It describes a distinctive sound culture that gave birth to the sound recording and the transmission devices so ubiquitous in modern life. With an ear for the unexpected, scholar and musician Jonathan Sterne uses the technological and cultural precursors of telephony, phonography, and radio as an entry point into a history of sound in its own right. Sterne studies the constantly shifting boundary between phenomena organized as "sound" and "not sound." In The Audible Past, this history crisscrosses the liminal regions between bodies and machines, originals and copies, nature and culture, and life and death. Blending cultural studies and the history of communication technology, Sterne follows modern sound technologies back through a historical labyrinth. Along the way, he encounters capitalists and inventors, musicians and philosophers, embalmers and grave robbers, doctors and patients, deaf children and their teachers, professionals and hobbyists, folklorists and tribal singers. The Audible Past tracks the connections between the history of sound and the defining features of modernity: from developments in medicine, physics, and philosophy to the tumultuous shifts of industrial capitalism, colonialism, urbanization, modern technology, and the rise of a new middle class.A provocative history of sound, The Audible Past challenges theoretical commonplaces such as the philosophical privilege of the speaking subject, the visual bias in theories of modernity, and static descriptions of nature. It will interest those in cultural studies, media and communication studies, the new musicology, and the history of technology.

    Under the new authorial leadership of Alston Purvis, this authoritative book offers more than 450 new images, along with expansive coverage of such topics as Italian, Russian, and Dutch design. It reveals a saga of creative innovators, breakthrough technologies, and important design innovations.

    He introduces characters and incidents with his unusual literary style and grace, bringing to the fore those that have "Puritans as Democrats," "The Monarch's Revolution," "The Artist Prophet and Jester" -- show the recurrent role of great themes throughout the eras.The triumphs and defeats of five hundred years form an inspiring saga that modifies the current impression of one long tale of oppression by white European males. Women and their deeds are prominent, and freedom (even in sexual matters) is not an invention of the last decades. And when Barzun rates the present not as a culmination but a decline, he is in no way a prophet of doom. Instead, he shows decadence as the creative novelty that will burst forth -- tomorrow or the next day.Only after a lifetime of separate studies covering a broad territory could a writer create with such ease the synthesis displayed in this magnificent volume.

    In a new Afterword, Evan Eisenberg shows how digital technology, file trading, and other recent developments are accelerating—or reversing—these trends. Influential and provocative, The Recording Angel is required reading for anyone who cares about the effect recording has had—and will have—on our experience of music.

    Adult Piano Adventures enables the adult beginner to play music for pleasure while developing musical understanding. This comprehensive "All-In-One" book includes lessons, technique, and theory in a single volume for ease of use. Book 1 presents the fundamentals of music notation, chord playing, and musical form. The redesigned layout improves information hierarchy, putting focus on key concepts and step-by-step learning. Online support is now included, with over two hours of instructional videos and audio accompaniment tracks that inspire rhythmic vitality and artistic expression. Songs include: Amazing Grace * The Can-Can * Catch a Falling Star * Danny Boy * Eine Kleine Nachtmusik * The Entertainer * Greensleeves * The Lion Sleeps Tonight * and more!

    Rehder, the man CBS News once described as "America's secret weapon in the war against bank robbers," chronicles the lives and crimes of bank robbers in today's Los Angeles who are as colorful and exciting as the legends of long ago. The mild-mannered antiques dealer who robbed more banks than anyone else in history. The modern Fagin who took a page out of Dickens and had children rob banks for him. The misfit bodybuilders who used a movie as a blueprint for a spree of violent robberies.In a fast-paced, hard-edged style that reads like a novel, Where the Money Is carries us through these stories and more—all within a pistol shot of Hollywood, all true-life tales as vivid as anything on the big screen.

