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Author: Louise Devenish
Publisher: Routledge
ISBN: 1351719793
Category : Music
Languages : en
Pages : 196
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Book Description
First emerging in North America and Europe in the late 1920s, contemporary percussion practices have transitioned from the fringes of contemporary music to the forefront over the past 90 years. In the 1960s contemporary percussion practices reached Australian shores and a new generation of artists added their voices to this narrative. The role of Australian activity is not yet embedded in the wider narrative of international contemporary percussion, nor is the significance of developments in contemporary percussion practices fully realised in the context of Australian music history. In this monograph, political, social and cultural influences on this art form will be examined for the first time in a historical survey of contemporary percussion music in Australia over a 50-year period, from 1960 to 2010. The rise of the percussion ensemble in the twentieth century to a standard chamber music ensemble is now recognised as one of the major advances in western art music practice internationally. A focus will be placed on ensemble activity via definitive documentation and analysis of ensembles that are amongst the most pioneering and longest established of Australian contemporary music organisations, including the Australian Percussion Ensemble, Synergy Percussion, Adelaide Percussions, Nova Ensemble, Tetrafide Percussion, Taikoz, Clocked Out and Speak Percussion amongst others. Closing with a discussion of influences and identity, this historical narrative will expand our understanding of the impact of Australian contributions to the international contemporary music scene while simultaneously examining how developments in contemporary percussion have contributed to Australia’s cultural identity.
Author: Louise Devenish
Publisher: Routledge
ISBN: 1351719793
Category : Music
Languages : en
Pages : 196
Get Book Here
Book Description
First emerging in North America and Europe in the late 1920s, contemporary percussion practices have transitioned from the fringes of contemporary music to the forefront over the past 90 years. In the 1960s contemporary percussion practices reached Australian shores and a new generation of artists added their voices to this narrative. The role of Australian activity is not yet embedded in the wider narrative of international contemporary percussion, nor is the significance of developments in contemporary percussion practices fully realised in the context of Australian music history. In this monograph, political, social and cultural influences on this art form will be examined for the first time in a historical survey of contemporary percussion music in Australia over a 50-year period, from 1960 to 2010. The rise of the percussion ensemble in the twentieth century to a standard chamber music ensemble is now recognised as one of the major advances in western art music practice internationally. A focus will be placed on ensemble activity via definitive documentation and analysis of ensembles that are amongst the most pioneering and longest established of Australian contemporary music organisations, including the Australian Percussion Ensemble, Synergy Percussion, Adelaide Percussions, Nova Ensemble, Tetrafide Percussion, Taikoz, Clocked Out and Speak Percussion amongst others. Closing with a discussion of influences and identity, this historical narrative will expand our understanding of the impact of Australian contributions to the international contemporary music scene while simultaneously examining how developments in contemporary percussion have contributed to Australia’s cultural identity.
Author: Clarence Bernard Henry
Publisher: Taylor & Francis
ISBN: 1040151922
Category : Music
Languages : en
Pages : 985
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Book Description
Global Popular Music: A Research and Information Guide offers an essential annotated bibliography of scholarship on popular music around the world in a two-volume set. Featuring a broad range of subjects, people, cultures, and geographic areas, and spanning musical genres such as traditional, folk, jazz, rock, reggae, samba, rai, punk, hip-hop, and many more, this guide highlights different approaches and discussions within global popular music research. This research guide is comprehensive in scope, providing a vital resource for scholars and students approaching the vast amount of publications on popular music studies and popular music traditions around the world. Thorough cross-referencing and robust indexes of genres, places, names, and subjects make the guide easy to use. Volume 2, Transnational Discourses of Global Popular Music Studies, covers the geographical areas of North America: United States and Canada; Central America, Caribbean, and South America/Latin America; Europe; Africa and Middle East; Asia; and areas of Oceania: Aotearoa/New Zealand, Australia, and Pacific Islands. It provides over twenty-four hundred annotated bibliographic entries covering discourses of extensive research that extend beyond the borders of the United States and includes annotated entries to books, book series, book chapters, edited volumes, special documentaries and programming, scholarly journal essays, and other resources that focus on the creative and artistic flows of global popular music.
