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Learn how to live like Taylor in this stunning self-care journal. The perfect gift for any Swiftie.

Smith Abi: A Taylor & Me Journal

A Taylor & Me Journal

Era by Era (unofficial)

Combining a grounding in music notation and theory concepts with a foundation in essential technologies, The Craft of Contemporary Commercial Music offers an innovative approach that addresses the needs of students preparing for music careers.

Combining a grounding in music notation and theory concepts with a foundation in essential technologies, The Craft of Contemporary Commercial Music offers an innovative approach that addresses the needs of students preparing for music careers.

The Craft of Contemporary Commercial Music

"As former New York Times jazz critic Ben Ratliff wrote, "Hatred of jazz, whether sincere or fashionable or reflexive, as a kind of sorry-not-sorry joke-runs strangely deep in American culture." A great deal of jazz writing has focused on its development into a respected art form. But this is only half the picture. By focusing on the rejection of the music, Andrew S. Berish says, we see more holistically jazz's complicated place in American cultural life. Like criticisms leveled at rock 'n' roll, country, and rap, the contempt for these forms has historically been a tangled mess of musical and social critique. Criticism of the music became inextricable from ideas about race, class, gender, and sexuality. Historically, jazz hate has run from mild dislike to angry denunciation and fiery contempt. Although it has its own logic, jazz hating has frequently been entangled in other kinds of hate, specifically racism and misogyny. Most importantly, the hatred of jazz is not an idiosyncratic product of an individual encounter between listener and music; it is, instead, a meeting of social, political, historical, and individual factors. Berish organizes his discussion thematically: negative evaluations based on taste discrimination, humor and satire, and genre definitions and boundaries, arguing that hating jazz, despite its many shades and variations, is above all an intense affective engagement with the music. Although affect may seem immediate-a biological reaction to the environment-is always social, historical, and material: we react to music in certain ways because of who we are, where we are, and when we are"--

A History of Its Disparagement, Mockery, and Other Forms of Abuse

Hating Jazz

Writing on Raving is the definitive mix of voices from the Brooklyn underground rave scene and beyond, providing fresh language for the shared and infinitely varied experience of dancing through the night until the morning.
New York rave culture is having a moment. The music, mostly, is techno, certain flavors of which became the soundtrack to a dancefloor culture that is queer in a different way to house music centered gay nightlife.&nbsp;Wark, Mak and Beery want to document and annotate and celebrate, but also critique, this world in the making. Writing on Raving centers the New York scene, but isn’t limited to it.
This is a book for all of those who need the rave. Who need to dance. Who have at some point needed that beat in their lives. This is a book for all those who have journeyed through the night, through sound, through movement, through chemistry, into other places, other times, other encounters.
This seeking gives us hours, years, on the dance floor to think about why we rave, to locate these reasons in our bodies and the space around us. But the rave is not the place to articulate them. It is too loud; our friends are too distracted, or too high. At the afters, tired and drained and covered in schmutz, we think some more. We look around at our raver friends, and wonder: How did we get here? What happened to us? What is this tentacular, thrashing, swelling thing that we all made together? That thing that is now slumped and aching and coming down now into our fragmentary, singular lives?
Between all of us, there are many answers to such questions. Wark, Mak and Beery have gathered their favorite ones to share in this first-ever anthology of writing on raving. 
Writing on Raving is a night of readings and performances about nightlife, dancing, and techno, about why we love these things, but also how that love is complicated. It brings together a diverse range of writers whose dispatches from dance floors, bedrooms, and their own histories hold a mirror to a community whose cultural preservation is still emergent. The series was founded in 2021 by Geoffrey Mak, Zoë Beery and McKenzie Wark and has included events in Brooklyn, San Francisco, and Los Angeles.

Writing on Raving

Transnational Studies in Jazz

Jazz and the Digital Revolution: GNP Records captures a transformative time in music history, the period in which digital culture took hold in the production, distribution and consumption of jazz. At the forefront of this epoch was the jazz-fusion label, GRP Records. Founded in the 1990s, GRP was Billboard magazine's number one contemporary jazz label. It had organised its recording, marketing and distribution practices around a full-scale digital philosophy, embodying the notion of jazz as a lifestyle brand. This books makes a case study of GRP Records in order to explore the relationship between jazz and digital culture, how this confluence gave rise to the 'smooth jazz' format, and how the industry negotiated cultural and technological shifts.

Jazz and the Digital Revolution: GNP Records captures a transformative time in music history, the period in which digital culture took hold in the production, distribution and consumption of jazz. At the forefront of this epoch was the jazz-fusion label, GRP Records. Founded in the 1990s, GRP was Billboard magazine's number one contemporary jazz label. It had organised its recording, marketing and distribution practices around a full-scale digital philosophy, embodying the notion of jazz as a lifestyle brand. This books makes a case study of GRP Records in order to explore the relationship between jazz and digital culture, how this confluence gave rise to the 'smooth jazz' format, and how the industry negotiated cultural and technological shifts.

GRP Records

Jazz and the Digital Revolution

In The Music-Machines, author Sean Nye traces the distinct American reception and interpretation of German electronic music from the 1950s to the 2000s. Covering a series of crucial historical moments, The Music-Machines provides both a new and alternate history of the extraordinary impact that electronic music from Germany had in the United States. Exploring this cultural dynamic, Nye demonstrates the ultimate intertwining of America's popular music with the Cold War history of West Germany and the post-1989 history of the Berlin Republic. In this way, The Music Machines sets the frame not only for the study of German electronic music, but the ways in which this electronic turn emerged in American perceptions of German identity.

