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Levy B: Chasin' the Sound

Chasin' the Sound

Learning Jazz Improvisation through Historical Models

Play It!

The authors of the popular Play It! series are back with a fun and easy guitar guide, with helpful instruction on beloved Christmas songs, perfect for the budding musician in your life.

A Superfast Way to Learn Awesome Songs on Your Guitar

Play It! Christmas Songs for Guitar

Games and Exercises for the Performer

The Singing and Acting Handbook

Friendship & Fame at the Heart of Simple Minds

Our Secrets Are The Same

A Life in Music

To Be Or Not To Be

Elements in Music since 1945

This Element explores the rethinking of rhythmic skill in the contemporary world, focusing on modern flamenco guitar. It uses examples from local guitar traditions and an online guitar contest during the COVID-19 pandemic to explore how rhythm can shape new ways of understanding and performing heritage in the global and digital age.

This Element explores the rethinking of rhythmic skill in the contemporary world, focusing on modern flamenco guitar. It uses examples from local guitar traditions and an online guitar contest during the COVID-19 pandemic to explore how rhythm can shape new ways of understanding and performing heritage in the global and digital age.

Rhythm and Heritage in Modern Flamenco Guitar

It's the early 1990s in Glasgow, and Stephen - music loving romantic - has emerged from a lengthy hospital stay diagnosed with chronic fatigue syndrome, a little-understood disease that has robbed him of any prospects of work, a social life or independent living.

'Empathetic, funny and heartwarming.' Buzz Magazine

Nobody's Empire

A life story

Bless Me Father

A deep dive into the meaning behind the hatred of jazz. &nbsp; A rock guitarist plays four notes in front of one thousand people, while a jazz guitarist plays one thousand notes in front of four people. You might laugh or groan at this jazz joke, but what is it about jazz that makes people want to disparage it in the first place? Andrew S. Berish's Hating Jazz listens to the voices who have denounced, disparaged, and mocked the music. By focusing on the rejection of the music, Berish says, we see more holistically jazz's complicated place in American cultural life. Jazz is a display of Black creativity and genius, an art form that is deeply embedded in African American life. Though the explicit racial tenor of jazz jokes has become muted over time, making fun of jazz, either in a lighthearted or aggressive way, is also an engagement with the place of Blackness in America. An individual's taste in music may seem personal, but Berish's analysis of jazz hatred demonstrates that musical preferences and trends are a social phenomenon. Criticism of jazz has become inextricable from the ways we understand race in America, past and present. In addition to this form of criticism, Berish also considers jazz hate as a form of taste discrimination and as a conflict over genre boundaries within different jazz cultures. Both enlightening and original, Hating Jazz shows that our response to music can be a social act, unique to our historical moment and cultural context-we react to music in certain ways because of who we are, where we are, and when we are. &nbsp;

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

Hating Jazz

Music and Material Culture

In the early twenty-first century we are inundated with technologies and discourses that privilege the apparently liberating immaterial aspects of digital culture. Despite, or perhaps because, of this, the making of material objects continues to be of importance in people's everyday lives. Including case studies on guitar makers, homemade recording equipment, car audio culture, and 3D printing of musical instruments, Gavin Carfoot critically examines the ways that musical objects are produced through social and cultural practices and forms of labour, in co-constitutive ways between human makers and non-human objects.

In the early twenty-first century we are inundated with technologies and discourses that privilege the apparently liberating immaterial aspects of digital culture. Despite, or perhaps because, of this, the making of material objects continues to be of importance in people’s everyday lives. Including case studies on guitar makers, homemade recording equipment, car audio culture, and 3D printing of musical instruments, Gavin Carfoot critically examines the ways that musical objects are produced through social and cultural practices and forms of labour, in co-constitutive ways between human makers and non-human objects.

The Culture and Practice of Making Musical Objects

Making Things Musical

Raised on Radio

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

Chasin' the Sound

Bibliografische Angaben

Schlagworte

Bibliografische Angaben

Schlagworte

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