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Gorgeously illustrated and authoritatively written, Fender Telecaster 75 Years is the officially licensed celebration of one of the world’s most beloved electric guitars.

Authoritatively written and lavishly illustrated, Fender Telecaster 75 Years is the officially licensed anniversary celebration of this legendary guitar. Embraced for its simplicity and adaptability, the Fender® Telecaster® guitar is a musical icon around the world and across musical genres, its distinctive design as beloved today as it was when Leo Fender introduced the guitar to the world in 1951. In Fender Telecaster 75 Years, guitar historian Dave Hunter traces Telecaster® guitars across seven-plus decades, beginning with Leo Fender’s breakthrough design in his modest Fullerton, California, workshop. From there, Hunter explores: <ul><li>The new Telecaster design in the context of the contemporary guitar market and the needs of musicians of the day.</li><li>The Telecaster’s solidbody two-pickup configuration, bolt-on neck, and carefully considered body shape, as well as the players who played a part in the guitar’s early evolution.</li><li>Design improvements undertaken throughout the Telecaster’s first decades, such as the introduction of a rosewood fingerboard and Custom Color options.</li><li>CBS’s 1965 acquisition of Fender and its effects on company culture and the Telecaster, as well as the 1985 acquisition of Fender spearheaded by a group of employees.</li><li>Fender’s forward-thinking combination of vintage specs and materials with modern features in Telecaster guitars that offer classic styling and current conveniences.</li></ul> Along the way, Hunter contextualizes the evolving Telecaster within the contemporary guitar industry and shows the relationships that admired players throughout the decades have enjoyed with this guitar, including Muddy Waters, Keith Richards, Jeff Beck, Jimmy Page, George Harrison, Bruce Springsteen, and Joe Strummer—to name a few! &nbsp; Illustrated throughout with rare images from the Fender archives, Fender Telecaster 75 Years&nbsp;treats readers to rare behind-the-scenes views of the shop floor throughout the years, studio imagery of the guitars, rare period advertising and brochures, and performance photography of Fender players. Often imitated but never duplicated, the Fender Telecaster remains a triumph of imagination and design more than seven decades on. This is the official and definitive illustrated story of this guitar—and a must-have for every guitar enthusiast.

Hunter Dave: Fender Telecaster

Fender Telecaster

75 Years

David Bowie and the Search for Life, Death and God

Ashgate Popular and Folk Music Series

Adrian Scahill's seminal study traces the evolution of the accompaniment of instrumental Irish traditional music from its roots in the seventeenth and eighteenth centuries to the highly refined and classicized music of the contemporary tradition. A key theme of the text is that the hybridity evident in accompaniment is not novel in itself, but related to the hybrid nature of the melodic tradition. The book is structured in two parts: the first concentrates on printed sources; the second on the recorded repertoire. The central objective of the book is to focus on accompaniment as part of the 'primary text' (to borrow from Allan F. Moore) of instrumental traditional music. It considers how the development of accompanimental techniques is closely related to changing musical styles and performance contexts, and reveals that these techniques are created through a process of assemblage, which draws on a wide range of musical sources from both inside and outside the tradition.

Adrian Scahill's seminal study traces the evolution of the accompaniment of instrumental Irish traditional music from its roots in the seventeenth and eighteenth centuries to the highly refined and classicized music of the contemporary tradition. A key theme of the text is that the hybridity evident in accompaniment is not novel in itself, but related to the hybrid nature of the melodic tradition. The book is structured in two parts: the first concentrates on printed sources; the second on the recorded repertoire.  Part one considers printed sources of Irish music from the eighteenth century, where the addition of accompaniment was a result of the music's translation from an oral to a literate form. However, the construction of these accompaniments did not simply involve a superimposition of pianistic textures, but incorporated elements from the accompanimental practices of harp and uilleann pipes players. It was also in this period that a repertory of dance music began to crystallize, with printed collections facilitating the assimilation of music from Britain. Scahill investigates the antiquarian collections of the nineteenth century, revealing how the inclusion of accompaniment was a constituent of the preservation of the music, and was perceived by the collectors as a natural extension of the tunes.   The second part of the book traces the development of the first formal ensemble of traditional music, the céilÃ­ band, in which the piano came to prominence. At the same time in the United States, the instrument was widely used on 78 rpm recordings, both for solo and small group recordings, and was an essential part of the Irish-American dance band. It was also in America that the palette of accompanying instruments was first broadened, with the assimilation of guitar and banjo by some musicians for recordings. The scope of the book broadens in its investigation of the most recent ensemble to emerge, the traditional group, as here accompaniment became just one facet of arrangement, and several new instruments and techniques became quickly established within the form. Here again the study reveals how the groups' distinctive sounds and styles result from processes of assemblage or bricolage. The final portion of the book shifts in focus away from the musical text and onto the performer, and draws on the author's experience as a musician in its investigation of the process of accompanying, examining how the contemporary 'backer' creates an accompaniment in the course of performance.

