But before this instant accessibility and dizzying array of formats before CDs, the eight-track tape, the radio, and the turntable there was only one recording technology: music notation. It allowed singers and soloists to travel across great distances and perform their work with stunning fidelity, a feat that we now very much take for granted. Thomas Forrest Kelly transports us to the lively and complex world of monks and monasteries, of a dove singing holy chants into the ear of a saint, and of bustling activity in the Cathedral of Notre Dame an era when the only way to share even the simplest song was to learn it by rote, church to church and person to person. With clarity and a sense of wonder, Kelly tells a story that spans five hundred years, leading us on a journey through medieval Europe and showing how we learned to keep track of rhythm, melody, and precise pitch with a degree of accuracy previously unimagined.Kelly reveals the technological advances that led us to the system of notation we use today, placing each step of its evolution in its cultural and intellectual context. Companion recordings by the renowned Blue Heron ensemble are paired with vibrant illuminated manuscripts, bringing the art to life and allowing readers to experience something of the marvel that medieval writers must have felt when they figured out how to capture music for all time."

    One of the most influential collections of music ever published, Style and Idea includes Schoenberg’s writings about himself and his music as well as studies of many other composers and reflections on art and society.

    Interviews with top film scoring professionals add the priceless insight of the wisdom that comes with experience.

    The disruptions of the war, and the struggles of the ensuing peace, were reflected in the music of the time: in Pierre Boulez's radical re-forming of compositional technique and in John Cage's move into zen music, in Milton Babbitt's settling of the serial system, and in Dmitry Shostakovich's unsettling symphonies, in Karlheinz Stockhausen's development of electronic music and in Luigi Nono's pursuit of the universally human, in Iannis Xenakis's view of music as sounding mathematics and in Luciano Berio's consideration of it as language. The initiatives of these composers and their contemporaries opened prospects that have continued to unfold. This constant expansion of musical thinking since 1945 has left us with no single history of music. We live' as Griffiths says, among many simultaneous histories'. His study accordingly follows several different paths, showing how they converge and diverge.

    Six prefabs, three pubs, a school, a church and a yard where the electricity board kept cables. Two long rows of terraced house faced each other at one end of the street; and, at the other, big houses with big doors and even bigger windows. There was a phone box next to one of the pubs and when it rang everyone came out to see who it was for. It was a tiny road - at one end of which there was Greenwich Park. It was heaven being there, its beauty always shone on me from the trees at sunsets and from the bushes in the rain. I was there in all weathers. It was 1964, I was ten years old and this is when my memory really begins. The previous decade is built up from vague recollections that lean heavily on the imagination.'Chris Difford is a rare breed. As a member of one of London's best-loved bands, the Squeeze co-founder has made a lasting contribution to English music with hits such as 'Cool For Cats', 'Up The Junction', 'Labelled With Love', 'Hourglass' and 'Tempted'. Some Fantastic Place is his evocative memoir of an upbringing in Sixties' South London and his rise to fame in one of the definitive bands of the late Seventies and early Eighties.

    Harmony and Theory is as easy as 1, 2, 3. Best of all, scales are graphed out for you in all twelve keys so you can start using them immediately while you learn. Complete explanation of all five-, six-, seven- and eight-tone scales and modes. The essential volume for every guitarist' library. Contents: Scale patterns mapped out in sweeping format (three notes per string) , Conventional patterns , Every scale diagramed in all 12 keys , Quick mode generator charts: easy conversion from relative scales to modes , In-depth numerical analysis of modes , Each scale has chord compatibility charts , Chord and polychord formulas , An interval map for each key , Easier than tabulature , College level made easy , 211 jam-packed pages !! Langue : en anglais

    . . . In its general theoretical argument on the relations of culture to economy, but also in its specialized concentration, Noise has much that is of importance to critical theory today.” SubStance“For Attali, music is not simply a reflection of culture, but a harbinger of change, an anticipatory abstraction of the shape of things to come. The book’s title refers specifically to the reception of musics that sonically rival normative social orders. Noise is Attali’s metaphor for a broad, historical vanguardism, for the radical soundscapes of the western continuum that express structurally the course of social development.” EthnomusicologyJacques Attali is the author of numerous books, including Millennium: Winners and Losers in the Coming World Order and Labyrinth in Culture and Society.

    "The text provides students with a comprehensive but accessible and highly practical set of tools for the understanding of music."