Author: Makis Solomos
Publisher: Routledge
ISBN: 0429575017
Category : Music
Languages : en
Pages : 235
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Book Description
From Music to Sound is an examination of the six musical histories whose convergence produces the emergence of sound, offering a plural, original history of new music and showing how music had begun a change of paradigm, moving from a culture centred on the note to a culture of sound. Each chapter follows a chronological progression and is illustrated with numerous musical examples. The chapters are composed of six parallel histories: timbre, which became a central category for musical composition; noise and the exploration of its musical potential; listening, the awareness of which opens to the generality of sound; deeper and deeper immersion in sound; the substitution of composing the sound for composing with sounds; and space, which is progressively viewed as composable. The book proposes a global overview, one of the first of its kind, since its ambition is to systematically delimit the emergence of sound. Both well-known and lesser-known works and composers are analysed in detail; from Debussy to contemporary music in the early twenty-first century; from rock to electronica; from the sound objects of the earliest musique concrète to current electroacoustic music; from the Poème électronique of Le Corbusier-Varèse-Xenakis to the most recent inter-arts attempts. Covering theory, analysis and aesthetics, From Music to Sound will be of great interest to scholars, professionals and students of Music, Musicology, Sound Studies and Sonic Arts. Supporting musical examples can be accessed via the online Routledge Music Research Portal.
Author: Joseph Adato
Publisher:
ISBN: 9780578080864
Category : Percussion instruments
Languages : en
Pages : 522
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Book Description
Author: James Casella
Publisher:
ISBN: 9780976434429
Category :
Languages : en
Pages : 225
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Book Description
Through the past twenty years or so, the "pit," or "front ensemble," has grown to be an integral part of the modern drum corps and marching band activities. This evolution has brought us into a new realm in the world of percussion education and performance, merging outdoor playing styles with indoor playing styles. "Up Front" explores the numerous details of a successful front ensemble. Topics included are: equipment, instrument ranges, transporting, instrument care, technique, exercises, teaching techniques, arranging, and much, much more. At a whopping 225 pages thick, this resource is sure to provide years of insight. It is meant to be an all-encompassing guide for pit members and educators of all experience levels. Jim Casella and Jim Ancona have instructed and arranged for some of drum corps' most musical and innovative percussion ensembles. Now they have combined their "pit knowledge" into one complete resource. "Up Front" explores every unique aspect of today's front ensemble, from technique and musicianship to arranging and instructing.
Author: Karen Howard
Publisher: Routledge
ISBN: 135170446X
Category : Music
Languages : en
Pages : 233
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Book Description
World Music Pedagogy, Volume III: Secondary School Innovations provides a rationale and a resource for the implementation of World Music Pedagogy in middle and high school music classes, grades 7–12 (ages 13–18). Such classes include secondary general music, piano, guitar, songwriting, composition/improvisation, popular music, world music, music technology, music production, music history, and music theory courses. This book is not a depository of ready-made lesson plans but rather a tool to help middle and high school teachers to think globally in the music classroom. Strategies and techniques of World Music Pedagogy are promoted by discussions of a multicultural music education, descriptive vignettes of realistic teaching environments, conversations with culture-bearers/pedagogues, and prompts for self-reflection. This volume approaches important issues of multicultural education and social justice that are often neglected in music education texts—proving to be a valuable resource for both nascent music educators and veteran practitioners alike.
Author: David Garibaldi
Publisher: Alfred Music
ISBN: 9781457445811
Category : Music
Languages : en
Pages : 68
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Book Description
At long last, the secrets of Tower of Power drummer David Garibaldi's groundbreaking funk/jazz fusion drumming techniques are presented in this innovative book. Whether you play rock, heavy metal, jazz or funk, you'll learn how to incorporate Garibaldi's contemporary "linear" styles and musical concepts into your playing as you develop your own unique drumset vocabulary. Funk/Jazz techniques are highlighted in chapters on development of the "Two Sound Level" concept, Four-Bar Patterns, Groove Playing and Funk Drumming, followed by a series of challenging exercises which include 15 Groove Studies and 17 Permutation Studies. These techniques are combined with modern musical ideas that will help you build a solid foundation and add finesse to your bag of tricks.