    Stanley Booth describes a recording session with Otis Redding; Ellen Willis traces the meteoric career of Janis Joplin; Ellen Sander recalls the chaotic world of Led Zeppelin on tour; Nick Tosches etches a portrait of the young Jerry Lee Lewis; Eve Babitz remembers Jim Morrison. Alongside are Lenny Kaye on acapella and Greg Tate on hip-hop, Vince Aletti on disco and Gerald Early on Motown; Robert Christgau on Prince, Nelson George on Marvin Gaye, Luc Sante on Bob Dylan, Hilton Als on Michael Jackson, Anthony DeCurtis on the Rolling Stones, Kelefa Sanneh on Jay Z. The story this anthology tells is a ongoing one: -it's too early, - editors Jonathan Lethem and Kevin Dettmar note, -for canon formation in a field so marvelously volatile--a volatility that mirrors, still, that of pop music itself, which remains smokestack lightning. The writing here attempts to catch some in a bottle.- Also features: NAT HENTOFF on BOB DYLAN AMIRI BARAKA on R&B LESTER BANGS on ELVIS PRESLEY ROBERT CHRISTGAU on PRINCE DEBRA RAE COHEN on DAVID BOWIE EVE BABITZ on JIM MORRISON ROBERT PALMER on SAM COOKE CHUCK KLOSTERMAN on HEAVY METAL JESSICA HOPPER on EMO JOHN JEREMIAH SULLIVAN on AXL ROSE ELIJAH WALD on THE BEATLES GREIL MARCUS on CHRISTIAN MARCLAY

    Well-known scholars in the field explore the important qualities and functions of English studies' constituent disciplines--Ellen Barton on linguistics and discourse analysis, Janice Lauer on rhetoric and composition, Katharine Haake on creative writing, Richard Taylor on literature and literary criticism, Amy Elias on critical theory and cultural studies, and Robert Yagelski on English education--and the productive differences and similarities among them that define English studies' continuing importance.Faculty and students in both undergraduate and graduate courses will find the volume an invaluable overview of an increasingly fragmented field, as will department administrators who are responsible for evaluating the contributions of diverse faculty members but whose academic training may be specific to one discipline.Each chapter of English Studies is an argument for the value--the right to equal status--of each individual discipline among all English studies disciplines, yet the book is also an argument for disciplinary integration.

    Hebdige [...] is concerned with the UK's postwar, music-centred, white working-class subcultures, from teddy boys to mods and rockers to skinheads and punks.' - Rolling StoneWith enviable precision and wit Hebdige has addressed himself to a complex topic - the meanings behind the fashionable exteriors of working-class youth subcultures - approaching them with a sophisticated theoretical apparatus that combines semiotics, the sociology of devience and Marxism and come up with a very stimulating short book - Time OutThis book is an attempt to subject the various youth-protest movements of Britain in the last 15 years to the sort of Marxist, structuralist, semiotic analytical techniques propagated by, above all, Roland Barthes. The book is recommended whole-heartedly to anyone who would like fresh ideas about some of the most stimulating music of the rock era - The New York Times

    The only difference between Ann and every other eighteen-year-old in the United States was that she was the editor of Tiger Beat, the hottest teen magazine in the country. Ann traveled the world, interviewing the Monkees, Paul Revere and The Raiders, David Cassidy, Bobby Sherman, the Bee Gees and the Osmonds. She schmoozed with the rich and famous in Hollywood, Hawaii and London, visited Elvis on the set of one of his movies, and joined the hottest rock stars in the recording studio. As a correspondent for the London-based New Musical Express, Ann covered America’s “British Invasion” from these shores. She jetted to San Francisco with Jefferson Airplane, and photographed the Rolling Stones and the Who. She made dinner for Harry Nilsson, rode in Bobby Sherman’s Rolls Royce, and had her heart broken by a superstar—a story she’s kept to herself until now. In Meow! My Groovy Life with Tiger Beat’s Teen Idols, Ann Moses is breaking her silence—about that heartbreaking rock-star romance, as well as what it was like to spend every day with the stars we all loved as kids, besides. She’ll squeal on Bobby Sherman (was he really that nice?), David Cassidy (was he really that snotty?), and the Monkees (which of them was a big meanie?). She’ll tell you everything she couldn’t tell you in the pages of Tiger Beat, back when it was her job to fuel your fantasy about your fave raves.

