Star Trek defines and interprets religion, ideology, artificial intelligence, and more, while also considering fan interactions with the show’s audio, this book will be of interest to students and scholars of music, media studies, science fiction, and popular culture.
Music in the Horror Film: Listening to Fear
by Neil LernerMusic in Horror Film is a collection of essays that examine the effects of music and its ability to provoke or intensify fear in this particular genre of film. Frightening images and ideas can be made even more intense when accompanied with frightening musical sounds, and music in horror film frequently makes its audience feel threatened and uncomfortable through its sudden stinger chords and other shock effects. The essays in this collection address the presence of music in horror films and their potency within them. With contributions from scholars across the disciplines of music and film studies, these essays delve into blockbusters like The Exorcist, The Shining, and The Sixth Sense together with lesser known but still important films like Carnival of Souls and The Last House on the Left. By leading us with the ear to hear these films in new ways, these essays allow us to see horror films with fresh eyes.
Music in the Shadows: Noir Musical Films
by Sheri Chinen BiesenSome musical films use film noir style and jazz to reveal the dark side of fame and the American Dream.Smoke. Shadows. Moody strains of jazz. Welcome to the world of "noir musical" films, where tormented antiheroes and hard-boiled musicians battle obsession and struggle with their music and ill-fated love triangles. Sultry divas dance and sing the blues in shrouded nightclubs. Romantic intrigue clashes with backstage careers. In her pioneering study, Music in the Shadows, film noir expert Sheri Chinen Biesen explores musical films that use film noir style and bluesy strains of jazz to inhabit a disturbing underworld and reveal the dark side of fame and the American Dream. While noir musical films like A Star Is Born include musical performances, their bleak tone and expressionistic aesthetic more closely resemble the visual style of film noir. Their narratives unfold behind a stark noir lens: distorted, erratic angles and imbalanced hand-held shots allow the audience to experience a tortured, disillusioned perspective.While many musicals glamorize the quest for the spotlight in Hollywood's star factory, brooding noir musical films such as Blues in the Night, Gilda, The Red Shoes, West Side Story, and Round Midnight stretch the boundaries of film noir and the musical as film genres collide. Deep shadows, dim lighting, and visual composition evoke moodiness, cynicism, pessimism, and subjective psychological points of view.As in her earlier study of film noir, Blackout: World War II and the Origins of Film Noir, Biesen draws on extensive primary research in studio archives to situate her examination within a historical, industrial, and cultural context.
Music in the Shadows: Noir Musical Films
by Sheri Chinen BiesenAn analysis of Hollywood films that blend elements of musicals and film noir, from the author of Blackout: World War II and the Origins of Film Noir.Welcome to the world of “noir musical” films, where tormented antiheroes and hard-boiled musicians battle obsession and struggle with their music and ill-fated love triangles. Sultry divas dance and sing the blues in shrouded nightclubs. Romantic intrigue clashes with backstage careers.In her pioneering study, Music in the Shadows, film noir expert Sheri Chinen Biesen explores musical films that use film noir style and jazz to inhabit a disturbing underworld and reveal the dark side of fame and the American Dream. While noir musical films like A Star Is Born (1954) include musical performances, their bleak tone and expressionistic aesthetic more closely resemble the visual style of film noir. Their narratives unfold behind a stark noir lens: distorted, erratic angles and imbalanced hand-held shots allow the audience to experience a tortured, disillusioned perspective.While many musicals glamorize the quest for the Hollywood spotlight, brooding noir musical films such as Blues in the Night, Gilda, The Red Shoes, West Side Story, and Round Midnight stretch the boundaries of film noir and the musical as film genres collide. Deep shadows, dim lighting, and visual composition evoke moodiness, cynicism, pessimism, and subjective psychological points of view.Biesen draws on extensive primary research in studio archives to situate her examination within a historical, industrial, and cultural context.“Biesen builds a fascinating and quite convincing case for a genre hybrid, the noir musical, that took root in the 1940s but has continued to evolve ever since.” —Thomas Schatz, The University of Texas at Austin
Music in the USA: A Documentary Companion
by Judith Tick Paul E. BeaudoinMusic in the USA: A Documentary Companion charts a path through American music and musical life using as guides the words of composers, performers, writers and the rest of us ordinary folks who sing, dance, and listen. The anthology of primary sources contains about 160 selections from 1540 to 2000. Sometimes the sources are classics in the literature around American music, for example, the Preface to the Bay Psalm Book, excerpts from Slave Songs of the United States, and Charles Ives extolling Emerson. But many other selections offer uncommon sources, including a satirical story about a Yankee music teacher; various columns from 19th-century German American newspapers; the memoirs of a 19th-century diva; Lottie Joplin remembering her husband Scott; a little-known reflection of Copland about Stravinsky; an interview with Muddy Waters from the Chicago Defender; a letter from Woody Guthrie on the "spunkfire" attitude of a folk song; a press release from the Country Music Association; and the Congressional testimony around "Napster. " "Sidebar" entries occasionally bring a topic or an idea into the present, acknowledging the extent to which revivals of many kinds of music play a role in American contemporary culture. This book focuses on the connections between theory and practice to enrich our understanding of the diversity of American musical experiences. Designed especially to accompany college courses which survey American music as a whole, the book is also relevant to courses in American history and American Studies.
