Musikk

"I was lucky enough to grow up during the golden age of Top 40 AM radio and enjoying the best DJs in the business. We all listened to Bill Randle, Carl Reese, Phil McLean, Johnny Holiday, and of course Alan Freed and Mad Daddy. We exhibited our 'smarts' by pretending to know which hits would be # 1, next week. What my friends didn't know was my inside track with DJ's like Alan Freed coming to my house to go over play lists with my dad Leo who, of course, told Alan what would be 'selling' the next week. Although a distant memory, I believe Rock 'n' Roll owes its existence to all these great jocks giving the music we loved a vehicle to expand, last, and become part of our entire generation. Radio today isn't a shadow of the media of the 50's and 60's when the personalities like Pete 'Mad Daddy' truly were bigger than life and made radio fun to listen to. Now, when I was certain I remembered that good old age, these pages thoughtfully written by Janice and Mike Olszewski do indeed inform me of how much I didn't know."- Stuart Mintz, son of Leo Mintz, who saw it all firsthand "Rick (Lux) would be upstairs in his bedroom at our house spinning his countless collection of early rock n roll records, reading Mad magazine, and listening to the Mad Daddy radio show fueling his fire for his love of rock n roll. I was his young toddler brother first witnessing all this and seeing for the first time who was to become the great rock n roll madman Lux Interior of the Cramps. It was a powerful sight that created my own fire for music. Lux would be the first in line to buy this book."- Michael Purkhiser, musician, writer and electronics designer "The story of Pete Myers and his on-air persona, the Mad Daddy, is finally set straight in Janice and Mike Olszewski's ultimate bio of this legendary Cleveland radio god. This long-anticipated tome is a bubbling brew of history and hysterics, filled with facts and foibles of the fast-talking disc jockey who unknowingly influenced generations of bop-infested no-counts, and reset the horizontal for all inspired radio to come. Essential reading and absolutely recommended!"- Miriam Linna, Cramps / Norton Records / Kicksville Radio "I've been to Alan Phreed's grave in Cleveland, and Mad Daddy left us long ago. This book lets their memory live on!"- Phlash Phelps, Sirius XM "Sixties Gold"

During the late nineteenth and early twentieth centuries, North American guitarists showed great interest in the compositions of European guitar composers. The guitar works of J. K. Mertz (1806-1856) were clearly favored among the American virtuosi at that time as confirmed in concert programs, in correspondence, and in the numerous American fretted instrument journals, such as Cadenza, Crescendo, S. S. Stewart's Banjo and Guitar Journal, and Etude. This study provides a detailed survey of these sources, as well as collections, archival materials, and manuscripts pertaining to Mertz during this period.Information concerning the life and works of J. K. Mertz and his reception in Europe is followed by an introduction to the guitar in America and an assessment of the stature of Mertz's music in America at the time. Subsequent chapters provide new biographical data for prominent American guitarists including Charles J. Dorn, Arling Shaeffer, Walter Vreeland, C. D. Schettler, C. F. Elzear Fiset, Jennie M. Durkee, Vahdah Olcott-Bickford, William Foden, George C. Krick, J. M. and Gertrude Miller, and Carl W. F. Jansen. Chapters 11-13 chronicle the pertinent activities of these guitarists that resulted in the preservation of significant manuscript copies of Mertz's works.Manuscript copies of three previously lost concert works by Mertz preserved in American collections are described. Further topics included are Mertz in American pedagogical writings, the dissemination of his music, and associations between American and European guitarists. The conclusion discusses the introduction of the music of Tárrega and his followers to American guitarists.

"Fundamentos del Piano Jazz" es una guía clara y detallada de los primeros pasos para el estudio del piano jazz. Cada una de las doce unidades presenta lecciones, ejercicios, licks, actividades, guías de escucha y planes de práctica para una práctica organizada, productiva y creativa.Las lecciones guían paso a paso a los estudiantes hacia un dominio en la improvisación, símbolos de acordes, lectura de leadsheets, voicings, articulación y ritmo swing, acompañamiento, como tocar líneas de bajo, personalizar una melodía, el blues, bossa nova y mucho más. Cada unidad incluye también preguntas frecuentes y contenido audiovisual exclusivo para asegurar que cada tema sea presentado en profundidad y de forma clara. Este libro está diseñado para utilizarse en conjunto con el Real Book, Volumen 6. Recomendado para pianistas con conocimiento de todas las escalas mayores y la coordinación suficiente para tocar un Nocturno de Chopin o Invención de Bach.

