- Table View
- List View
Handel’s Messiah: The Creative Process
by Amanda BabingtonThe soundtrack of the Christmas season for many music lovers, Messiah is performed annually by choral societies across the world. And so, perhaps unsurprisingly, many aspects of it have been explored by scholars over the years. The work is the subject of several listeners’ guides and there are a number of books and articles of various lengths that describe the biographical circumstances of the work’s formation and details of its many performances, many including lists of singers for each performance (an area that has itself spawned a whole field of research).There has been no extensive study of the creative process of Messiah, however, since 1969. This book seeks to redress this imbalance by providing a thorough investigation of the work’s creative process. Beginning with the creative process of the libretto, it examines the earliest sketches, Handel’s use of pre-existent material, alterations made to the autograph score, and the latest versions of movements. Each stage of composition is examined via primary source material, with particular reference to the autograph score and conducting score. Each chapter is formed as a case study and contains related discussion points for use in teaching or study settings.
Handel’s Messiah: The Creative Process
by Amanda BabingtonThe soundtrack of the Christmas season for many music lovers, Messiah is performed annually by choral societies across the world. And so, perhaps unsurprisingly, many aspects of it have been explored by scholars over the years. The work is the subject of several listeners’ guides and there are a number of books and articles of various lengths that describe the biographical circumstances of the work’s formation and details of its many performances, many including lists of singers for each performance (an area that has itself spawned a whole field of research).There has been no extensive study of the creative process of Messiah, however, since 1969. This book seeks to redress this imbalance by providing a thorough investigation of the work’s creative process. Beginning with the creative process of the libretto, it examines the earliest sketches, Handel’s use of pre-existent material, alterations made to the autograph score, and the latest versions of movements. Each stage of composition is examined via primary source material, with particular reference to the autograph score and conducting score. Each chapter is formed as a case study and contains related discussion points for use in teaching or study settings.
How to Make Music in an Epidemic: Popular Music Making During the AIDS Crisis, 1981-1996 (ISSN)
by Matthew JonesThis volume examines responses to the epidemic of HIV/AIDS in Anglophone popular musicians and music video during the AIDS crisis (1981–1996).Through close reading of song lyrics, musical texts, and music videos, this book demonstrates how music played an integral part in the artistic-activist response to the AIDS epidemic, demonstrating music as a way to raise money for HIV/AIDS services, to articulate affective responses to the epidemic, to disseminate public health messages, to talk back to power, and to bear witness to the losses of AIDS.Drawing methodologies from musicology, queer theory, critical race studies, public health, and critical theory, the book will be of interest to a wide readership, including artists, activists, musicians, historians, and other scholars across the humanities as well as to people who lived through the AIDS crisis.
How to Make Music in an Epidemic: Popular Music Making During the AIDS Crisis, 1981-1996 (ISSN)
by Matthew JonesThis volume examines responses to the epidemic of HIV/AIDS in Anglophone popular musicians and music video during the AIDS crisis (1981–1996).Through close reading of song lyrics, musical texts, and music videos, this book demonstrates how music played an integral part in the artistic-activist response to the AIDS epidemic, demonstrating music as a way to raise money for HIV/AIDS services, to articulate affective responses to the epidemic, to disseminate public health messages, to talk back to power, and to bear witness to the losses of AIDS.Drawing methodologies from musicology, queer theory, critical race studies, public health, and critical theory, the book will be of interest to a wide readership, including artists, activists, musicians, historians, and other scholars across the humanities as well as to people who lived through the AIDS crisis.
Freddie Mercury Lines to Live By: Break free with the fabulous insights of a music icon
by Pop Press‘I always knew I was a star. And now, the rest of the world seems to agree with me.’Freddie Mercury was one of biggest icons of the 20th century and his voice, fashion-sense and confidence have been an inspiration to generations.As the lead singer of Queen, Freddie gave the world unforgettable tunes and outrageously stylish music videos. He has inspired generations to know that you should always be proud of who you are.Featuring all of his most-precious wisdom on friendship, creativity, self-belief and love, this collection of quotes will help you feel empowered every time that you feel ‘under pressure’.
