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Salsa, Record Grooves and Popular Culture in Cali, Colombia
Salsa is a popular dance music developed by Puerto Ricans in New York City during the 1960s and 70s, based on Afro-Cuban forms. By the 1980s, the Colombian metropolis of Cali emerged on the global stage as an important center for salsa consumption and performance. Despite their geographic distance from the Caribbean and from Hispanic Caribbean migrants in New York City, Calenos (people from Cali) claim unity with Cubans, Puerto Ricans and New York Latinos by virtue of their having adopted salsa as their own. The City of Musical Memory explores this local adoption of salsa and its Afro-Caribbean antecedents in relation to national and regional musical styles, shedding light on salsa's spread to other Latin American cities. Cali's case disputes the prevalent academic notion that live music is more "real" or "authentic" than its recorded versions, since in this city salsa recordings were until recently much more important than musicians themselves, and continued to be influential in the live scene. This book makes valuable contributions to ongoing discussions about the place of technology in music culture and the complex negotiations of local and transnational cultural identities.
Music, Fashion, and Modernism
Music and fashion: the deep connection between these two expressive worlds is firmly entrenched. Yet little attention has been paid to the association of sound and style in the early twentieth century—a period of remarkable and often parallel developments in both high fashion and the arts, including music. This beautifully written book, lavishly illustrated with fashion plates and photographs, explores the relationship between music and fashion, elegantly charting the importance of these arts to the rise of transatlantic modernism. Focusing on the emergence of the movement known as Neoclassicism, Mary E. Davis demonstrates that new aesthetic approaches were related to fashion in a manner that was perfectly attuned to the tastes of jazz-age sophisticates. Looking in particular at three couturiers—Paul Poiret, Germaine Bongard, and Coco Chanel—and three breakthrough fashion magazines—La Gazette du Bon Ton, Vanity Fair, and Vogue—Davis illuminates for the first time the ways in which fashion's imperatives of originality and constant change influenced composers such as Erik Satie, Igor Stravinsky, and Les Six. She also considers the role played by the Ballets Russes, and explores the contributions of artists including costume and set designer Léon Bakst, writer and director Jean Cocteau, Amédée Ozenfant, and Pablo Picasso. The first study to situate music in this rich context, Classic Chic demonstrates the profound importance of the linked endeavors of composition and couture to modernist thought. In addition to its innovative approach to this important moment in history, Davis's focus on the social aspects of the story makes the book a tremendously engaging read.
A Personal View of the Music and the Musicians
Floyd Levin, an award-winning jazz writer, has personally known many of the jazz greats who contributed to the music's colorful history. In this collection of his articles, published mostly in jazz magazines over a fifty-year period, Levin takes us into the nightclubs, the recording studios, the record companies, and, most compellingly, into the lives of the musicians who made the great moments of the traditional jazz and swing eras. Brilliantly weaving anecdotal material, primary research, and music analysis into every chapter, Classic Jazz: A Personal View of the Music and the Musicians is a gold mine of information on a rich segment of American popular music.
This collection of articles begins with Levin's first published piece and includes several new articles that were inspired by his work on this compilation. The articles are organized thematically, beginning with a piece on Kid Ory's early recordings and ending with a newly written article about the campaign to put up a monument to Louis Armstrong in New Orleans. Along the way, Levin gives in-depth profiles of many well-known jazz legends, such as Jelly Roll Morton, Duke Ellington, and Louis Armstrong, and many lesser-known figures who contributed greatly to the development of jazz.
Extensively illustrated with previously unpublished photographs from Levin's personal collection, this wonderfully readable and extremely personal book is full of information that is not available elsewhere. Classic Jazz: A Personal View of the Music and the Musicians will be celebrated by jazz scholars and fans everywhere for the overview it provides of the music's evolution, and for the love of jazz it inspires on every page.
Written by Joan Benson, one of the champions of clavichord performance in the 20th century, Clavichord for Beginners is an exceptional method book for both practitioners and enthusiasts. In addition to detailing the historical origins of the instrument and the evolution of keyboard technique, the book describes the proper method for practicing fingering and articulation and emphasizes the importance of touch and sensitivity at the keyboard. A CD featuring Benson in performance and a DVD of interviews and lessons accompany the book, illustrating important exercises for the beginner. The disks also include discussions on topics that range from 16th-century keyboard masters to the frontiers of electronic music research.