    The eccentric group who satirised trad jazz, pop and rock, reached Number five with ‘I’m The Urban Spaceman’ in 1968. A punishing schedule of tours and television followed, including work with the future Monty Python team. The following year, broke and burned out, the Bonzos split up, leaving behind a loyal cult following.Vivian launched into myriad solo projects in music, film and theatre, giving himself several nervous breakdowns in the process. His comic masterpiece, ‘Sir Henry at Rawlinson End’, was heard in radio, on an album, and then hit the big screen. Vivian wrote the musical ‘Stinkfoot’, was narrator on ‘Tubular Bells’ and provided lyrics for Steve Winwood. In person, he was just as multi-faceted, by turns the erudite artist and the truculent Teddy Boy, breathtakingly rude. A powerful figure, tall, red-haired and never less than extravagant in his fashion, Vivian Stanshall was a hell-raiser of legendary reputation – ably assisted through much of the 1970s by Who drummer Keith Moon. Vivian drove the many who loved him to the limit, struggling with terrible tranquilliser and alcohol dependency. He died at home in a house fire in 1995. The story of his turbulent life is utterly compelling.

    This revised edition, written twenty-two years after the original, continues the tradition of providing engagingly written analysis that offers the most comprehensive discussion of the field available anywhere.  This book looks at the field of ethnomusicology--defined as the study of the world's musics from a comparative perspective, and the study of all music from an anthropological perspective--as a field of research. Nettl selects thirty-one concepts and issues that have been the subjects of continuing debate by ethnomusicologists, and he adds four entirely new chapters and thoroughly updates the text to reflect new developments and concerns in the field.                                                     Each chapter looks at its subject historically and goes on to make its points with case studies, many taken from Nettl's own field experience. Drawing extensively on his field research in the Middle East, Western urban settings, and North American Indian societies, as well as on a critical survey of the available literature, Nettl advances our understanding of both the diversity and universality of the world's music. This revised edition's four new chapters deal with the doing and writing of musical ethnography, the scholarly study of instruments, aspects of women's music and women in music, and the ethnomusicologist's study of his or her own culture.

    Further extracts are available as digital shorts, accompanying the London Southbank festival programme.Jean Sibelius hailed from the ‘small nation’ of Finland. Working in isolation, far from the great artistic capitals of Europe, Ross shows how Sibelius’s reinvention of classical forms went on to set the pace for classical composers around the world.Now a major festival running throughout 2013 at London’s Southbank, The Rest is Noise is an intricate commentary not just on the sounds that defined the century, but on art’s troublesome dance with politics, social and cultural change.Alex Ross is the New Yorker’s music critic, and the winner of the Guardian First Book Award and the National Book Critics Circle Award for The Rest is Noise, which was also shortlisted for the Samuel Johnson and Pulitzer prizes for non-fiction.

    Whether you want to play pop, folk, country, rock, blues, jazz, classical, or any other style of music, you will pick up the basic techniques without tedious drills and exercises. Using real music and a step-by-step approach, How to Play Guitar will teach you about:- Choosing and buying a guitar- Tuning your instrument correctlyReading sheet music, guitar music, and tablature- Playing melodies with chordsFingerpicking- Mastering left-hand techniques, including sliding and bending notes- Transposing melodies from one key to another and much more.

    

    A pioneering drummer who has transcended genres, he did much to popularize world music with his fierce passion for the rhythms of Africa. He is that rare thing, a critically acclaimed musician who has enjoyed global success with not one but several supergroups to his name, including Cream and Blind Faith. Here, Ginger tells his story for the first time and without any self-censorship. It's an often harrowing, but honest journey from his humble beginnings in war-torn south London to his adopted home in South Africa's beautiful Western Cape. He tells of his life-long love of jazz, how he discovered the drums and African music, and life on the road. He also confesses to the heroin use that should have killed him in his colorful 1960s prime, working and playing with the biggest names of the time. In the 1970s, he came up with a trans-Saharan trucking scheme, was a successful rally driver, built an ill-fated recording studio, and discovered a consuming passion for playing polo. He talks candidly of the loss and recovery of his fortune, his three marriages, Cream's 1993 induction into the rock 'n' roll hall of fame, their subsequent successful reunion in 2005, and his hopes for the future.

    Streisand. Dylan. Pavarotti. McCartney. Sting. Madonna. What do these musicians have in common besides their super-stardom? They have all worked with legendary music producer Phil Ramone. For almost five decades, Phil Ramone has been a force in the music industry. He has produced records and collaborated with almost every major talent in the business. There is a craft to making records, and Phil has spent his life mastering it. For the first time ever, he shares the secrets of his trade.Making Records is a fascinating look "behind the glass" of a recording studio. From Phil's exhilarating early days recording jazz and commercial jingles at A&R, to his first studio, and eventual legendary producer status, Phil allows you to sit in on the sessions that created some of the most memorable music of the 20th century -- including Frank Sinatra's Duets album, Bob Dylan's Blood on the Tracks, Ray Charles's Genius Loves Company and Paul Simon's Still Crazy After All These Years. In addition to being a ringside seat for contemporary popular music history, Making Records is an unprecedented tutorial on the magic behind what music producers and engineers do. In these pages, Phil offers a rare peek inside the way music is made . . . illuminating the creative thought processes behind some of the most influential sessions in music history. This is a book about the art that is making records -- the way it began, the way it is now, and everything in between.