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1000 tulosta hakusanalla David Musick
My Life and Personal Journey as a Musician
David James Zoppi
Createspace Independent Publishing Platform
2016
nidottu
Johnny V in Color: The New Orleans Musician John Vidacovich on the Drums and on the Cymbals
David Lasocki
Createspace Independent Publishing Platform
2017
nidottu
Sound Design: The Expressive Power of Music, Voice and Sound Effects in Cinema
David Sonnenschein
MICHAEL WIESE PRODUCTIONS
2013
sidottu
Offers user-friendly knowledge and stimulating exercises to help compose story, develop characters and create emotion through skillful creation of the sound track.
Conveying Lived Experience through Rock and Pop Music Lyrics
David C. Wright Jr.
BLOOMSBURY PUBLISHING PLC
2024
sidottu
Conveying Lived Experience through Rock and Pop Music Lyrics explores rock and pop music lyrics of the last seventy years to elucidate a broad spectrum of themes about the collective human experience. The opening chapters discuss personal topics, with a first chapter about developing a romantic relationship and a second chapter about breaking up. Subsequently, lyrics describing nostalgia, that is, the longing for the past, as well as those about leaving home, going on the road, and returning home are considered. More social topics are treated in chapters devoted to lyrics about the outsider in society, those experiencing mental illness, and alcohol and drug use. Next, songs of social and political critique are surveyed, followed by an examination of utopian and dystopian lyrics. Finally, rock and pop songs about religious topics are considered, first with a chapter on the use of the prophetic voice, and then with a description of lyrics about hell and the devil, as well as heaven, angels, and God. This broad survey of several hundred songs, using a close reading approach, shows how rock and pop lyrics convey the lived experience of people in contemporary society.
Graveyard Groove: The Haunted History of Monster Music from "Monster Mash" to Horror Punk
David Acord
Createspace Independent Publishing Platform
2018
nidottu
In the mid-1950s, a new genre of novelty music emerged that mixed humor and horror. The result: Monster Music Suddenly, jukeboxes were filled with songs about Frankenstein, Dracula, the Wolf Man, creatures from outer space and a multitude of supernatural terrors. The genre reached its peak in 1962 with Bobby "Boris" Pickett's smash "Monster Mash," but there are many more songs worthy of rediscovery -- and Monster Music still lives on today, thanks to the influence of punk pioneers like The Cramps and The Misfits. Here is the complete, untold story of Monster Music -- the genre that refused to die
The first extended account of the Associated Board of the Royal Schools of Music. The Associated Board of the Royal Schools of Music, better known as ABRSM, has influenced the musical lives and tastes of millions of people since it conducted its first exams in 1890. This ground-breaking history explores how ABRSM became such a formative influence and looks at some of the consequences resulting from its pre-eminent position in British musical life. Particular emphasis is given to how free ABRSM has been to impose its musical view of things and to what extent its exams respond to the circumstances and musical preferences of its customers. The book's exploration of how ABRSM has negotiated music's changing social, educational and cultural landscape casts fresh light on the challenges facing music education today. David Wright's comprehensive history of the Board from its origins in 1889 to the present day represents a significant and original investigation. Not only is it the first extended account of ABRSM, but it sets the institution and its work firmly within its historical and cultural context. ABRSM's exams were exported all across the Empire, and this study shows how both exams and examiners made a telling cultural contribution to the idea of the 'British World'. It relates the exams to changing historical perceptions about musical education as well as to attitudes about the value of music as a social and recreational activity. By demonstrating the impact of the Board's commercial success in dominating the grade exam market, the book shows how this has had significant consequences for the organization of British musical training and for the formation andsustaining of a particular sort of British musical culture. Before his retirement, David Wright was Reader in the Social History of Music at the Royal College of Music, London.