Accompaniment in Irish Traditional Music

Popular Musics Matter: Social, Political and Cultural Interventions

Subjectivity, Emotions, and Authenticity in Bhawaiya Folk Songs of North Bengal

Songs of Desire and Defiance

Icons of Style

The story of a fashion legend

Icons of Style: Chappell Roan

Frontline Adventures Linking Punk, Reggae, Afrobeat and Jazz

Rebel Musix, Scribe on a Vibe

Guido Adlers Aufsatz „Umfang, Methode und Ziel der Musikwissenschaft“ von 1885 ist das wohl einflussreichste Gründungsdokument der Universitätsdisziplin Musikwissenschaft. Aber auch vor und v.a. nach Adler haben Fachvertreterinnen und -vertreter immer neu darüber nachgedacht, was Musikwissenschaft sein kann und soll, in welchem Verhältnis sie zur musikalischen Produktion steht und wie sie sich zu gesellschaftlichen und politischen Anforderungen verhalten soll. So haben sie Wandlungen der Musikwissenschaft entweder selbst bewirkt oder reflektierend begleitet.

Dieser Band enthält über 50 solcher grundlegenden Konzeptionen der Musikwissenschaft und ihrer Teilgebiete von deutschsprachigen Autorinnen und Autoren seit 1777. Eine Edition (von Auszügen) des Textes wird dabei jeweils begleitet durch einen Kommentar, der den Text vor dem Hintergrund der Fach- und Zeitgeschichte erschließt. Auf diese Weise wird das Nachdenken der Musikwissenschaft über sich selbst nachvollziehbar. Erkennbar werden aber auch die verschiedenen Motivationen für inhaltliche oder methodische Veränderungen und die Auseinandersetzung mit den Fragen und Herausforderungen der jeweiligen Gegenwart.

Guido Adlers Aufsatz „Umfang, Methode und Ziel der Musikwissenschaft“ von 1885 ist das wohl einflussreichste Gründungsdokument der Universitätsdisziplin Musikwissenschaft. Aber auch vor und v.a. nach Adler haben Fachvertreterinnen und -vertreter immer neu darüber nachgedacht, was Musikwissenschaft sein kann und soll, in welchem Verhältnis sie zur musikalischen Produktion steht und wie sie sich zu gesellschaftlichen und politischen Anforderungen verhalten soll. So haben sie Wandlungen der Musikwissenschaft entweder selbst bewirkt oder reflektierend begleitet.

Dieser Band enthält über 50 solcher grundlegenden Konzeptionen der Musikwissenschaft und ihrer Teilgebiete von deutschsprachigen Autorinnen und Autoren seit 1777. Eine Edition (von Auszügen) des Textes wird dabei jeweils begleitet durch einen Kommentar, der den Text vor dem Hintergrund der Fach- und Zeitgeschichte erschließt. Auf diese Weise wird das Nachdenken der Musikwissenschaft über sich selbst nachvollziehbar. Erkennbar werden aber auch die verschiedenen Motivationen für inhaltliche oder methodische Veränderungen und die Auseinandersetzung mit den Fragen und Herausforderungen der jeweiligen Gegenwart.Die Auswahl der Texte erfolgte in Verbindung mit ausgewiesenen Fachleuten aus der Musikwissenschaft: Barbara Boisits (österreichische Musikwissenschaft), Veronika Busch (systematische Musikwissenschaft), Wolfgang Fuhrmann (Musiksoziologie), Ulrich Konrad (deutsche Musikwissenschaft des 19. Jahrhunderts), Julio Mendívil (Musikethnologie), Pamela Potter (nationalsozialistische Musikwissenschaft), Matthias Tischer (Musikwissenschaft in der DDR) sowie Melanie Unseld (musikwissenschaftliche Gender Studies).

Edition und Kommentar

Grundlagentexte zur Musikwissenschaft

Black Music, Racism and Criminal Injustice

Policing the Beats

Excelsior Editions

Chronicling Its Classic Jazz Recordings, 1949–1972

Listening to Prestige

George Michael hated having his photo taken, which makes this stunning collection of images spanning over 20 years such an unusual and beautiful tribute to one of the most consummate performers the music world has ever seen. Brian Aris first met George when he shot him and his Wham! colleague Andrew Ridgeley in 1984. He gained George's trust and subsequently took some of the most iconic shots of the star that provide an illuminating document of a complex character. With text documenting George's life and Brian's memories of his sessions and meetings with the star, together with iconic images, contact sheets and previously unseen images, this is a beautiful tribute to pop's most likeable and talented singer.

A stunning, official book of pictures from George Michael's life by renowned music photographer Brian Aris. It includes many unseen images of George at different stages of his career. George Michael hated having his photo taken, which makes this stunning collection of images spanning over 20 years such an unusual and beautiful tribute to one of the most consummate performers the music world has ever seen. Brian Aris first met George when he shot him and his Wham! colleague Andrew Ridgeley in 1984. He gained George's trust and subsequently took some of the most iconic shots of the star that provide an illuminating document of a complex character. With text documenting George's life and Brian's memories of his sessions and meetings with the star, together with iconic images, contact sheets and previously unseen images, this is a beautiful tribute to pop's most likeable and talented singer.

Fender Telecaster

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