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Tradition & Change Performance (Musical Performance Ser. #Vols. 2, Pts. 2.)
by TsaoFirst published in 1998. Routledge is an imprint of Taylor & Francis, an informa company.
Tradition and Creativity in Korean Taegŭm Flute Performance (SOAS Studies in Music)
by Hyelim KimTradition and Creativity in Korean Taegŭm Flute Performance describes the taegŭm as a representation of Korean culture in the contemporary world. Through the development and performance of creative works, this horizontal bamboo flute reflects both tradition and contemporary creativity. The first part of the book outlines the historical background of the taegŭm. The author illuminates the potential future of the Korean flute in a globalised world through the analyses of three musical works for taegŭm. The second part of the book draws on approaches of Practice Research within ethnomusicology and sociology to examine the ways in which the taegŭm tradition interacts with, and responds to, different genres in performance. Documenting collaborative encounters with musicians from three musical cultures: jazz, Western art and electroacoustic music, the result is an innovative exploration of the musical and social relationships between composers, performers and audiences in intercultural performances, contrasting traditional uses of the taegŭm with perspectives on its use today.
Tradition and Style in the Works of Darius Milhaud 1912-1939
by BarbaraL. KellyDescribed by Maurice Ravel as one of the most considerable talents in French music of his generation, Darius Milhaud remains a largely neglected composer. This book reappraises his contribution, focusing on the emergence of the composer's style until his Jewish background forced his exile to the United States on the eve of the World War II. The period 1912-1939 spans the crucial years that mark the development of Milhaud's mature style. It was also during this time that he published his most important writings on contemporary music and its relationship to the past. Barbara Kelly discusses the extent to which Milhaud's complex views on the idea of a French national musical heritage relate to his own practice, and considers how his works reflect the balance between innovation and tradition. Drawing comparisons with contemporaries, such as Debussy, Satie, Schoenberg, Stravinsky and Poulenc, the book argues that the rhythmic vitality of Milhaud's style and his modal approach within a polytonal context mark him out as an original and distinctive composer.
Tradition, Community, and Nationhood in Richard Wagner’s Die Meistersinger von Nürnberg (Rethinking Austrian and German Music)
by Christopher KimbellSince its premiere in 1868, Wagner’s Die Meistersinger von Nürnberg has defied repeated upheavals in the cultural-political landscape of German statehood to retain its unofficial status as the German national opera. The work’s significance as a touchstone of national culture survived even such troubling episodes as its public endorsement in 1933 as ‘the most German of all German operas’ by Joseph Goebbels or the rendition in previous years by audiences at Bayreuth of both national and Nazi-party anthems at the work’s culmination. This chequered reception history and apparent propensity for reinterpretation or reclamation has long fuelled debates over the socio-political meanings of Wagner’s musical narrative. On the question of Beckmesser, for instance, heated arguments have surrounded the existence of antisemitic stereotypes in the work as well as their possible indication of a racial-political dimension to Sachs’s restoration of Nuremberg society. Through a combination of musical-textual analysis with critical theory, this book interrogates the ideological underpinnings of Die Meistersinger’s narrative. In four interconnected studies of the characters of Walther, Sachs, Beckmesser, and Eva, the book traces a critical potential within the opera’s construction of provincial and national identities and problematizes existing discourse around its depiction of race and gender.
Traditional Country & Western Music (Images of America)
by Karl AndersonTraditional Country & Western Music presents historical photographs, memorabilia, and stories about an enduring music genre that took root in America from the late 1920s through the mid-1930s. Although many of our early folk songs originated from the British Isles, Jimmie Rodgers (the "Father of Country Music") and Gene Autry ("America's Favorite Singing Cowboy") became the foundation of modern country and western music. Many regional styles and variations of country and western music developed during the first half of the 20th century, including hillbilly, bluegrass, honky-tonk, rockabilly, southern gospel, Cajun, and Texas swing. Local artists, live radio shows, and regional barn dance programs provided entertainment throughout the Great Depression, World War II, and into America's postwar years. During the 1950s, country and western music became homogenized with the Nashville sound and the Bakersfield sound. By the end of the 1960s, country music completed its move to Nashville, and "western" was dropped from the equation. This book recalls the golden age of country and western music from the late 1920s through the 1960s. Each of the featured artists and programs in this book were once household names. We celebrate these early legends, live radio and television shows, unsung heroes, and local performers from Maine to California.