Music in Theory and Practice, Volume 1 (8th edition)
by Bruce Benward Marilyn SakerThis best-selling text gives majors a solid foundation in the theory of music - generally and throughout history. It strengthens their musical intuition, builds technical skills, and helps them gain interpretive insights. The two-volume format ensures exhaustive coverage and maximum support for students and faculty alike. Volume I serves as a general introduction to music theory while volume II offers a survey of the theoretical underpinnings of musical styles and forms from Gregorian Chant through the present day.
Music in Theory and Practice, Volume 2 (8th edition)
by Bruce Benward Marilyn SakerThis best-selling text gives majors a solid foundation in the theory of music - generally and throughout history. It strengthens their musical intuition, builds technical skills, and helps them gain interpretive insights. The two-volume format ensures exhaustive coverage and maximum support for students and faculty alike. Volume I serves as a general introduction to music theory while volume II offers a survey of the theoretical underpinnings of musical styles and forms from Gregorian Chant through the present day.
Music in Twin Peaks: Listen to the Sounds
by Katherine M. ReedIn this edited volume, contributors explore an essential element of the influential television series Twin Peaks: the role of music and sound. From its debut in 1990 to its return to television in 2017, Twin Peaks has amassed a cult following, and inspired myriad scholarly studies. This collection considers how the music and sound design not only create the ambience of this ground-breaking series, but function in the narrative, encouraging multiple interpretations. With chapters that consider how music shapes the relationship of audiences and fans to the story, the importance of sound design, and the symbolism embedded in the score, this book provides a range of perspectives for scholars of music and film studies, while giving fans new insight into an iconic television show.
The Music Industry Handbook (Media Practice)
by Paul RutterThe Music Industry Handbook, Second edition is an expert resource and guide for all those seeking an authoritative and user-friendly overview of the music industry today. The new edition includes coverage of the latest developments in music streaming, including new business models created by the streaming service sector. There is also expanded exploration of the music industry in different regions of the UK and in other areas of Europe, and coverage of new debates within the music industry, including the impact of copyright extensions on the UK music industry and the business protocols involved when music is used in film and advertising. The Music Industry Handbook, Second edition also includes: in-depth explorations of different elements of the music industry, including the live music sector, the recording industry and the classical music business analysis of business practices across all areas of the industry, including publishing, synchronisation and trading in the music industry profiles presenting interviews with key figures workings in the music industry detailed further reading for each chapter and a glossary of essential music industry terms.
Music Is in Everything
by Ziggy MarleyA picture book based on Ziggy Marley's popular song celebrating music's many forms, from the sounds of ocean waves to laughter in the family kitchen. "Music Is in Everything"--a single on More Family Time, the follow-up children's album to the GRAMMY Award-winning Family Time--celebrates how music is found in everything. From ocean waves to banging pots and pans in the kitchen, from a loved one's laughter to the "river's latest tune, " Marley reminds children everywhere that you don't need an instrument to create a beautiful song. With heartfelt illustrations by Ag Jatkowska--illustrator of Marley's debut picture book, I Love You Too--Music Is in Everything is a sweet and uplifting ode to the power and beauty of song.
Music! Its Role and Importance in Our Lives
by George Degraffenreid Charles Fowler Timothy Gerber Vincent LawrenceMusic! Its Role and Importance In Our Lives is focused upon the use and value of music in people's lives. It encourages students to view music in a social context rather than as abstract information to be learned for its own sake. It presents music as a natural and essential ingredient of one's own life and of human life in all cultures. This book was written for all students, not just those who sing in the chorus or play in the band or orchestra.
Music Law: How to Run Your Band's Business (3rd edition)
by Richard StimStim, a musician and intellectual property attorney, explains the business side of running a band from a legal perspective. He discusses band partnerships and agreements, management, attorneys, equipment, performance and touring, copyright and song ownership, publishing, band names and trademarks, album artwork issues, recording and manufacturing issues, music distribution, independent record agreements, and taxes. This edition covers downloads and other internet issues.
Music Law
by Richard StimIf you belong to a band and love the art of your job, but sing the blues when it comes to the business side, you need Music Law. Composed by musician and lawyer Richard Stim, the book explains how to: find the right manager buy, insure and maintain equipment get gigs and get paid tour on a budget use samples do covers legally protect your copyright trademark your bandâ TMs name choose a recording studio sell your music manage your website understand record contracts deal with taxes Music Law provides all the legal information and practical advice musicians need. This edition is thoroughly updated with the latest changes in copyright and trademark law, including guidance on filling out "Form CO." Plus, find expanded information on musical collaborations between DJs and other musicians. You'll also get the most up-to-date legal forms available. Interactive forms are downloadable.