Pop Song Piracy: Disobedient Music Distribution since 1929
by Barry KernfeldThe music industry’s ongoing battle against digital piracy is just the latest skirmish in a long conflict over who has the right to distribute music. Starting with music publishers’ efforts to stamp out bootleg compilations of lyric sheets in 1929, Barry Kernfeld’s Pop Song Piracy details nearly a century of disobedient music distribution from song sheets to MP3s. In the 1940s and ’50s, Kernfeld reveals, song sheets were succeeded by fake books, unofficial volumes of melodies and lyrics for popular songs that were a key tool for musicians. Music publishers attempted to wipe out fake books, but after their efforts proved unsuccessful they published their own. Pop Song Piracy shows that this pattern of disobedience, prohibition, and assimilation recurred in each conflict over unauthorized music distribution, from European pirate radio stations to bootlegged live shows. Beneath this pattern, Kernfeld argues, there exists a complex give and take between distribution methods that merely copy existing songs (such as counterfeit CDs) and ones that transform songs into new products (such as file sharing). Ultimately, he contends, it was the music industry’s persistent lagging behind in creating innovative products that led to the very piracy it sought to eliminate.
J. S. Bach: The Organ Works
by George B. StaufferIn the obituary that appeared soon after his death, Johann Sebastian Bach was described as "the world-famous organist" and "the greatest organist...we have ever had." In Hamburg, Dresden, and other big cities, Bach dazzled audiences with his organ playing, performing passages with his feet that many thought impossible for the hands. One eyewitness declared that he had never seen anything like it. His extant organ works--more than 250 chorale settings and free pieces--are filled with bold, dramatic passages and fully independent pedal parts. They represent the most important body of music in the organ repertoire and the only genre that Bach turned to continuously throughout his life, from his earliest efforts as a teenager in Ohrdruf to his final deathbed revisions as a cantor in Leipzig. In this new survey, leading musicologist George B. Stauffer traces the evolution of Bach's organ works within the broad spectrum of his development as a composer. With detailed discussions of the individual pieces, the book shows how Bach initially drew on contemporary models from Germany and France before evolving a personal idiom based on the concertos of Antonio Vivaldi. In Leipzig, he went still further, synthesizing national and historical styles to produce cosmopolitan masterpieces that exude sophistication and elegance. Serving as a backdrop to this growth was the emergence of the Central German pre-Romantic organ, which inspired Bach to write pieces with unique chamber-music, choral, and orchestral qualities. Stauffer follows these developments step-by-step, showing how Bach's unending quest for novelty, innovation, and refinement resulted in organ works that continue to reward and awe listeners today.
J. S. Bach: The Organ Works
by George B. StaufferIn the obituary that appeared soon after his death, Johann Sebastian Bach was described as "the world-famous organist" and "the greatest organist...we have ever had." In Hamburg, Dresden, and other big cities, Bach dazzled audiences with his organ playing, performing passages with his feet that many thought impossible for the hands. One eyewitness declared that he had never seen anything like it. His extant organ works--more than 250 chorale settings and free pieces--are filled with bold, dramatic passages and fully independent pedal parts. They represent the most important body of music in the organ repertoire and the only genre that Bach turned to continuously throughout his life, from his earliest efforts as a teenager in Ohrdruf to his final deathbed revisions as a cantor in Leipzig. In this new survey, leading musicologist George B. Stauffer traces the evolution of Bach's organ works within the broad spectrum of his development as a composer. With detailed discussions of the individual pieces, the book shows how Bach initially drew on contemporary models from Germany and France before evolving a personal idiom based on the concertos of Antonio Vivaldi. In Leipzig, he went still further, synthesizing national and historical styles to produce cosmopolitan masterpieces that exude sophistication and elegance. Serving as a backdrop to this growth was the emergence of the Central German pre-Romantic organ, which inspired Bach to write pieces with unique chamber-music, choral, and orchestral qualities. Stauffer follows these developments step-by-step, showing how Bach's unending quest for novelty, innovation, and refinement resulted in organ works that continue to reward and awe listeners today.