La composición de esta Sonata estuvo inspirada en las sonoridades de diferentes obras de autores franceses. Siempre me cautivaron las sensaciones sonoras de la Introducción y Allegro para Arpa, Flauta, Clarinete y Cuarteto de Cuerda de Maurice Ravel, la Sonata para Flauta y Piano de Darius Milhaud o la obra para Arpa y Cuarteto de Cuerda Conts Fantastique de André Caplet. Pero, sobre todas estas composiciones, la Sonata para Flauta, Viola y Arpa de Claude Debussy fue un modelo a seguir por su forma y espíritu musical como mi particular homenaje a la música del compositor francés. En el primer movimiento, "Confrontación", tras una breve introducción se "confrontan" dos temas de carácter bien diferenciado, que configuran una clara forma sonata: el primero, muy romántico y apasionado, con una armonía poliacordal, el segundo tema, calmo y sosegado, sugerente, dentro de un sistema pandiatónico. Ambos dan paso a un desarrollo donde se vuelve a dar la confrontación entre el primer tema y el motivo de la introducción, para desembocar en el segundo tema transformado. En el segundo movimiento, "Contemplación", de nuevo la forma sonata aparece con dos nuevos temas de carácter contrastante pero más pausados y contemplativos. Tras el desarrollo ambos temas se reexponen variados. En el tercer movimiento el arpa realiza una figuración en semicorcheas similar a la del "Final" de la Sonata de Debussy, mientras que la flauta recuerda a la fanfarria inicial de Petrushka de Stravinsky, la cual da paso a un tema más melódico en la viola. El desarrollo desemboca en la introducción del primer tiempo, lo cual otorga unidad a toda la obra, dando paso de nuevo al tema inicial del movimiento en forma de cierre de la obra, a modo de "Conclusión". La obra fue escrita en el año 2000, y la presente versión en 2008, la cual está dedicada a Mª Rosa Calvo-Manzano.

This is a hip hop holiday coloring book. It's a fun, unique way to get the kids in your life engaged with the Christmas magic.

Cuando René Mora me propuso escribir una obra para su original grupo, "Eco Ensemble", nos planteamos realizar una serie de piezas cortas que fuesen agradables de escuchar y también entretenidas de tocar por los intérpretes. Dado que en ese año de 2009 coincidía la efemérides del centenario del fallecimiento de Isaac Albéniz, decidimos realizar un homenaje al compositor de Camprodón. Quizá su obra más importante y representativa sea su suite para piano "Iberia", la cual hemos caricaturizado en referencia a las líneas aéreas españolas. Todo el material temático surge de cada una de las piezas de la "Iberia", aunque se presenta reelaborado en forma de pequeñas miniaturas o "perlas", donde los efectos realizados por la bandurria y la guitarra aportan su especial tímbrica contrastando con la flauta, el violín y el violoncello. Hay una versión con dos guitarras en lugar de bandurria y guitarra (Op. 39b), y otra que incluye clarinete en lugar de violín (Op. 39c). En este caso hemos sustituido las dos guitarras por piano.El humor, ese aspecto casi desconocido en la música, es el centro de esta obra realizada con todo el respeto y admiración hacia la "Iberia" y su autor, Albéniz, enfocada desde una óptica "satieniana". El texto incluido puede recitarse junto a la interpretación de la obra, cuya versión fue encargada por Carlos Galán y está dedicada a él y a su "Grupo Cosmos XXI".Alejandro Román, Octubre de 2.021

Cuatro breves piezas para Coro y Orquesta infantil y juvenil sobre motivos chinos.

The Limeliters were the most vibrant urban folk group of the early 1960s, second only to the Kingston Trio in popularity at their peak. They were a diverse, volatile mix of highly intelligent personalities: Lou Gottlieb, a bass-playing comic with a Ph.D. in musicology; Alex Hassilev, a debonair virtuoso banjo player fluent in six languages; and Glenn Yarbrough, an independent-minded, hugely gifted natural tenor. They recorded a string of best-selling albums for RCA Victor, made TV appearances and commercials, and toured North America and Europe 300 days out of the year at the height of the folk revival era. In 1963, the three went their separate, erratic ways for the next ten years. Alex became a record producer and actor; Glenn went solo, had a big hit record, "Baby, the Rain Must Fall," but yearned to become a full-time sailor; and Lou had a mid-life crisis, grew his hair long, took LSD, and founded the notorious hippie commune, Morningstar Ranch, in Northern California. Eventually the trio reunited in 1973 and became a successful touring act, surviving with various changes in personnel to this day. The saga of Lou, Alex and Glenn is also the story of many of the cultural ideas and trends of the second half of the 20th century in America-how they influenced their times, and how the times affected them. Author Richard S. Ginell, who has known and interviewed the trio over a span of more than four decades, brings the whole slightly fabulous story of The Limeliters to life for the first time.

