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Cushing S: Blues Before Sunrise 3

Blues Before Sunrise 3

Guitar Slingers and Backbeaters

33 1/3

In this exploration of Cocteau Twins' quintessential album, Chris Tapley traces lines in all directions from Blue Bell Knoll to paint a revealing portrait of the enigmatic trio and their career-long struggles with self-doubt, stubborn principles, and pure experimentation. Throughout their career, Cocteau Twins sought to escape definition. Lyrics were a closely guarded secret, their transcendent recordings sounded completely unique, and they were notoriously tight-lipped during interviews. The music, they said, should speak for itself. Only nobody could agree on what the music said. Released in 1988, their fifth full-length album, Blue Bell Knoll, is the pinnacle of Cocteau Twins' legendary ambiguity. The first album recorded entirely in their own studio, these dense dreamlike songs capture the band as they refined the key elements of their iconic sound while testing the limits of language and the mixing desk. From lyrics and production to artwork and interviews, everything about this influential, one-of-a-kind band stokes contradictions and uncertainty, and raises the question: can anyone ever really define what a song means?

Cocteau Twins' Blue Bell Knoll

Decades after his passing, Elvis Presley remains one of popular music's greatest icons. He was among the most successful, influential, socially significant, and controversial performers of the twentieth century, with a celebrity so indelible that every recent American president has negotiated its orbit. While much of the coverage of Elvis' life concerns his personal history and musical ability, Rethinking Elvis pushes beyond the familiar to address Elvis' branding, historical and geographic reception, heritage, and fan phenomenon. Using Elvis' iconography as a point of departure, popular music scholars and historians contend with issues related to the performer's whiteness, Southern identity, and gender, among others, in turn offering myriad opportunities to pursue new approaches in the emergent field of Elvis studies.

Rethinking Elvis

A towering figure in music and film, Michel Legrand created some of the most creative and innovative film scores of the second half of the 20th century. The music of his most most successful collaborations -- masterpieces for films such as The Umbrellas of Cherbourg, The Thomas Crown Affair, Summer of '42, and Yentl -- is particularly memorable. As these scores and the stories behind their creation are, they represent one part of Legrand's genius. Over a career that spanned seven decades, Legrand composed the scores for 160 films, winning Oscars and Grammys along the way. Many of his songs have become standards covered by artists as diverse as Tony Bennett, Sarah Vaughan, Rufus Wainwright, and Sting. A prolific and highly versatile composer, Legrand worked with virtually every legendary figure in popular music and film from Maurice Chevalier to Barbra Streisand and from Orson Welles to Jean-Luc Godard. Still active in his late 80s, Legrand composed the score for Orson Welles's posthumously released movie, The Other Side of the Wind (2018). Just prior to his death at the age of 87, Legrand sat down with his longtime collaborator Stéphane Lerouge to recount, all the while intermingling present and past, many of the significant and memorable episodes from his life. He speaks of his triumphs but doesn't shy away from revealing rejections, fiascos, missed opportunities, creative insecurities and a nervous breakdown he experienced in Los Angeles at the height of his success. Throughout, he pays homage to the roles played by numerous artists he encountered on both sides of the Atlantic--jazz musicians, singers and lyricists, film directors and music composers, many of whom became his lifelong friends. Translated by Sam Taylor, this book shares Legrand's stories as told to Lerouge to English readers for the first time.

A Life in Music and Film

Michel Legrand

Compositional thinking as a practice of opening, queering, and reordering - beyond authorship, control, and musical autonomy.

What does compositional thinking mean beyond notes, parameters, and musical autonomy? This essay understands composition as a practice of structuring, opening, and queering the world. Moving between music, theatre, and performance, it approaches scores not as instructions but as invitations: to collaboration, ambivalence, loss of control, and re-use. Compositional thinking emerges as a transdisciplinary strategy - political, embodied, material - resisting normative order, academic seriousness, and binary logic. Music becomes a testing ground for new forms of togetherness, collective authorship, and working in the in-between.