Hearing Double: Jazz, Ontology, Auditory Culture
by Brian KaneWhen we talk about a jazz "standard" we usually mean one of the many songs that jazz musicians repeatedly play as part of their core repertoire. But unlike musical works in the tradition of so-called classical music, standards--whether plucked from the "Great American Songbook" or from recordings by other jazz musicians--are always being transformed in performance. They are rearranged and improvised upon, given new chords and altered melodies. These transformations might be small and seemingly unimportant, or they might be radical revisions. Which raises the question: across all of these various performances, what gives a standard its identity? In Hearing Double author Brian Kane answers that question by offering a new theory of musical works that can account for the unique challenges presented by standards. Building from the bottom up--from the actual practices of jazz musicians toward their philosophical implications--he gives a comprehensive theory of how a standard can undergo radical musical transformations yet remain identifiable. Through an analysis of the historical and cultural conditions under which standards came to prominence he shows how popular music from the 1930s to the 1960s was circulated and distributed and provides new insight into why the era of the standard emerged when it did. In addition, Kane addresses the aesthetic significance of standards and describes a special mode of listening that standards require. According to Kane, we effectively "hear double"--hearing an ideal song in our minds at the same time as we hear the live performance with our ears. Filled with case studies and music analysis, Hearing Double will draw the reader's attention to unheard aspects of jazz performance as well as unrecognized philosophical, social, and cultural dimensions of the jazz repertoire.
Hearing Double: Jazz, Ontology, Auditory Culture
by Brian KaneWhen we talk about a jazz "standard" we usually mean one of the many songs that jazz musicians repeatedly play as part of their core repertoire. But unlike musical works in the tradition of so-called classical music, standards--whether plucked from the "Great American Songbook" or from recordings by other jazz musicians--are always being transformed in performance. They are rearranged and improvised upon, given new chords and altered melodies. These transformations might be small and seemingly unimportant, or they might be radical revisions. Which raises the question: across all of these various performances, what gives a standard its identity? In Hearing Double author Brian Kane answers that question by offering a new theory of musical works that can account for the unique challenges presented by standards. Building from the bottom up--from the actual practices of jazz musicians toward their philosophical implications--he gives a comprehensive theory of how a standard can undergo radical musical transformations yet remain identifiable. Through an analysis of the historical and cultural conditions under which standards came to prominence he shows how popular music from the 1930s to the 1960s was circulated and distributed and provides new insight into why the era of the standard emerged when it did. In addition, Kane addresses the aesthetic significance of standards and describes a special mode of listening that standards require. According to Kane, we effectively "hear double"--hearing an ideal song in our minds at the same time as we hear the live performance with our ears. Filled with case studies and music analysis, Hearing Double will draw the reader's attention to unheard aspects of jazz performance as well as unrecognized philosophical, social, and cultural dimensions of the jazz repertoire.
Insurgent Fandom: An Ethnography of Crowds and Unruly Sounds
by Max JackInsurgent Fandom offers a behind-the-scenes look at a transnational subculture known to few--ultra. As the most dedicated soccer fans, ultras support their team through collective singing, jumping, flag-waving, and lighting marine flares. While some characterize ultras as hooligans, author Max Jack argues that ultras' performative style of support is in part a protest informed by the ultras' constant friction with the state, the mainstream media, and the commercial priorities of sports' governing bodies. Because of this conflict with authority, fandom for ultras takes on a collective social life in which the game on the field often becomes a secondary concern. With political implications extending past the realm of sports, ultras have even become key actors in some of the most significant mass protests of the 21st century-including those in Cairo (2011), Istanbul (2013), and Kiev (2013). Insurgent Fandom embraces this politic of dissent at the heart of crowd action and casts a light on stadia as a breeding ground for alternative social and political possibilities.
The Oxford Handbook of Video Game Music and Sound (Oxford Handbooks)
The music and sounds of video games have become an inescapable part of our world. Not only do these sonic elements profoundly shape the experiences of billions of players every day, but also the soundscapes of games have stretched out from our living rooms to encompass spaces as diverse as pinball arcades, concert halls, museums, and classrooms across the globe. Research on game music and sound is equally diverse-a vibrant, innovative, and multifaceted field that incorporates approaches from media studies, musicology, sound studies, music theory, psychology, and more. Drawing on the expertise of leading scholars and practitioners from around the globe, The Oxford Handbook of Video Game Music and Sound features nearly 50 chapters on topics ranging from the earliest pinball machines to the latest in virtual reality technology. The resulting volume provides both a comprehensive introduction to the study of game audio and an indispensable resource for experts.