Traditional Music and Irish Society: Historical Perspectives (Ashgate Popular and Folk Music Series)
by Martin DowlingWritten from the perspective of a scholar and performer, Traditional Music and Irish Society investigates the relation of traditional music to Irish modernity. The opening chapter integrates a thorough survey of the early sources of Irish music with recent work on Irish social history in the eighteenth century to explore the question of the antiquity of the tradition and the class locations of its origins. Dowling argues in the second chapter that the formation of what is today called Irish traditional music occurred alongside the economic and political modernization of European society in the late eighteenth and early nineteenth centuries. Dowling goes on to illustrate the public discourse on music during the Irish revival in newspapers and journals from the 1880s to the First World War, also drawing on the works of Pierre Bourdieu and Jacques Lacan to place the field of music within the public sphere of nationalist politics and cultural revival in these decades. The situation of music and song in the Irish literary revival is then reflected and interpreted in the life and work of James Joyce, and Dowling includes treatment of Joyce’s short stories A Mother and The Dead and the 'Sirens' chapter of Ulysses. Dowling conducted field work with Northern Irish musicians during 2004 and 2005, and also reflects directly on his own experience performing and working with musicians and arts organizations in order to conclude with an assessment of the current state of traditional music and cultural negotiation in Northern Ireland in the second decade of the twenty-first century.
Traditional Music in Coastal Louisiana: The 1934 Lomax Recordings
by Joshua Clegg Caffery Barry Jean AnceletAlan Lomax's prolific sixty-four-year career as a folklorist and musicologist began with a trip across the South and into the heart of Louisiana's Cajun country during the height of the Great Depression. In 1934, his father John, then curator of the Library of Congress's Archive of American Folk Song, took an eighteen-year-old Alan and a 300-pound aluminum disk recorder into the rice fields of Jennings, along the waterways of New Iberia, and behind the gates of Angola State Penitentiary to collect vestiges of African American and Acadian musical tradition. These recordings now serve as the foundational document of indigenous Louisiana music. Although widely recognized by scholars as a key artifact in the understanding of American vernacular music, most of the recordings by John and Alan Lomax during their expedition across the central-southern fringe of Louisiana were never transcribed or translated, much less studied in depth. This volume presents, for the first time, a comprehensive examination of the 1934 corpus and unveils a multifaceted story of traditional song in one of the country's most culturally dynamic regions.Through his textual and comparative study of the songs contained in the Lomax collection, Joshua Clegg Caffery provides a musical history of Louisiana that extends beyond Cajun music and zydeco to the rural blues, Irish and English folk songs, play-party songs, slave spirituals, and traditional French folk songs that thrived at the time of these recordings. Intimate in its presentation of Louisiana folklife and broad in its historical scope, Traditional Music in Coastal Louisiana honors the legacy of John and Alan Lomax by retrieving these musical relics from obscurity and ensuring their understanding and appreciation for generations to come. Includes: Complete transcriptions of the 1934 Lomax field recordings in southwestern Louisiana Side-by-side translations from French to English Photographs from the 1934 field trip and biographical details about the performers
Traditional Musics in the Modern World: Transmission, Evolution, and Challenges (Landscapes: the Arts, Aesthetics, and Education #24)
by Bo-Wah LeungThis book reviews the current practices of traditional musics in various cultures of all continents, and examines the impact and significance of traditional musics in the modern world. A diverse group of experts of musicology and music education collaborate to expose the current practices and challenges of transmission and evolution of traditional musics in order to seek sustainable development, so that traditional musics can take the place they deserve in the modern world and continue to contribute to human civilization. This volume contains three main sections that include transmission of traditional musics, authenticity and evolution, as well as challenges in future. Based on the chapters, the editor proposes four major trends of transmission of traditional musics, namely, formalization, politicization, Westernization and modernization in transforming contexts.