Written in a step by step tutorial style, learning comes as a result of creating a complete dance music track, along with the explanations that follow each stage. You have a computer and a love for dance and electronic music. Maybe you've been to some clubs, and the energy of electronic dance music has you completely under its spell. You see a DJ spinning, and everyone is dancing. It's infectious. You want to make music that affects people that way. Today the open source community has offered you LMMS. Read this book, and you'll be shown a process to creating great dance music. This book is going to connect the dots if you have already started making dance music, and provide a very solid foundation if you are just getting started – no matter what your skill level is.
The Dresden Manuscripts: Unearthing an 18th Century Musical Genius
David Wilson
NEW EDUCATION PRESS
2014
nidottu
Collective Participation and Audience Engagement in Rap Music
David Diallo
Springer Nature Switzerland AG
2019
sidottu
Why do rap MCs present their studio recorded lyrics as “live and direct”? Why do they so insistently define abilities or actions, theirs or someone else’s, against a pre-existing signifier? This book examines the compositional practice of rap lyricists and offers compelling answers to these questions. Through a 40 year-span analysis of the music, it argues that whether through the privileging of chanted call-and-response phrases or through rhetorical strategies meant to assist in getting one’s listening audience open, the focus of the first rap MCs on community building and successful performer-audience cooperation has remained prevalent on rap records with lyrics and production techniques encouraging the listener to become physically and emotionally involved in recorded performances. Relating rap’s rhetorical strategy of posing inferences through intertextuality to early call-and-response routines and crowd-controlling techniques, this study emphasizes how the dynamic and collective elements from the stage performances and battles of the formative years of rap have remained relevant in the creative process behind this music. It contends that the customary use of identifiable references and similes by rap lyricists works as a fluid interchange designed to keep the listener involved in the performance. Like call-and-response in live performances, it involves a dynamic form of communication and places MCs in a position where they activate the shared knowledge of their audience, making sure that they “know what they mean,” thus transforming their mediated lyrics into a collective and engaging performance.
A Cognitive Framework for the Analysis of Acousmatic Music
David Hirst
VDM Verlag Dr. Mueller E.K.
2008
pokkari
Building a successful career in music includes managing intellectual property (IP) rights. WIPO supports authors and performers in enhancing their knowledge of the intellectual property aspects involved in their professional work. Copyright and related rights can help musical authors and performers generate additional income from their talent. Music can make you laugh, cry, feel sad, romantic or happy. It can make you want to move your body and dance. It can heighten drama or create a feeling of peace and tranquility. It has the power to influence politics, help fight disease and drive commerce. Imagine a film where all the music was removed. It would be a radically different and poorer experience.
The Pulitzer Prize-winning journalist and editor of The New Yorker gathers his writing on some of the essential musicians of our time--intimate portraits of Leonard Cohen, Buddy Guy, Mavis Staples, Paul McCartney, Bruce Springsteen, Patti Smith, and more. The greatest popular songs, whether it's Aretha Franklin singing "Respect" or Bob Dylan performing "Blind Willie McTell," have a way of embedding themselves in our memories. You remember a time and a place and a feeling when you hear that song again. In Holding the Note, David Remnick writes about the lives and work of some of the greatest musicians, songwriters, and performers of the past fifty years. He portrays a series of musical lives and their unique encounters with the passing of that essential element of music: time. From Cohen's performing debut, when his stage fright was so debilitating he couldn't get through "Suzanne," to Franklin's iconic mink-drop at the Kennedy Center, Holding the Note delivers a view of some of the greatest creative minds of our time written with a lifetime's passionate attachment to music that has shaped us all.