Insurgent Fandom: An Ethnography of Crowds and Unruly Sounds
by Max JackInsurgent Fandom offers a behind-the-scenes look at a transnational subculture known to few--ultra. As the most dedicated soccer fans, ultras support their team through collective singing, jumping, flag-waving, and lighting marine flares. While some characterize ultras as hooligans, author Max Jack argues that ultras' performative style of support is in part a protest informed by the ultras' constant friction with the state, the mainstream media, and the commercial priorities of sports' governing bodies. Because of this conflict with authority, fandom for ultras takes on a collective social life in which the game on the field often becomes a secondary concern. With political implications extending past the realm of sports, ultras have even become key actors in some of the most significant mass protests of the 21st century-including those in Cairo (2011), Istanbul (2013), and Kiev (2013). Insurgent Fandom embraces this politic of dissent at the heart of crowd action and casts a light on stadia as a breeding ground for alternative social and political possibilities.
The Reminiscences and Selected Criticism of Herbert Thompson (Clemson University Press w/ LUP)
by Michael Allis and Paul WattHerbert Thompson (1856-1945) was chief music critic at The Yorkshire Post from 1886 until 1936, as well as being the Yorkshire correspondent for the Musical Times. This volume includes a critical edition of his Reminiscences, and a substantial selection of his published music criticism. Thompson offers a fascinating commentary on the nature of music criticism and the value of programme notes, along with his views on a plethora of composers (including J. S. Bach, Brahms, Mendelssohn, Meyerbeer, Stanford, Sullivan, and Wagner), performers (such as Leonard Borwick, Joachim, Clara Schumann, and Sivori, plus a range of operatic and concert vocalists), and conductors (Buths, Costa, Nikisch, Richter, von Bülow, amongst others). In addition to charting his concert-going in London (with reference to institutions such as the Philharmonic Society, the Bach Choir and the Crystal Palace concerts) and documenting a range of performance timings, Thompson also discusses programming at provincial festivals (including Bridlington, Gloucester and Hovingham, but especially Leeds) and the variety of music-making in Yorkshire. Not only does Thompson highlight the rich detail of British musical life, but his description of his musical tour of Europe in 1889 represents a significant contribution to nineteenth-century travel writing and the nature of music-making abroad.
The Oxford Handbook of Video Game Music and Sound (Oxford Handbooks)
by William Gibbons and Mark Grimshaw-AagaardThe music and sounds of video games have become an inescapable part of our world. Not only do these sonic elements profoundly shape the experiences of billions of players every day, but also the soundscapes of games have stretched out from our living rooms to encompass spaces as diverse as pinball arcades, concert halls, museums, and classrooms across the globe. Research on game music and sound is equally diverse-a vibrant, innovative, and multifaceted field that incorporates approaches from media studies, musicology, sound studies, music theory, psychology, and more. Drawing on the expertise of leading scholars and practitioners from around the globe, The Oxford Handbook of Video Game Music and Sound features nearly 50 chapters on topics ranging from the earliest pinball machines to the latest in virtual reality technology. The resulting volume provides both a comprehensive introduction to the study of game audio and an indispensable resource for experts.
A Family Guide to Parenting Musically
by Lisa Huisman KoopsA Family Guide to Parenting Musically is for families who want to make music a more meaningful part of their daily life. It is full of creative ideas about how to engage in musical parenting (doing things to help your child grow musically) as well as parenting musically (using music to achieve parenting goals). Designed for parents, grandparents, caregivers, and friends, this book breaks down activities by age bracket and by various scenarios. Seventy activities offer specific ways to explore the ideas at the core of this book: that all humans are musical, that music can make an important difference in family life, and that there are many ways to be musical. Based on two decades of Lisa Huisman Koops's research and teaching with families, as well as mothering her own four children, A Family Guide to Parenting Musically provides developmental information and research-based discussions in a clear and engaging way. The companion website features author-recorded audio examples of songs, chants, and activities as well as links to Koops's popular Parenting Musically podcast, which provide an ongoing resource to further explore the ideas in this book. The book also includes tips from podcast interviewees, such as Ziggy Marley and Maggie Baird (mother to Billie Eilish and FINNEAS).