Playing Bluegrass with Bill Monroe
While other work on Bill Monroe has been written from a historical point of view, Come Hither to Go Yonder is told from the perspective of a musician who was actually there. Filled with observations made from the unique vantage point of a man who has traveled and performed extensively with the master, this book is Bob Black's personal memoir about the profound influence that Monroe exerted on the musicians who have carried on the bluegrass tradition in the wake of his 1996 death. _x000B_This volume also includes a complete listing of Bob Black's appearances with Monroe, his most memorable experiences while they worked together, brief descriptions of the more important musicians and bands mentioned, and suggestions for further reading and listening. Offering a rare perspective on the creative forces that drove one of America's greatest composers and musical innovators, Come Hither to Go Yonder will deeply reward any fans of Bill Monroe, of bluegrass, or of American vernacular music._x000B__x000B_
This second edition is not only revised but also greatly expanded, and has much new information, including material never before printed and unavailable elsewhere. In 1,750 individual articles and as many more sub-sections The Companion gives A-Z coverage of song, dance, instruments, bands, storytelling, technology, tunes and style, composition, organisations and promotion, education and transmission, collectors and archives, revival, broadcasting and recording, English, Scottish and Welsh music and song, and music in all Irish counties, Europe and the USA. This commentary and analysis is linked to an historical timeline which spans three millennia, and a publications listing that covers three centuries. Six hundred biographies detail the human endeavour of the field, documenting significant musicians, commentators, historians, promoters and composers, and extended entries cover major themes such as song, dance, education and the elements of style.
Vol. 25 (2001) through current issue
Established in 1977 as the definitive journal of its field, Computer Music Journal (CMJ) covers a wide range of topics such as digital audio signal processing, electroacoustic composition, new musical controllers, and music information retrieval. With cutting-edge scholarship accompanied by interviews with leading composers and informative reviews of products and publications, CMJ is an indispensable resource for composers, performers, scientists, engineers, and computer enthusiasts interested in computer-generated sound and music.
A Comprehensive Reference
During the nineteenth century, New Orleans thrived as the epicenter of classical music in America, outshining New York, Boston, and San Francisco before the Civil War and rivaling them thereafter. While other cities offered few if any operatic productions, New Orleans gained renown for its glorious opera seasons. Resident composers, performers, publishers, teachers, instrument makers, and dealers fed the public's voracious cultural appetite. Tourists came from across the United States to experience the city's thriving musical scene. Until now, no study has offered a thorough history of this exciting and momentous era in American musical performance history. John H. Baron's Concert Life in Nineteenth-Century New Orleans impressively fills that gap.
Baron's exhaustively researched work details all aspects of New Orleans's nineteenth-century musical renditions, including the development of orchestras; the surrounding social, political, and economic conditions; and the individuals who collectively made the city a premier destination for world-class musicians. Baron includes a wide-ranging chronological discussion of nearly every documented concert that took place in the Crescent City in the 1800s, establishing Concert Life in Nineteenth-Century New Orleans as an indispensable reference volume.
The state of Connecticut boasts an extensive and active community of fife and drum groups. This musical tradition has its origins in the small military bands maintained by standing armies in Britain and Europe in the seventeenth and eighteenth centuries--the drum was especially important as it helped officers train soldiers how to march, and was also used to communicate with troops across battlefields. Today fifers and drummers gather at conventions called "musters," which may include a parade and concerts featuring the various participating corps. According to the Guinness Book of World Records, the largest muster ever was held in Deep River, Connecticut, in 1976. Musician and historian James Clark is the first to detail the colorful history of this unique music. This engaging book leads the reader through the history of the individual instruments and tells the story of this classic folk tradition through anecdotes, biographies, photographs, and musical examples.
Technologies of Mixing in a Brazilian Music Scene
Brazilian popular music is widely celebrated for its inventive amalgams of styles and sounds. Cariocas, native residents of Rio de Janeiro, think of their city as particularly conducive to musical mixture, given its history as a hub of Brazilian media and culture. In Contemporary Carioca, the ethnomusicologist Frederick Moehn introduces a generation of Rio-based musicians who collaboratively have reinvigorated Brazilian genres, such as samba and maracatu, through juxtaposition with international influences, including rock, techno, and funk. Moehn highlights the creativity of individual artists including Marcos Suzano, Lenine, Pedro Luís, Fernanda Abreu, and Paulinho Moska. He describes how these artists manage their careers, having reclaimed some control from record labels. Examining the specific meanings that their fusions have in the Carioca scene, he explains that musical mixture is not only intertwined with nationalist discourses of miscegenation, but also with the experience of being middle-class in a country confronting neoliberal models of globalization. At the same time, he illuminates the inseparability of race, gender, class, place, national identity, technology, and expressive practice in Carioca music and its making. Moehn offers vivid depictions of Rio musicians as they creatively combine and reconcile local realities with global trends and exigencies.