Traditional New Orleans Jazz: Conversations with the Men Who Make the Music
by Thomas W. JacobsenAbout a century after its beginnings, traditional jazz remains the definitive music of New Orleans and an international hallmark of the city. The enduring sound and boundless energy of this American art form have produced a long list of jazz legends. From Lionel Ferbos -- the city's oldest working jazz musician -- to Grammy winner Irvin Mayfield, the musical heritage of traditional jazz lives on through each player's passion. In Traditional New Orleans Jazz, veteran jazz journalist Thomas Jacobsen discusses that legacy with Ferbos, Mayfield, and a who's who of the present-day scene's "trad jazz" players.Through intimate conversations with jazz veterans and up-and-coming talent, Jacobsen elicits honest, witty, and sometimes comedic discussions that reveal a strong mutual devotion to do one thing -- compose and play music inspired by the Crescent City's earliest jazz musicians.Traditional New Orleans Jazz presents local perspectives on what has become an international language with interviews from Lucien Barbarin, Evan Christopher, Duke Heitger, Leroy Jones, Dr. Michael White, and many more.Jacobsen also notes the stewardship of traditional jazz means more than making music. Its longevity relies on teaching and innovation, furthering the inextricable ties between the music and the men who make it. Traditional New Orleans jazz is a culture of its own, and the players in this remarkable volume are its native speakers.
Traditions, Institutions, and American Popular Tradition: A special issue of the journal Contemporary Music Review
by Peter Nelson Nigel OsborneFirst Published in 2000. Routledge is an imprint of Taylor & Francis, an informa company.
Trailblazers: Queen of the Spotlight (Trailblazers)
by Ebony Joy WilkinsMeet history's game changers! This biography series is for kids who loved Who Was? and are ready for the next level.Beyoncé Knowles became famous as the lead singer of the popular group Destiny's Child. But on her own, she's had even bigger hits. From movies to Grammy Awards to performing at the Super Bowl halftime show, Beyoncé is one of the world's most amazing superstars. Find out how the girl who entered local singing competitions became one of history's greatest trailblazers!Trailblazers is a biography series that celebrates the lives of amazing pioneers, past and present, from all over the world.
Training Tenor Voices
by Richard MillerThis text presents a combination of historical and pedagogical information on how tenors sing. It emphasizes the special nature of the tenor voice and the proper physiological function leading to the establishment of vocal proficiency.
Trans-atlantic Passages
by Jon Ceander MitchellPhilip Hale (1854-1934) helped put Boston on the Transatlantic map through his music writing. He was one of the most frequently read American writers of the late nineteenth and early twentieth centuries. In Trans-Atlantic Passages: Philip Hale on the Boston Symphony Orchestra 1889-1933 John Ceander Mitchell reconstructs Hale's oeuvre to produce an authoritative account of the role the Boston Symphony played in the international world of nineteenth- and early twentieth-century music.
TransElectric: My Life as a Cosmic Rock Star
by Cidny Bullens Sir Elton JohnFrom the depths of the '70s rock 'n' roll excesses through unimaginable personal losses to an inspiring late-life transformation, Cidny Bullens's story is an utterly compelling journey about living and singing with your authentic voice. An androgynous gender-bending musician from the get-go, Bullens toured extensively with Sir Elton John and performed with Bob Dylan, undergoing a complete immersion in the drug-fueled excesses of 1970s rock 'n' roll. Despite getting sober, climbing the charts with the Grammy-nominated Survivor, as well as a Grammy nomination for his lead vocals in the soundtrack for the movie Grease, Bullens was unable to break out as a solo star in a world that allowed its artists to cross the gender line, but had much more narrow expectations about how women could behave and perform. Retreating into the conventional lifestyle of a suburban mom, Bullens felt like she was living in an alternate universe. Then whatever world she had was shattered by the tragic death of her younger daughter from cancer. Out of the ashes of despair, Bullens brought forth an award-winning album, Somewhere Between Heaven and Earth, that relaunched the musician's career. Finally, nine years ago, Cidny claimed his own healing and transitioned from female to male—finding unexpected love, becoming a new stepfather and a grandfather.What he found, too, was his true voice and true power as a performer.