Closer than Ever: The Unique Six-Decade Songwriting Partnership of Richard Maltby Jr. and David Shire (Broadway Legacies)
by Joshua RosenblumHow do musical theater songs actually get written? What enables some composer and lyricist partnerships to last for decades? Composer David Shire and lyricist Richard Maltby, Jr., two of the most gifted songwriters of our time, are revered among musical theater lovers for their ground-breaking off-Broadway revues Starting Here, Starting Now and Closer Than Ever, as well as for the Broadway musicals Baby and Big. Rosenblum sets out to increase appreciation for Maltby and Shire's large and impressive body of work and establish their place in musical theater history. This book chronicles their sixty-six-year (and counting) partnership, giving full behind-the-scenes accounts of their musicals, interspersed with deep-dive analyses of standout individual numbers. Other well-known artistic figures who feature prominently in the Maltby/Shire story include Stephen Sondheim, Hal Prince, Michael Stewart, Francis Ford Coppola, Craig Lucas, Mike Ockrent, Susan Stroman, John Weidman, Charles Strouse, Garth Drabinsky, Adam Gopnik, Jason Robert Brown, and Jonathan Tunick. Using his experiences as a Broadway conductor, music journalist, and professor of musical theater composition, as well as his long-term personal and professional acquaintance with both Maltby and Shire, Joshua Rosenblum is uniquely suited to chronicle their lives, careers, and creative output. The songwriters, both of whom are engaging and articulate in describing what they do, are quoted liberally throughout the book in exclusive interviews, creating the impression that one is spending time with two inspiring creative artists who happen to be great company.
Acoustics of Empire: Sound, Media, and Power in the Long Nineteenth Century
Music and sound studies have increasingly turned their attention to questions of empire and postcolonial thought in recent years, raising new questions about the forms and circulation of cultural, technological, political, and military power as manifest in and through sound. However, most of this scholarship has focused on the twentieth and twenty-first centuries. Conversely, sound and media studies have made nineteenth-century histories of science and technology a central part of their canonical repertoire, but largely overlooked the ways in which these technological developments emerged from contexts of empire. Acoustics of Empire provides a cultural history of global acoustics in the Age of Empire. Examining histories of sound, listening practices, and audiovisual technologies of the long nineteenth century through the lens of geopolitical power, the authors recover a sonic history that is irrefutably entangled with questions of imperial power and colonial rule. This volume brings together historians, musicologists, anthropologists, and literary scholars to consider topics ranging from Indian music treatises and vocal practices in Brazil to Egyptian traffic noises and stethoscopes-as-props in South Africa. Across its chapters more broadly, it also draws attention to a period when Euro-American academic disciplines like musicology and linguistics were created, shaped by the imperial contexts in which they emerged. These intertwined legacies of sound and power are not simply historical curiosities; rather, they stand as formative influences in cultural modernity and its discontents that continue to shape the ways we hear and experience the world today.
Music and Cosmopolitanism: Rio de Janeiro at the Turn of the 20th Century (Currents in Latin American and Iberian Music)
by Cristina MagaldiMusic and Cosmopolitanism is a musical portrait of a city-Rio de Janeiro. Award-winning author Cristina Magaldi takes readers on an auditory tour through the city's early post-Imperial years, a period of crucial transition, as she surveys the city's variegated 'soundscape.' With visits to opera theaters and dance halls, and from symphony concerts to the cabaret, music halls, and the street, Magaldi moves through a gamut of musical expressions in Rio de Janeiro during these critical years of change. Her investigations demonstrate that the city's musical practices were articulated within a cosmopolitan context shared by residents in cities in the Americas and Europe, as she examines the musical and cultural interactions that resulted from early processes of urbanization, globalization, and the circulation of technology and information into and out of the Brazilian capital. While Rio de Janeiro's particular geography, urban spaces, and specific social and ethnic interactions all played roles in characterizing unique local musical practices, Music and Cosmopolitanism focuses on how these practices were linked to and fueled by the circulation of music on the international stage. To understand music and performance as part of a larger system of human connections and disconnections that are always in motion, this book offers a story of musical Rio de Janeiro that was built as much as, or perhaps more so, from the outside in than from within its socio-historical and cultural contexts - a city that grew to become one place containing many worlds.