In The Music-Machines, author Sean Nye traces a fascinating and distinctly American interpretation of 20th century German electronic music . Covering a series of crucial historical moments, Nye provides both a new and alternate history of the extraordinary impact that electronic music from Germany had in the United States, including the receptions of elektronsische Musik, Krautrock, goth-industrial, Eurodance, techno, trance, and minimal.

This first comprehensive history of German-American exchanges in electronic music explores the political and social dimensions of American constructions of Germanness in electronic music. Nye interprets the music in relation to technology, art, and musical style, encouraging readers to delve into what that reveals about its relationship to nation, race, gender, and sexuality. Through such interpretations, The Music-Machines presents a cultural arc of these constructions of Germanness and electronic music. 

Nye sets this German-American exchange within larger questions of music and transnationalism, tracing key intersections between German and US cultures while also reflecting on other musical and cultural influences on German electronic music, The Music-Machines also places the evolution of electronic music in its broader historical context, demonstrating the ultimate intertwining of America's popular music with the Cold War history of West Germany and the post-1989 history of the Berlin Republic. In this way, The Music-Machines sets the frame not only for the study of German electronic music, but the ways in which this electronic turn emerged in American perceptions of German identity.

A Transatlantic History of German Electronic Music

Music-Machines

Electronic Dreams, Desiring Machines and Tomorrow’s Music Today

Futuromania

Ashgate Popular and Folk Music Series

What musical elements define the unmistakable, yet constantly evolving, 'U2 sound'? This book addresses this question in a three-tiered music -theoretical dissection of the band's unique sound. Endrinal's analyses reach beyond the traditional focus on melody, harmony and rhythm, drawing on new computer assisted analytical techniques to explore texture, timbre and instrumentation. More than a study of one band, then, this book offers new analytical methods for the study of popular music.

What musical elements define the unmistakable, yet constantly evolving, 'U2 sound'? How is their enormously engaging music constructed? How have U2 maintained their prominent position in the  ever-shifting world of popular music? Let Me In The Sound: The Sonic Signature of U2 addresses  these questions in a three-tiered music-theoretical dissection of the band's unique sound. Endrinal begins by identifying the salient sonic characteristics that combine to form U2's distinctive musical autograph.  With those characteristics established, the book examines the various approaches to formal organization found in the band's oeuvre. Finally, detailed analyses of several songs from across the band's career demonstrate how U2 construct songs and how each member of the band contributes his own unique musical perspective to these formal designs. Endrinal's analyses reach beyond the traditional focus on melody, harmony and rhythm, drawing on new computer assisted analytical techniques to explore texture, timbre and instrumentation.  More than a study of one band, then, this book offers new analytical methods for the study of popular music.

Let Me In The Sound

The Sonic Signature of U2

A moving, intimate look at the life of Amy Winehouse by her best friend Tyler James. From a childhood at stage school to her untimely death at just twenty-seven years-old, My Amy is a beautiful and devastating portrait of a supremely talented but troubled young star.

A moving, intimate look at the life of Amy Winehouse by her best friend Tyler James. From a childhood at stage school to her untimely death at just twenty-seven years-old, My Amy is a beautiful and devastating portrait of a supremely talented but troubled young star.

The Life We Shared

My Amy

Elements in Twenty-First Century Music Practice

This Element explores cross-cultural collaboration in popular music, highlighting opportunities for multiple voices and new sounds, but also challenges in technical matching and negotiating power discrepancies. The practitioner-based research field offers new knowledge and pragmatic strategies for creating pop music with culturally diverse people.

This Element explores cross-cultural collaboration in popular music, highlighting opportunities for multiple voices and new sounds, but also challenges in technical matching and negotiating power discrepancies. The practitioner-based research field offers new knowledge and pragmatic strategies for creating pop music with culturally diverse people.

Practice-Based Research

Cross-Cultural Collaboration in Popular Music

"The first academic engagement with "divas," including a discussion of their roots, evolutions, functions, and appropriations. Channelling the ideas and strategies of feminism, empowerment, intersectionality, identity politics, and more to create this key popular culture figure"--

The diva – a central figure in the landscape of contemporary popular culture: gossip-generating, scandal-courting, paparazzi-stalked. And yet the diva is at the epicentre of creative endeavours that resonate with contemporary feminist ideas, kick back against diminished social expectations, boldly call-out casual sexism and industry misogyny and, in terms of hip-hop, explores intersectional oppressions and unapologetically celebrates non-white cultural heritages. Diva beats and grooves echo across culture and politics in the West: from the borough to the White House, from arena concerts to nightclubs, from social media to social activism, from #MeToo to Black Lives Matter.

Diva: Feminism and Fierceness from Pop to Hip-Hop addresses the diva phenomenon and its origins: its identity politics and LGBTQ+ components; its creativity and interventions in areas of popular culture (music, and beyond); its saints and sinners and controversies old and new; and its oppositions to, and recuperations by, the establishment; and its shifts from third to fourth waves of feminism.
 
This co-edited collection brings together an international array of writers – from new voices to established names. The collection scopes the rise to power of the diva (looking to Mariah Carey, Whitney Houston, Dolly Parton, Grace Jones, and Aaliyah), then turns to contemporary diva figures and their work (with Beyoncé, Amuro Namie, Janelle Monáe, Cardi B, Megan Thee Stallion, Shakira, Jennifer Lopez, and Nicki Minaj), and concludes by considering the presence of the diva in wider cultures, in terms of gallery curation, theatre productions, and stand-up comedy.

A Taylor & Me Journal

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