    His tumultuous life and musical brilliance are explored in depth through hundreds of interviews, 49 transcribed musical scores, two hours of recorded all-star performances, and more than 50 rarely seen photos in this stellar tribute to behind-the-scenes Motown. Features a 120-minute CD Allan Slutsky's 2002 documentary of the same name is the winner of the New York Film Critics "Best Documentary of the Year" award

    It teaches chords for both hands so that the student can play more than single note melodies. This course is most effective when used under the direction of a piano teacher or experienced musician. Titles: Alouette * Alpine Melody * Amazing Grace * At Last * Au Claire de la Lune * Aura Lee * The Ballad of Gilligan's Island * Beautiful Brown Eyes * Blow the Man Down! * Brother John * Caf� Vienna * The Can-Can * Chiapanecas * Cockles and Mussels * The Cuckoo * The Donkey * The Entertainer * A Friend Like You * The Gift to Be Simple * Go Down, Moses * Good King Wenceslas * Good Morning to You! * Got Those Blues * Greensleeves * Happy Birthday to You! * Harp Song * Have Yourself a Merry Little Christmas * Here's a Happy Song! * He's Got the Whole World in His Hands * Jericho * Jingle Bells * Joy to the World! * Kum-ba-yah! * Largo (Dvorak) * Laura * Lavender's Blue * Little Brown Jug * London Bridge * Lone Star Waltz * Love Somebody * The Marine's Hymn * Mary Ann * Merrily We Roll Along * Mexican Hat Dance * Michael, Row the Boat Ashore * Money Can't Buy Everything * My Fifth * Ode to Joy * On Top of Old Smoky * O Sole Mio * Over the Rainbow * Raisins and Almonds * Rockets * Rockin' Intervals * Rock It Away! * Scarborough Fair * Singin' in the Rain * Standing in the Need of Prayer * Tisket, a Tasket * Waltz Time * What Can I Share * When the Saints Go Marching In * Why Am I Blue?

    From the 1893 Chicago World's Fair to the 2000 Whitney Biennial, a rapid succession of art movements and different styles reflected theextreme changes in American culture and society, as well as America's position within the international art world.This exciting new look at twentieth century American art explores the relationships between American art, museums, and audiences in the century that came to be called the American century. Extending beyond New York, it covers the emergence of Feminist art in Los Angeles in the 1970s; the Blackart movement; the expansion of galleries and art schools; and the highly political public controversies surrounding arts funding. All the key movements are fully discussed, including early American Modernism, the New Negro movement, Regionalism, Abstract Expressionism, Pop Art, andNeo-Expressionism.

    Bridging the chasm between educational and social history, this book was one of the first to examine developments in higher education in the context of the social, economic, and political forces that were shaping the nation at large.Surveying higher education from the colonial era through the mid-twentieth century, Rudolph explores a multitude of issues from the financing of institutions and the development of curriculum to the education of women and blacks, the rise of college athletics, and the complexities of student life. In his foreword to this new edition, John Thelin assesses the impact that Rudolph's work has had on higher education studies. The new edition also includes a bibliographic essay by Thelin covering significant works in the field that have appeared since the publication of the first edition.At a time when our educational system as a whole is under intense scrutiny, Rudolph's seminal work offers an important historical perspective on the development of higher education in the United States.

    Why did a particular piece move him? How did the music work? Over time, he realized that his passion for this music was not enough. He needed to understand it. Take Bach, for starters. Who was he? How does one account for his music and its unshakeable hold on us today? As a critic, Tommasini has devoted particular attention to living composers and overlooked repertory. But, like all classical music lovers, the canon has remained central for him. In 2011, in his role as the Chief Classical Music Critic for the New York Times, he wrote a popular series in which he somewhat cheekily set out to determine the all-time top ten composers. Inviting input from readers, Tommasini wrestled with questions of greatness. Readers joined the exercise in droves. Some railed against classical music’s obsession with greatness but then raged when Mahler was left off the final list. This intellectual game reminded them why they loved music in the first place. Now in THE INDISPENSABLE COMPOSERS, Tommasini offers his own personal guide to the canon--and what greatness really means in classical music. What does it mean to be canonical now? Who gets to say? And do we have enough perspective on the 20th century to even begin assessing it? To make his case, Tommasini draws on elements of biography, the anxiety of influence, the composer's relationships with colleagues, and shifting attitudes toward a composer's work over time. Because he has spent his life contemplating these titans, Tommasini shares impressions from performances he has heard or given or moments when his own biography proves revealing. As he argues for his particular pantheon of indispensable composers, Anthony Tommasini provides a masterclass in what to listen for and how to understand what music does to us.