Transatlantic Roots Music: Folk, Blues, and National Identities (American Made Music Series)
by Jill Terry and Neil A. WynnThis book presents a collection of essays on the debates about origins, authenticity, and identity in folk and blues music. The essays had their origins in an international conference on the Transatlantic routes of American roots music, out of which emerged common themes and questions of origins and authenticity in folk music, black and white, American and British. The central theme is musical influences, but issues of identity—national, local, and racial—are also recurring subjects. The extent to which these identities were invented, imagined, or constructed by the performers, or by those who recorded their work for posterity, is also a prominent concern and questions of racial identity are particularly central. The book features a new essay on the blues by Paul Oliver alongside an essay on Oliver's seminal blues scholarship. There are also several essays on British blues and the links between performers and styles in the United States and Britain and new essays on critical figures such as Alan Lomax and Woody Guthrie. This volume uniquely offers perspectives from both sides of the Atlantic on the connections and interplay of influences in roots music and the debates about these subjects drawing on the work of eminent established scholars and emerging young academics who are already making a contribution to the field. Throughout, the contributors offer the most recent scholarship available on key issues.
Transcultural Jazz: Israeli Musicians and Multi-Local Music Making
by Noam LemishTranscultural Jazz: Israeli Musicians and Multi-Local Music Making studies jazz performance and composition through the examination of the transcultural practices of Israeli jazz musicians and their impact globally. An impressive number of Israeli jazz performers have received widespread exposure and worldwide acclaim, creating music that melds aspects of American jazz with an array of Israeli, Jewish and Middle Eastern influences and other non-Western musical traditions. While each musician is developing their own approach to musical transculturation, common threads connect them all. Unraveling and analyzing these entangled sounds and related discourses lies at the center of this study. This book provides broad insight into the nature, role and politics of transcultural music making in contemporary jazz practice. Focusing on a particular group of Israeli musicians to enhance knowledge of modern Israeli society, culture, discourses and practices, the research and analyses presented in this book are based on extensive fieldwork in multiple sites in the United States and Israel, and interviews with musicians, educators, journalists, producers and scholars. Transcultural Jazz is an engaging read for students and scholars from diverse fields such as: jazz studies, ethnomusicology, Jewish studies, Israel studies and transnational studies.
Transfigured New York: Interviews with Experimental Artists and Musicians, 1980-1990 (Columbiana)
by Brooke WentzTransfigured New York presents conversations with iconic, genre-bending artists who shaped the sounds of experimental movements like no wave, avant-jazz, and electronic music. As an undergrad in the 1980s, Brooke Wentz hosted the show Transfigured Night on Columbia University’s WKCR-FM, discussing art and ideas with avant-garde music luminaries. She unearths these candid interviews—heard before only when first broadcast—from cassettes and reel-to-reel tapes, letting readers today feel the excitement and creative energy of the 1980s New York underground scene.Musicians and artists, now icons of their craft, tell their stories and share their thoughts about the creative process, capturing the ambition and energy that animated their work. Legends in the making like Bill Frisell, Philip Glass, and Laurie Anderson convey what it was like to be a struggling artist in 1980s New York, when the city was alive with possibilities. Others who were well known at the time, including John Cage, La Monte Young, and Ravi Shankar, advocate for their distinctive ideas about art and open up about their creative lives.Featuring an astonishing range of interviewees—Morton Subotnick, Joan Tower, Steve Reich, Glenn Branca, Joan La Barbara, Living Colour, Arthur Russell, John Lurie, Eric Bogosian, Bill T. Jones, and many more—Transfigured New York provides new insight into the city’s cultural landscape in this era. It is a one-of-a-kind account of one of the most exhilarating and inventive periods for art and culture in New York City’s history.