Als er één band is in de Belgische popgeschiedenis die als een komeet omhoog schoot, dan is het wel Allez Allez. Enkele Brusselse muzikanten en een Britse zangeres stampten de groep in 1981 uit de grond. Hun carrière verliep zeer intens, maar was ook kort. Alhoewel de groep in 1985 reeds splitte, wist de band in die korte periode naam te maken via hun opzwepende concerten. Hun mix van punk, funk en Afrikaanse ritmes werd geapprecieerd in binnen- en buitenland. Live op de BBC, voor een uitverkocht Vorst Nationaal en op het podium van het toen nog Torhout/Werchter noemende dubbelfestival, zijn maar enkele van hun wapenfeiten. Vernieuwend en opvallend was Allez Allez zeker en het publiek meeslepen in hun muzikale 'melting pot' behoorde tot de vaste ingrediënten van hun optredens. Daarom is het ook leuk dat de toenmalige bassist van Allez Allez, Marcassou aka Marka, zijn herinneringen aan die roemrijke periode in een boekje neerschreef. In zijn voorwoord zegt Marka dat het boek geen biografie is, maar gewoon een samenbundeling van herinneringen en ook een 'dank je wel' aan de bandleden, voor het avontuur dat zijn leven veranderde.Presentator Ad Visser en Marc Decock van de Ancienne Belgique bewieroken de band ook in een kort voorwoord. Dan is het aan Marka, die op een luchtige, humoristische en ietwat jongensachtige manier het ontstaan van het door de blonde Sarah Osborne aangevuurde Allez Allez, uit de doeken doet. Veel repeteren in vochtige repetitiehokken leidt de band naar de studio waar ze hun klassiekers 'Allez Allez' en 'African Queen' opnemen. De toon is gezet voor vele optredens, tournees en plaatopnames. Toch komt er jammer genoeg veel te vlug een einde aan het geluk, wanneer Sarah in Engeland huwt en er ook blijft. De overige leden weten maar al te goed dat dit het einde is van een hemels avontuur.Dit alles en nog veel meer beschrijft Marka in dit werk. Zijn vlotte schrijfstijl, de massa's anekdotes en weetjes, aangevuld met knappe foto's van de band, de platenhoezen, affiches, tickets, enz. maken dat je dit werk in één adem uitleest. Als de Belpop en het succesvolle parcours dat Allez Allez aflegde, jou boeien dan hoort dit boekje zonder pardon thuis in je boekenkast. Een aanrader!Upgedate versie.

This text compiles research carried out by the compilers in which, in the first part, they investigate the relationship between music and language in preschool and early school level students.In the second part, the subject of the research presented has to do with the musical preferences of middle and high school students.This research has been carried out in the Mexican educational context.

"Von der Zahl bis zur Note" ist der erste Band der Serie "Kreativer Gitarrenunterricht", mit welchem der Autor Heinz W. Fallmann ein nach seiner "linearen Methode" aufgebautes, didaktisches Konzept präsentiert, das Kindern ab sechs Jahren den Einstieg zum Erlernen der Gitarre erleichtert. Der Lehrstoff ist kausal aufgebaut und arbeitet aktiv mit der Musikalität des Kindes, welche von Beginn an durch praktische Übungen gefordert und gefördert wird. Das Lehrmaterial wurde speziell für den Unterricht mit einer Lehrperson aufbereitet und liegt in zwei Ausgaben, dem Lehr- und dem Schulheft auf.

A deeply moving and brilliantly idiosyncratic visual book of days by the National Book Award-winning author of Just Kids and M Train. More than 365 images chart Smith's singular aesthetic - inspired by her wildly popular InstagramIn 2018, without any plan or agenda for what might happen next, Patti Smith posted her first Instagram photo: her hand with the simple message "Hello Everybody!" Known for shooting with her beloved Land Camera 250, Smith started posting images from her phone including portraits of her kids, her radiator, her boots, and her Abyssinian cat, Cairo. Followers felt an immediate affinity with these miniature windows into Smith's world, photographs of her daily coffee, the books she's reading, the graves of beloved heroes - William Blake, Dylan Thomas, Sylvia Plath, Simone Weil, Albert Camus. Over time, a coherent story of a life devoted to art took shape, and more than a million followers responded to Smith's unique aesthetic in images that chart her passions, devotions, obsessions, and whims. Original to this book are vintage photographs: anniversary pearls, a mother's keychain, and a husband's Mosrite guitar. Here, too, are never-before-seen photos of life on and off the road, train stations, obscure cafés, a notebook always nearby. In wide-ranging yet intimate daily notations, Smith shares dispatches from her travels around the world.With 365 photographs, taking you through a single year, A Book of Days is a new way to experience the expansive mind of the visionary poet, writer, and performer. Hopeful, elegiac, playful - and complete with an introduction by Smith that explores her documentary process - A Book of Days is a timeless offering for deeply uncertain times, an inspirational map of an artist's life.

This book summarizes a decade of research on its topic, while each specific perspective either formed in advance, or arose in the process of ethnography and its analysis. The book explores various aspects of Christian music in British Columbia, Washington State, and Oregon, but primarily its historical facets and local palette.