Über kompositorisches Denken in mehr-als-musikalischen Kontexten / On Compositional Thinking in More-Than-Musical Contexts

Die Welt strukturieren queeren [?] / Structuring queering [?] the world

Albert Lortzings Musik zwischen Freimaurerlogen und Freiheitskampf: Eine vergessene Stimme der deutschen Demokratiegeschichte:
Der Komponist Albert Lortzing war mehr als nur ein biedermeierlicher Unterhaltungskünstler. Seine Opern verhandelten die Konflikte seiner Zeit - Macht und Freiheit, soziale Ungerechtigkeit und persönliches Glück - mit bemerkenswertem politischem Gespür. Stefan Lüddemann enthüllt die wenig bekannte Seite des Komponisten als aktiven Freimaurer, dessen humanistische Ideale von Brüderlichkeit und Menschenwürde sein gesamtes Werk durchziehen.
Von der Überwachungsgesellschaft in "Zar und Zimmermann" bis zur revolutionären "Regina" analysiert Lüddemann Lortzings Opern als kluge Reflexionen über Freiheit und ihre Grenzen. In einer Zeit, in der die offene Gesellschaft erneut unter Druck steht, erweist sich Lortzings Werk als erstaunlich aktuell.
Für Musik- und Geschichtsinteressierte, die einen unterschätzten Wegbereiter deutscher Demokratiebewegungen neu entdecken möchten.

Freimaurer und Freiheitssucher

Albert Lortzing

'Ted Kessler and Hamish MacBain are fantastic chaps. The Dudley Moore and Peter Cook of music journalism LG x' - Liam Gallagher This instant Sunday Times bestseller is the definitive book about the music of Oasis, published as the reunion tour was making headlines around the world. A deeply researched tribute to the creative talent and star power of the Gallaghers, A Sound So Very Loud is crammed with unknown detail and the kind of anarchic, brilliantly funny anecdotes that only Oasis could generate. Music journalists Ted Kessler and Hamish MacBain first met Liam and Noel in 1994, when the brothers were playing tiny venues, and have since interviewed them dozens of times, tracking the astonishing success of Oasis as they became one of the biggest bands in the world. In this comprehensive telling of the Oasis story through their spectacular back catalogue, Kessler and MacBain focus on the enduring power of the music, exploring the tales behind the lyrics and revealing the background to the writing, recording and impact of all the songs, from megahits like 'Live Forever', 'Wonderwall' and 'Champagne Supernova' to the fan-favourite B-sides and deep cuts such as 'Acquiesce', 'The Masterplan' and 'Half the World Away'. With their unique perspective on all things Oasis, Kessler and MacBain bring this story to life in glorious colour. A Sound So Very Loud is the book every Oasis fan needs on their shelves, destined to be as timeless and as moreish as the music itself. 'Essential reading. Hamish and Ted have had front row tickets to the Oasis story from the very beginning. There's no one who knows more about the band, the music and its impact' - Mat Whitecross, director of Oasis: Supersonic 'Something special: a book of wit and verve about why Oasis matter' - The Telegraph

The Inside Story of Oasis And All Their Songs

A Sound So Very Loud

Studien zur Popularmusik

TikTok is one of the world's most popular digital platforms. Although it may seem unusual at first, many jazz musicians have large followings on this short-form video platform. Benjamin Burkhart examines how popular jazz musicians use TikTok and how jazz is represented on the platform. He investigates how the musicians deal with the platform's affordances, tailor their content to the short-form video format, and interact with the platform's algorithmic system. The study also examines the musicians' expectations regarding TikTok users' actions, and reveals which jazz-related content achieves the greatest visibility on the platform. Through interviews with popular content creators, the study shows that the socio-technical interaction between musicians and the platform leads to a very specific representation of jazz on TikTok.

Algorithmic Music Culture on TikTok

Platform Jazz

Peter Kraut erforscht in 100 Doppelbetrachtungen die Grenzen der Musik und ihre Widersprüche. Eine Reise durch Musikgeschichte, Pop-Kultur und
Klangphilosophie.

Was geschieht, wenn Musik nicht als Objekt des Wissens behandelt wird, sondern als Gegenüber? In diesem Buch entwirft Peter Kraut ein Denken, das Musik nicht erklärt oder bewertet, sondern befragt. Ausgehend von konkreten Hörerfahrungen, theoretischen Setzungen und begrifflichen Verschiebungen untersucht er, wie Fragen selbst zu einer ästhetischen Praxis werden können.
Kraut interessiert sich für das Offene, das Unabschließbare, das Widerständige im musikalischen Denken. Seine Fragen und Antworten bewegen sich zwischen Analyse und Reflexion, zwischen präziser Beobachtung und bewusster Verunsicherung. Musik erscheint hier nicht als Trägerin von Bedeutungen, sondern als Anlass, Gewissheiten auszusetzen: über Form, Autorschaft, Sinn und Urteil.
Wo hört die Musik auf? versteht das Fragen nicht als Vorstufe zur Antwort, sondern als produktiven Zustand. Das Buch richtet sich an Leser:innen, die Musik nicht festlegen wollen, sondern bereit sind, sich von ihr irritieren, verschieben und 
erausfordern zu lassen.