Transformational Music Teaching
by Edna B. Chun George S.T. ChuDesigned as a practical resource, this book examines transformational and inclusive approaches to the teaching of music at the postsecondary level based on first-person interviews with renowned musicians and their students. At the heart of the study are musical/artistic perspectives and pedagogical approaches from leading artists and the insights of their students on the impact of the teaching and mentoring process. Through case studies with renowned musicians and their protégés, the book identifies common themes in teaching and mentoring across classical and jazz performance. Each case study is a master class with the artist that offers insight into the evolution of the individual’s musical career, their approach to teaching, and specific strategies for navigating the complexities of the music business environment. With remarkable candor, artists and their protégés share how they navigated significant obstacles in their career journeys. Including overcoming performance anxiety, disability and injury, lack of financial support, difficulty obtaining an agent and recording contracts, country location and stereotypes based on gender and nationality. The book serves as an important resource for music educators by offering concrete approaches to mentoring talented students, while also sharing specific strategies for aspiring professional musicians seeking to forge a career in a highly competitive musical market.
Transformer: A Story of Glitter, Glam Rock, and Loving Lou Reed
by Simon DoonanSimon Doonan’s memoir pays homage to Lou Reed’s groundbreaking glam rock album Transformer, recalling its influence on his coming of age and coming out.In November 1972, Lou Reed released Transformer because it was “dreary for gay people to have to listen to straight people’s love songs.” That same year, Sweden was the first country to legalize gender-affirming surgery, and San Francisco struck down employment discrimination based on sexual orientation.Sometimes an artistic creation perfectly aligns with a broader social and political history, and Transformer—with the songs “Walk on the Wild Side,” “Perfect Day,” and “Vicious”—perfectly captured its time. “Walk on the Wild Side” was banned on radio but became a massive hit when young people threatened to boycott stations that would not play it. The album’s cover depcited Lou in high-contrast, flaunting a new mascara’d glam rock incarnation, shot by legend Mick Rock, underscoring his intention to create “a gay album.”This is the story of how Lou Reed came to make Transformer with the help of David Bowie, placing its creation within the course of Reed’s life. Offering first-hand testimony of the album’s impact on the LGBTQ+ community, Simon Doonan shares how it transformed his own life as a 20-year-old working class kid from Reading, England, who had just discovered the joys of London Glam Rock and was sparked by the artistic freedom of Warhol’s The Factory. Transformer was a revelation—hearing Reed’s songs, Doonan understood how the world was changing for him and his friends.A poignant, personal addition to modern music and LGBTQ+ history, Transformer captures a pivotal moment when those long silenced were finally given a voice.
Transforming Performance Anxiety Treatment: Using Cognitive Hypnotherapy and EMDR (Routledge Focus on Mental Health)
by Elizabeth BrookerTransforming Performance Anxiety Treatment: Using Cognitive Hypnotherapy and EMDR offers a much needed and different approach to this issue, using two psychodynamic therapies which work to bring about rapid and long-lasting change. Using nine reflexive case studies, the author examines two little used interventions, cognitive hypnotherapy (CH) and eye movement desensitisation and reprocessing (EMDR). The basic theories of cognitive anxiety and the emotions that underpin this condition are explored. The principles and protocols of CH and EMDR are explained, and how these psychodynamic therapies are adapted to effect permanent change. The first book to examine these treatments for this condition, Transforming Performance Anxiety Treatment will be of interest for practitioners and therapists in training, as well as educators, professionals, and therapists working within competitive sports.