In an interdisciplinary approach that integrates three scientific fields¿technical, social, and humanities¿the challenges of noise control from the perspective of acoustic ecology are defined. The concept of acoustic ecology is applied to evoke sound and music management and design solutions for the benefit of well-being.

This book presents critical discussions of some of these traditions in connection with the issue of identity. The discussions capture country and city life, illustrate foundational myths, bring secular traditions closer to Christianity, explore surviving cultural strategies, etc.

The saxophone is a globally popular instrument, often closely associated with renowned players such as Charlie Parker, John Coltrane, or more recently, Kenny G. Less well known, however, is the historical presence of women saxophonists in the nineteenth century, shortly after the instrument's invention. Elise Hall (1853-1924), a prominent wealthy socialite in Boston at the turn of the twentieth century, defied social norms by mastering the saxophone, an unconventional instrument for a woman of her time. Despite her career's profound impact, Elise Hall remains relatively obscure in broader music communities. Her untiring work as an impresario, patron, and performer made a significant mark on the history of the instrument. Yet these contributions have been historically undervalued, largely due to gender bias.This collection of essays, written by mainly women saxophonists/scholars, re-evaluates Elise Hall's legacy beyond a discrete history, updating the narrative by highlighting the ways in which her identity and the saxophone itself have influenced historical accounts. By analyzing the sociocultural factors surrounding this innovative musician through a contemporary lens, the contributors challenge previously held narratives shaped by patriarchal structures and collectively affirm her place as one of the pioneers in the history of the saxophone.Kurt Bertels is a postdoctoral researcher at LUCA School of Arts (KU Leuven), Koninklijk Conservatorium Brussel, and Royal Conservatoire Antwerp, Belgium, where he works on nineteenth- and early-twentieth-century saxophone history and performance practice.Adrianne Honnold is an assistant professor of Music at Lewis University in Romeoville, Illinois, USA where she teaches saxophone and music history courses.This is a timely collection of research to help all saxophonists and musicologists rethink the cultural assumptions of the past, and opens up many new ideas and methodologies for future research. I highly recommend this text make its way onto every saxophonist's bookshelf. - Matthew Younglove, Tennessee Technological University

By showing how music intersected with wider cultural affairs, such as philosophy and criticism, this book connects music and the modern in eighteenth-century Spain within the context of Enlightenment thought.

The first book to reveal the true story of how the Beatles broke the American music market to become the biggest band in the world

_Taylor Swift for Adults_ is a tantalising opening salvo in Swiftology - the study of the work of Taylor Swift. While Swift's private life has been covered to death, her talent as a lyricist has rarely been analysed. Until now. Swifties are well aware that she's a lyricist par excellence but this book makes that case to the unbelievers. Swift's gift as a songwriter is not merely sentimentality and circumstance - and this book takes a deep look at her 10 albums to isolate what makes her a beloved lyricist for millions. Any serious study of a lyricist or poet needs to establish what are the tropes, the patterns, and the style of that artist, and this book does precisely that. With careful attention to poetic detail, the scansion, flow, and form of her writing, this brings out those details that pass by in a flash on the radio, bringing them fully into focus. Many have made the argument that Swift is a gifted lyricist - in online forums and YouTube comments - but this is the first time in writing those arguments have been given shape and serious attention. It's a book aimed at adults but not po-faced bores - taking a subject seriously can also mean laughing at swearwords and sex metaphors. Rather than po-faced and straitened, this is a lightly witty book expressing, at its core, a deep affection for this generation's favourite songwriter.

Delving into Bob Dylan's distinctive cinematic journey, this book explores his experimental, boundary-pushing artistry from Dont Look Back to Masked and Anonymous. It sheds light on his lesser-known foray into filmmaking, bridging the realms of music and cinema.

'Jiuta S¿kyoku Lyrics and Explanations' is a compendium of seventy-three representative songs from the well-known genre of traditional Japanese Edo-period sankyoku ensemble music.

Sonic Rebellions combines theory and practice to consider contemporary uses of sound in the context of politics, philosophy, and protest by exploring the relationship between sound and social justice, with particular attention to sonic methodologies not necessarily conceptualised or practiced in traditional understandings of activism.

Sonic Rebellions combines theory and practice to consider contemporary uses of sound in the context of politics, philosophy, and protest by exploring the relationship between sound and social justice, with particular attention to sonic methodologies not necessarily conceptualised or practiced in traditional understandings of activism.

This concise book critically examines the intersection of power, privilege and classical music in higher education through an extensive study of the experiences, training and background of teachers of musical theatre singing.

Music, Gender, And Sexuality Studies: A Teacher¿s Guide serves as a guide to the professor tasked with teaching music to undergraduates, with a focus on gender.