Closer than Ever: The Unique Six-Decade Songwriting Partnership of Richard Maltby Jr. and David Shire (Broadway Legacies)
by Joshua RosenblumHow do musical theater songs actually get written? What enables some composer and lyricist partnerships to last for decades? Composer David Shire and lyricist Richard Maltby, Jr., two of the most gifted songwriters of our time, are revered among musical theater lovers for their ground-breaking off-Broadway revues Starting Here, Starting Now and Closer Than Ever, as well as for the Broadway musicals Baby and Big. Rosenblum sets out to increase appreciation for Maltby and Shire's large and impressive body of work and establish their place in musical theater history. This book chronicles their sixty-six-year (and counting) partnership, giving full behind-the-scenes accounts of their musicals, interspersed with deep-dive analyses of standout individual numbers. Other well-known artistic figures who feature prominently in the Maltby/Shire story include Stephen Sondheim, Hal Prince, Michael Stewart, Francis Ford Coppola, Craig Lucas, Mike Ockrent, Susan Stroman, John Weidman, Charles Strouse, Garth Drabinsky, Adam Gopnik, Jason Robert Brown, and Jonathan Tunick. Using his experiences as a Broadway conductor, music journalist, and professor of musical theater composition, as well as his long-term personal and professional acquaintance with both Maltby and Shire, Joshua Rosenblum is uniquely suited to chronicle their lives, careers, and creative output. The songwriters, both of whom are engaging and articulate in describing what they do, are quoted liberally throughout the book in exclusive interviews, creating the impression that one is spending time with two inspiring creative artists who happen to be great company.
Acoustics of Empire: Sound, Media, and Power in the Long Nineteenth Century
by Peter Mcmurray and Priyasha MukhopadhyayMusic and sound studies have increasingly turned their attention to questions of empire and postcolonial thought in recent years, raising new questions about the forms and circulation of cultural, technological, political, and military power as manifest in and through sound. However, most of this scholarship has focused on the twentieth and twenty-first centuries. Conversely, sound and media studies have made nineteenth-century histories of science and technology a central part of their canonical repertoire, but largely overlooked the ways in which these technological developments emerged from contexts of empire. Acoustics of Empire provides a cultural history of global acoustics in the Age of Empire. Examining histories of sound, listening practices, and audiovisual technologies of the long nineteenth century through the lens of geopolitical power, the authors recover a sonic history that is irrefutably entangled with questions of imperial power and colonial rule. This volume brings together historians, musicologists, anthropologists, and literary scholars to consider topics ranging from Indian music treatises and vocal practices in Brazil to Egyptian traffic noises and stethoscopes-as-props in South Africa. Across its chapters more broadly, it also draws attention to a period when Euro-American academic disciplines like musicology and linguistics were created, shaped by the imperial contexts in which they emerged. These intertwined legacies of sound and power are not simply historical curiosities; rather, they stand as formative influences in cultural modernity and its discontents that continue to shape the ways we hear and experience the world today.
Music and Cosmopolitanism: Rio de Janeiro at the Turn of the 20th Century (Currents in Latin American and Iberian Music)
by Cristina MagaldiMusic and Cosmopolitanism is a musical portrait of a city-Rio de Janeiro. Award-winning author Cristina Magaldi takes readers on an auditory tour through the city's early post-Imperial years, a period of crucial transition, as she surveys the city's variegated 'soundscape.' With visits to opera theaters and dance halls, and from symphony concerts to the cabaret, music halls, and the street, Magaldi moves through a gamut of musical expressions in Rio de Janeiro during these critical years of change. Her investigations demonstrate that the city's musical practices were articulated within a cosmopolitan context shared by residents in cities in the Americas and Europe, as she examines the musical and cultural interactions that resulted from early processes of urbanization, globalization, and the circulation of technology and information into and out of the Brazilian capital. While Rio de Janeiro's particular geography, urban spaces, and specific social and ethnic interactions all played roles in characterizing unique local musical practices, Music and Cosmopolitanism focuses on how these practices were linked to and fueled by the circulation of music on the international stage. To understand music and performance as part of a larger system of human connections and disconnections that are always in motion, this book offers a story of musical Rio de Janeiro that was built as much as, or perhaps more so, from the outside in than from within its socio-historical and cultural contexts - a city that grew to become one place containing many worlds.