Transformismo: Performing Trans/Queer Cuba
by M. Myrta Leslie SantanaIn Transformismo, M. Myrta Leslie Santana draws on years of embedded research within Cuban trans/queer communities to analyze how transformistas, or drag performers, understand their roles in the social transformation of the island. Once banned and censored in Cuba, drag performance is now a state-sponsored event. Transformismo suggests that these performances make critical interventions in Cuban trans/queer life and politics and in doing so, the volume offers critical insight into how Cuba’s postsocialist reform has exacerbated racial, sexual, and economic inequalities. Leslie Santana argues that mainstream trans/queer nightlife in Cuba is entangled with the island’s tourism economy and has shaped the aesthetics and social makeup of transformismo in coastal Havana, which largely caters to foreigners. Leslie Santana considers how Black lesbian and transgender transformistas are expanding understandings of sexual selfhood and politics on the island, particularly questioning the ways that Black women’s creativity is prominently featured in the aesthetics of tourism and trans/queer nightlife, while Black women themselves are denied social and material capital.
Transnational Flamenco: Exchange and the Individual in British and Spanish Flamenco Culture (Leisure Studies in a Global Era)
by Tenley MartinThis book provides insight into how flamenco travels, the forms it assumes in new locales, and the reciprocal effects on the original scene. Utilising a postnational approach to cultural identity, Martin explores the role of non-native culture brokers in cultural transmission. This concept, referred to as ‘cosmopolitan human hubs’, builds on Kiwan and Meinhof’s ‘hubs’ theory of network migration to move cultural migration and globalisation studies forwards. Martin outlines a post-globalisation flamenco culture through analysis of ethnographic research carried out in the UK, Sevilla and Madrid. Insight into these glocal scenes characterises flamenco as a historically globalized art complex, represented in various hubs around the world. This alternative approach to music migration and globalisation studies will be of interest to students and scholars across leisure studies, musicology, sociology and anthropology.
Trauma and Resilience in Music Education: Haunted Melodies
by Juliet Hess Deborah BradleyTrauma and Resilience in Music Education: Haunted Melodies considers the effects of trauma on both teachers and students in the music class- room, exploring music as a means for working through traumatic expe- riences and the role music education plays in trauma studies. The volume acknowledges the ubiquity of trauma in our society and its long-term deleterious effects while showcasing the singular ways music can serve as a support for those who struggle. In twelve contributed essays, authors examine theoretical perspectives and personal and societal traumas, providing a foundation for thinking about their implications in music education. Topics covered include: Philosophical, psychological, sociological, empirical, and narrative perspectives of trauma and resilience. How trauma-informed education practices might provide guidelines for music educators in schools and other settings Interrogations of how music and music education may be a source of trauma Distinguishing itself from other subjects—even the other arts—music may provide clues to the recovery of traumatic memory and act as a tool for releasing emotions and calming stresses. Trauma and Resilience in Music Education witnesses music’s unique abilities to reach people of all ages and empower them to process traumatic experiences, providing a vital resource for music educators and researchers.
Trauma-Informed Pedagogy and the Post-Secondary Music Class (Modern Musicology and the College Classroom)
by Kimber Andrews Kristy SwiftTrauma-Informed Pedagogy and the Post-Secondary Music Class explores the theory and practice of teaching and learning in a traumatized world and aims to support instructors in guiding students and walking with them through challenges that impact learning. With analysis contextualized within definitions of trauma, critical theoretical trauma studies, and clinical understandings of the causes and effects of trauma on the brain and nervous system, the book offers ways to empower faculty and students to build classrooms where it is safe enough to address the stress and trauma of learning. Bringing together a unique multidisciplinary group of contributors, this book includes perspectives from both music faculty and mental health counseling specialists.The volume engages music scholars and educators in higher education with scholarship on trauma-informed pedagogy, provides examples of how to introduce trauma-informed practices into music courses, explores how trauma-informed practices can increase both faculty and student well-being, and offers practical materials such as syllabi and assignments that instructors can implement in their classes. Reaching across disciplinary boundaries to contribute to an emerging body of research, teaching, and learning, this is a vital collection for educators across music higher education.