100 kurze und 100 lange Antworten

Wo hört die Musik auf?

California Studies in Music, Sound, and Media

Interrogating the recent proliferation of audio apps, smart speakers, sleep aids, and prenatal sound systems that promise a better life through sound, this book explores how these technologies came to be promoted as a cheap solution for capitalism's inevitable crisis of reproduction. Marie Thompson shows how--at a time when, for many, accessing and providing care are increasingly under pressure--sound and music are sold as tools to support caregiving, child rearing, domestic management, and pregnancy. Connecting this phenomenon to shifting gendered, racial, and global divisions of labor, the making of the modern family, the changing political economy of music, and evolving discourses of automation, The Sonic Surrogate sheds light on the many reproductions implicated in sound reproduction.

Music, Technology, and the Crisis of Reproduction

The Sonic Surrogate

At the dawn of the 21st century, the New York City indie rock scene emerged as a beacon of artistic innovation, capturing widespread attention. Within this vibrant milieu, Interpol's second album, Antics, stands out as a landmark release. Released in 2004, Antics initially received a spectrum of responses-acclaimed by fans yet somewhat dismissed by critics. Nevertheless, time has favored Antics, elevating it to a revered status among aficionados. Covering everything from its intricate musical craftsmanship to its innovative marketing, this book explores Interpol's creative evolution and the album's shift toward distinct singles while preserving its atmospheric essence. Highlighting Interpol's widespread appeal, especially in Latin America, this book examines their passionate fanbase and the cultural phenomena that emerged, showcasing the enduring bond between the band and their international audience. It also considers the global impact of Antics, underscoring the album's longevity and Interpol's role as architects of a sound that has resonated across borders and generations, cementing their place in the annals of modern music history.

Interpol's Antics

Musik und Klangkultur

Medialisierte Konzerte finden sich in Film, Fernsehen und Internet von Beginn an. Im Bereich der Kunstmusik nimmt die Anzahl verfügbarer Konzertübertragungen stetig zu, doch aus medienästhetischer Sicht überzeugen nicht alle Angebote gleichermaßen. Oft folgen sie jahrzehntealten, standardisierten Gestaltungsstrategien. Angesichts diverser Darstellungsformen von Musik und sich wandelnder Distributionswege sind neue Gestaltungspotenziale und ein adäquates Theorieangebot zur Medienreflexion erforderlich. Nanna Schmidt formuliert einen Rahmen für die Schaffung eines intensiven audiovisuellen Musikerlebnisses, in dem das Verhältnis von Repräsentation und Inszenierung gezielt gestaltet werden kann.

Zur Repräsentation und Inszenierung von Kunstmusik in den audiovisuellen Medien

Das medialisierte Konzert

Die ökologische Krise fordert das Hören und Hervorbringen von Klang und Musik neu heraus. Wissenschaftliches und künstlerisches Arbeiten mit Field Recordings und Umweltdaten berührt, durchdringt und inspiriert sich gegenseitig. Von Klanginstallationen und Kompositionen über Lecture Performances und Hörspiele bis hin zu Disziplinen wie der Soziologie, der Musikwissenschaft und der Ökoakustik reicht das Spektrum, in dem neue Begegnungsräume entstehen: zwischen Klimakunst und -forschung, Aktivismus und Dialog, Recherche und Komposition. Die Künstler*innen und Beiträger*innen aus den Natur-, Sozial-, Geistes- und Kulturwissenschaften reflektieren, was in diesen Räumen geschieht, und zeigen dabei auch auf, wie sich ihre jeweiligen Disziplinen dabei verändern.

Neue Diskurs- und Erfahrungsräume zwischen Musik und Wissenschaft

Klima – Klang – Transformation

Blues Before Sunrise 3

Autres titres sur ce thème