The Associated Board of the Royal Schools of Music - A Social and Cultural History
David Wright
Associated Board of the Royal Schools of Music
2013
muu
The Associated Board of the Royal Schools of Music, better known as the ABRSM, has influenced the musical lives and tastes of millions of people since it conducted its first exams in 1890. This ground-breaking history explores how the ABRSM became such a formative influence and looks at some of the consequences resulting from its pre-eminent position in British musical life. Particular emphasis is given to how free the ABRSM has been to impose its musical view of things and to what extent its exams respond to the circumstances and musical preferences of its customers. The book's exploration of how the ABRSM has negotiated music's changing social, educational and cultural landscape casts fresh light on the challenges facing music education today. David Wright's comprehensive history of the ABRSM, covering the entire period from 1890 to the present day, represents a significant and original investigation. Not only is it the first extended account of the ABRSM, but it sets the institution and its work firmly within its historical and cultural context. The ABRSM's exams were exported all across the Empire, and this study shows how both exams and examiners made a telling cultural contribution to the idea of the 'British World'. It relates the exams to changing historical perceptions about musical education as well as to attitudes about the value of music as a social and recreational activity. By demonstrating the impact of the Board's commercial success in dominating the grade exam market, the book shows how this has had significant consequences for the organization of British musical training and for the formation and sustaining of a particular sort of British musical culture. Before his retirement, David Wright was Reader in the Social History of Music at the Royal College of Music, London. August 2012 978 1 84383 734 3 10 b/w illus.; 278pp, 23.4 x 15.6 cm, HB Boydell Press
The Oxford Handbook of Film Music Studies charts the interdisciplinary activity around music in visual media, addressing the primary areas of inquiry: history, genre and medium, analysis and criticism, and interpretation. Chapters in Part I cover the range most broadly, from the relations of music and the soundtrack to opera and film, textual representation of film sound, film music as studied by cognitive scientists, and Hanns Eisler's work as film composer and co-author of the foundational text Composing for the Films (1947). Part II addresses genre and medium with chapters focusing on cartoons and animated films, the film musical, music in arcade and early video games, and the interplay of film, music, and recording over the past half century. The chapters in Part III offer case studies in interpretation along with extended critical surveys of theoretical models of gender, sexuality, and subjectivity as they impinge on music and sound. The three chapters on analysis in Part IV are diverse: one systematically models harmonies used in recent films, a second looks at issues of music and film temporality, and a third focuses on television. Chapters on history (Part V) cover topics including musical antecedents in nineteenth-century theater, the complex issues in sychronization of music in performance of early (silent) films, international practices in early film exhibition, and the symphony orchestra in film.
First published in 2006. The social history of music first makes an appearance—even if only sporadically—in treatises which during the seventeenth and eighteenth centuries gave some account of the manners and morals of specific periods, and of these socio-historical writings one of the most comprehensive is Voltaire's Siele de Louis XIV (1751). In this volume the author, without going over too much familiar ground, presents a view of English musical history from the Middle Ages.
First published in 2006. The social history of music first makes an appearance—even if only sporadically—in treatises which during the seventeenth and eighteenth centuries gave some account of the manners and morals of specific periods, and of these socio-historical writings one of the most comprehensive is Voltaire's Siele de Louis XIV (1751). In this volume the author, without going over too much familiar ground, presents a view of English musical history from the Middle Ages.
Chromatic Transformations in Nineteenth-Century Music
Kopp David
Cambridge University Press
2006
pokkari
David Kopp's book develops a model of chromatic chord relations in nineteenth-century music by composers such as Schubert, Beethoven, Chopin, Schumann and Brahms. The emphasis is on explaining chromatic third relations and the pivotal role they play in theory and practice. The book traces conceptions of harmonic system and of chromatic third relations from Rameau through nineteenth-century theorists such as Marx, Hauptmann and Riemann, to the seminal twentieth-century theorists Schenker and Schoenberg and on to the present day. Drawing on tenets of nineteenth-century harmonic theory, contemporary transformation theory and the author's own approach, the book presents a clear and elegant means for characterizing commonly acknowledged but loosely defined elements of chromatic harmony, and integrates them as fully fledged entities into a chromatically based conception of harmonic system. The historical and theoretical argument is supplemented by plentiful analytic examples.
The author discusses the role of music in English society from the Middle Ages to the 20th century.