A Family Guide to Parenting Musically
by Lisa Huisman KoopsA Family Guide to Parenting Musically is for families who want to make music a more meaningful part of their daily life. It is full of creative ideas about how to engage in musical parenting (doing things to help your child grow musically) as well as parenting musically (using music to achieve parenting goals). Designed for parents, grandparents, caregivers, and friends, this book breaks down activities by age bracket and by various scenarios. Seventy activities offer specific ways to explore the ideas at the core of this book: that all humans are musical, that music can make an important difference in family life, and that there are many ways to be musical. Based on two decades of Lisa Huisman Koops's research and teaching with families, as well as mothering her own four children, A Family Guide to Parenting Musically provides developmental information and research-based discussions in a clear and engaging way. The companion website features author-recorded audio examples of songs, chants, and activities as well as links to Koops's popular Parenting Musically podcast, which provide an ongoing resource to further explore the ideas in this book. The book also includes tips from podcast interviewees, such as Ziggy Marley and Maggie Baird (mother to Billie Eilish and FINNEAS).
Jazz Migrations: Movement as Place Among New York Musicians (American Musicspheres)
by Ofer GazitSince the 1990s, migrant musicians have become increasingly prominent in New York City's jazz scene. Challenging norms about who can be a jazz musician and what immigrant music should sound like, these musicians create mobile and diverse notions of jazz while inadvertently contributing to processes of gentrification and cultural institutionalization. In Jazz Migrations, author Ofer Gazit discusses the impact of contemporary transnational migration on New York jazz, examining its effects on educational institutions, club scenes, and jam sessions. Drawing on four years of musical participation in the scene, as well as interviews with musicians, audience members, venue owners, industry professionals, and institutional actors, Gazit transports readers from music schools in Japan, Israel, and India to rehearsals and private lessons in American jazz programs, and to New York's immigrant jazz hangouts: an immigrant-owned music school in the Bronx; a weekly jam session in a Haitian bar in central Brooklyn; a Colombian-owned jazz room in Jackson Heights, Queens; and a members-only club in Manhattan. Along the way, he introduces the improvisatory practices of a cast of well-known and aspiring musicians: a South Indian guitarist's visions of John Coltrane and Carnatic music; a Chilean saxophonist's intimate dialogue with the sound of Sonny Rollins; an Israeli clarinetist finding a home in Brazilian Choro and in Louis Armstrong's legacy; and a multiple Grammy-nominated Cuban drummer from the Bronx. Jazz Migrations concludes with a call for a collective reconsideration of the meaning of genre boundaries, senses of belonging, and ethnic identity in American music.
Jazz Migrations: Movement as Place Among New York Musicians (American Musicspheres)
by Ofer GazitSince the 1990s, migrant musicians have become increasingly prominent in New York City's jazz scene. Challenging norms about who can be a jazz musician and what immigrant music should sound like, these musicians create mobile and diverse notions of jazz while inadvertently contributing to processes of gentrification and cultural institutionalization. In Jazz Migrations, author Ofer Gazit discusses the impact of contemporary transnational migration on New York jazz, examining its effects on educational institutions, club scenes, and jam sessions. Drawing on four years of musical participation in the scene, as well as interviews with musicians, audience members, venue owners, industry professionals, and institutional actors, Gazit transports readers from music schools in Japan, Israel, and India to rehearsals and private lessons in American jazz programs, and to New York's immigrant jazz hangouts: an immigrant-owned music school in the Bronx; a weekly jam session in a Haitian bar in central Brooklyn; a Colombian-owned jazz room in Jackson Heights, Queens; and a members-only club in Manhattan. Along the way, he introduces the improvisatory practices of a cast of well-known and aspiring musicians: a South Indian guitarist's visions of John Coltrane and Carnatic music; a Chilean saxophonist's intimate dialogue with the sound of Sonny Rollins; an Israeli clarinetist finding a home in Brazilian Choro and in Louis Armstrong's legacy; and a multiple Grammy-nominated Cuban drummer from the Bronx. Jazz Migrations concludes with a call for a collective reconsideration of the meaning of genre boundaries, senses of belonging, and ethnic identity in American music.