Author: Emil Richards
Publisher:
ISBN: 9781593932657
Category : Biography & Autobiography
Languages : en
Pages : 250
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Book Description
During a span of 55 years, Emil Richards has been a renowned presence in Hollywood soundstages, recording studios, jazz clubs and international touring venues. Considered a supreme artist on the vibraphone, marimba and xylophone, as well as a master of his world-famous collection of percussion instruments, Richards is renowned throughout the world for his versatility. This book's lifetime of insightful and hilarious experiences include years with Frank Sinatra and George Harrison, as well as many anecdotes involving Burt Bacharach, Elvis Presley and Ravi Shankar, as well as most major recording artists. Richards' chronology roughly categories the book's chapters into decades, with the 1960s mainly involving album recording, television shows in the '70s and films in the '80s and '90s. A parallel career means stories emanating through playing with George Shearing, Paul Horn, Stan Kenton and Roger Kellaway, as well as Igor Stravinsky and Richards' own group Calamari. There are warm recollections of the great film composers, including Henry Mancini, Alex North, Jerry Goldsmith and John Williams, who all collaborated at finding a unique sound at Richards' warehouse before composing. Salad bowls used in "Planet Of The Apes," gongs lowered into fluid for space movies and many other unusual sonic effects will flash readers back to decades of favorite movies. From an astonishing family history and grim days growing up in Hartford, Connecticut, through wild tours with Sinatra to Europe, Japan and Egypt, and visits to the Maharishi in India, Richards' entertaining, direct style perfectly complements this wealth of inside experiences. ________________________________________ "Throughout the many years of his long and distinguished career, Emil Richards consistently brought adventure, joy and discovery to all of his music making. His new book is a valuable addition to the documentation of a period of great creativity in American music." - John Williams "I have no doubt that if you have even the slightest interest in movies or music, you will find that Emil's stories are as inspirational as they are funny, and most importantly, you will discover one of the greatest souls ever to grace the music industry." - Michael Giacchino "Emil has played on .... I have no idea, maybe 60 or 70 scores of mine. He never disappoints and continues to amaze me. When it comes to percussion, Emil has always and always will be an irreplaceable original. ...The Man! ....The One and Only." - Danny Elfman
Author: Louise Devenish
Publisher: Taylor & Francis
ISBN: 100095191X
Category : Music
Languages : en
Pages : 215
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Book Description
Contemporary notions of musical virtuosity redevelop historic concepts and demonstrate that our present understanding of virtuosity in western art music has shifted from what seemed, for a time, to be a relatively clear and stable definition. In the field and the academy, lively debates around the definition and/or value of virtuosity have always elicited strong and varied ideas. In the twenty-first century, frictions have emerged between traditional definitions of virtuosity and contemporary practices that emphasise collaboration and blur roles between performers, composers, and improvisers. Contemporary Musical Virtuosities embraces the evolving processes, practitioners, and presentation models within twenty-first century art music. This edited collection explores recent insights into the experience and role of virtuosity in different contexts, via contributions from an intergenerational group of artists, academics, and artist-academics. Their writing highlights current themes in contemporary western art music and intersecting musical and performing arts genres such as dance, sound art, improvisation, jazz, trans-traditional collaborations, and Australian Indigenous music. It offers models for supporting and recognising a plurality of musical virtuosities typically excluded from traditional definitions and examines implications for musical practice today. Chapters take the form of academic essays, artist reflections, interviews, personal letters, and a manifesto, reflecting the range of approaches and contexts covered. The collection includes first writings on practices that have been present in the industry for some time not yet documented or examined in detail until now, and thus offers a vision for the future that prioritises inclusive and overlapping practices and processes in music.
Author: David Symons
Publisher: Routledge
ISBN: 1000206440
Category : Art
Languages : en
Pages : 185
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Book Description
Australia’s Jindyworobak Composers examines the music of a historically and artistically significant group of Australian composers active during the later post-colonial period (1930s–c. 1960). These composers sought to establish a uniquely Australian identity through the evocation of the country’s landscape and environment, including notably the use of Aboriginal elements or imagery in their music, texts, dramatic scenarios or ‘programmes’. Nevertheless, it must be observed that this word was originally adopted as a manifesto for an Australian literary movement, and was, for the most part, only retrospectively applied by commentators (rather than the composers themselves) to art music that was seen to share similar aesthetic aims. Chapter One demonstrates to what extent a meaningful relationship may or may not be discernible between the artistic tenets of Jindyworobak writers and apparently likeminded composers. In doing so, it establishes the context for a full exploration of the music of Australian composers to whom ‘Jindyworobak’ has come to be popularly applied. The following chapters explore the music of composers writing within the Jindyworobak period itself and, finally, the later twentieth-century afterlife of Jindyworobakism. This will be of particular interest to scholars and researchers of Ethnomusicology, Australian Music and Music History.