Music Law: How to Run Your Band's Business
by Richard StimIf you belong to a band and love the art of your job, but sing the blues when it comes to the business side, you need Music Law. Composed by musician and lawyer Richard Stim, the book explains how to: find the right manager buy, insure and maintain equipment get gigs and get paid tour on a budget use samples do covers legally protect your copyright trademark your band’s name choose a recording studio sell your music manage your website understand record contracts deal with taxes Music Law provides all the legal information and practical advice musicians need. This edition is thoroughly updated with the latest changes in copyright and trademark law. Plus, find expanded information on musical collaborations between DJs and other musicians. You'll also get the most up-to-date legal forms available. Interactive forms are downloadable.
Music Makes Me: Fred Astaire and Jazz
by Todd DeckerFred Astaire: one of the great jazz artists of the twentieth century? Astaire is best known for his brilliant dancing in the movie musicals of the 1930s, but in Music Makes Me, Todd Decker argues that Astaire's work as a dancer and choreographer --particularly in the realm of tap dancing--made a significant contribution to the art of jazz. Decker examines the full range of Astaire's work in filmed and recorded media, from a 1926 recording with George Gershwin to his 1970 blues stylings on television, and analyzes Astaire's creative relationships with the greats, including George and Ira Gershwin, Irving Berlin, Jerome Kern, and Johnny Mercer. He also highlights Astaire's collaborations with African American musicians and his work with lesser known professionals--arrangers, musicians, dance directors, and performers.
Music, Movies, Meanings, and Markets: Cinemajazzamatazz (Routledge Interpretive Marketing Research)
by Morris HolbrookMusic, Movies, Meanings, and Markets focuses on macromarketing-related aspects of film music in general and on the cinemusical role of ambi-diegetic jazz in particular. The book examines other work on music in motion pictures which has dealt primarily with the traditional distinction between nondiegetic film music (background music that comes from off-screen and is not audible to the film’s characters, to further the dramatic development of plot, character, or other themes) and diegetic music (source music produced on-screen and/or that is audible to the film’s characters, adding to the realism of the mise-en-scène without contributing much to other dramatic meanings). This book defines, describes, and illustrates another hitherto-neglected type of film music –ambi-diegetic film music, which appears on-screen but which contributes to the dramatic development of plot, character, and other themes. Consistent with an interest in macromarketing, such ambi-diegetic film music serves as a kind of product placement (suitable for commercialization via the cross-promotion of soundtrack albums, for example) and plays a role in product design. It also provides one type of symbolic consumer behavior that indicates choices made by film characters when playing-singing-listening-or-dancing in ways that reveal their personalities or convey other cinemusical meanings. Morris Holbrook argues that ambi-diegetic film music sheds light on various social issues –such as the age-old tension between art and entertainment as it applies to the contrast between creative integrity and commercialization. Music, Movies, Meanings, and Markets explores the ways in which ambi-diegetic jazz contributes to the development of dramatic meanings in various films, many of which address the art-versus-commerce theme as a central concern.
Music, Music for Everyone
by Vera B WilliamsA beautiful celebration of the power of music and of community—a companion book to the beloved Caldecott Honor picture book A Chair for My Mother."Rosa organizes her friends into the Oak Street Band in order to earn money her family needs because of her grandma's illness. Community, family and personal triumphs converge, making unforgettable music for everyone." —School Library Journal"Visual references connect readers to earlier books about Rosa's three-generation family, while the theme here underscores the interrelationship of Rosa to her foremothers, her girl friends, and their neighborhood. Images rich in vitality are placed within superbly composed, bordered watercolor paintings to convey the spirit of the story as well as details of their daily living." —BCCBVera B. Williams's beloved picture book favorites include:"More More More," Said the BabyAmber Was Brave, Essie Was SmartA Chair for AlwaysA Chair for My MotherCherries and Cherry PitsMusic, Music for EveryoneSomething Special for MeStringbean's Trip to the Shining SeaThree Days on a River in a Red Canoe
The Music Never Stops: What Putting on 10,000 Shows Has Taught Me About Life, Liberty, and the Pursuit of Magic
by Peter ShapiroThe engrossing, insightful, and personal musical odyssey of Peter Shapiro, perhaps the most notable independent concert promoter since Bill Graham Peter Shapiro is the best known and most influential concert promoter of his generation. He owned the legendary Wetlands in Tribeca and has gone on to much bigger things, including Brooklyn Bowl (NYC, Las Vegas, Philadelphia, and Nashville), the Capitol Theatre in Port Chester, producing U2 3D, and promoting the Grateful Dead&’s fiftieth-anniversary tour (&“Fare Thee Well&”) featuring the Core Four and Trey Anastasio . . . and so much more. In The Music Never Stops, Shapiro shares the inside story of how he became a power-house in the music industry—an island in an increasingly consolidated landscape of venues, ticketing, and touring—through the lens of fifty iconic concerts. Along the way, readers gain insight into what it was like to work with some of the most celebrated bands in modern music, including not just the Grateful Dead and U2, but also Bob Dylan, Phish, Dave Matthews Band, Al Green, Ms. Lauryn Hill, Jason Isbell, Preservation Hall Jazz Band, The Roots, Robert Plant, Leonard Cohen, and many more. Featuring never-before-published back-stage anecdotes, insights, and photographs of the biggest bands in the business and the concerts that later became legendary, The Music Never Stops is a perfect guide for any-one who wants to understand the modern live music industry.