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Author: John J. Sheinbaum
Publisher: University of Chicago Press
ISBN: 022659338X
Category : Music
Languages : en
Pages : 305
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Book Description
Over the past two centuries Western culture has largely valorized a particular kind of “good” music—highly serious, wondrously deep, stylistically authentic, heroically created, and strikingly original—and, at the same time, has marginalized music that does not live up to those ideals. In Good Music, John J. Sheinbaum explores these traditional models for valuing music. By engaging examples such as Handel oratorios, Beethoven and Mahler symphonies, jazz improvisations, Bruce Springsteen, and prog rock, he argues that metaphors of perfection do justice to neither the perceived strengths nor the assumed weaknesses of the music in question. Instead, he proposes an alternative model of appreciation where abstract notions of virtue need not dictate our understanding. Good music can, with pride, be playful rather than serious, diverse rather than unified, engaging to both body and mind, in dialogue with manifold styles and genres, and collaborative to the core. We can widen the scope of what music we value and reconsider the conventional rituals surrounding it, while retaining the joys of making music, listening closely, and caring passionately.
Author: John J. Sheinbaum
Publisher: University of Chicago Press
ISBN: 022659338X
Category : Music
Languages : en
Pages : 305
Get Book Here
Book Description
Over the past two centuries Western culture has largely valorized a particular kind of “good” music—highly serious, wondrously deep, stylistically authentic, heroically created, and strikingly original—and, at the same time, has marginalized music that does not live up to those ideals. In Good Music, John J. Sheinbaum explores these traditional models for valuing music. By engaging examples such as Handel oratorios, Beethoven and Mahler symphonies, jazz improvisations, Bruce Springsteen, and prog rock, he argues that metaphors of perfection do justice to neither the perceived strengths nor the assumed weaknesses of the music in question. Instead, he proposes an alternative model of appreciation where abstract notions of virtue need not dictate our understanding. Good music can, with pride, be playful rather than serious, diverse rather than unified, engaging to both body and mind, in dialogue with manifold styles and genres, and collaborative to the core. We can widen the scope of what music we value and reconsider the conventional rituals surrounding it, while retaining the joys of making music, listening closely, and caring passionately.
Author: Sharlene Habermeyer
Publisher: Createspace Independent Publishing Platform
ISBN: 9781484157312
Category : Music
Languages : en
Pages : 0
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Book Description
"This is a magnificent book--one of the most original and stunning in the field of modern Chinese literature. The eight studies that comprise the book unfold a vast canvas of twentieth-century China, one that is filled with terror, violence, phantasmagoria, and death. This is indeed the dark, ghostly side of the 'Chinese Modern.' Wang's prodigious command of primary Chinese texts from the entire literary legacy of twentieth century China is nothing short of stunning. No other study in the field in any language is remotely comparable to the richness and density of materials and insights packed into the book."--Leo Ou-fan Lee, Professor of Chinese Literature, Harvard University "This is a revolutionary book, a series of connected essays that lay bare 20th-century China's history of violence. The range and quality of investigation into literary and historical representations of pain are stunning; the material is as fresh as the scholarly ends to which it contributes. An absolute must read."--Howard Goldblatt, co-editor of "The Columbia Anthology of Modern Chinese Literature" "David Wang is in his element. In this monumental work on the mutual implication of Chinese modernity and the representation of violence, Wang is at once historical, critical, and mythopoetic. The haunting metaphor of tauwu as monster and history gives this book both a theoretical backbone and a contemplative richness that goes beyond the genre of literary criticism. It is a masterpiece of the finest caliber."--Jing Wang, S.C. Fang Professor of Chinese Cultural Studies, Massachusetts Institute of Technology
Author: Barry Parker
Publisher: JHU Press
ISBN: 0801897076
Category : Science
Languages : en
Pages : 286
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Book Description
Why does a harpsichord sound different from a piano? For that matter, why does middle C on a piano differ from middle C on a tuning fork, a trombone, or a flute? Good Vibrations explains in clear, friendly language the out-of-sight physics responsible not only for these differences but also for the whole range of noises we call music. The physical properties and history of sound are fascinating to study. Barry Parker's tour of the physics of music details the science of how instruments, the acoustics of rooms, electronics, and humans create and alter the varied sounds we hear. Using physics as a base, Parker discusses the history of music, how sounds are made and perceived, and the various effects of acting on sounds. In the process, he demonstrates what acoustics can teach us about quantum theory and explains the relationship between harmonics and the theory of waves. Peppered throughout with anecdotes and examples illustrating key concepts, this invitingly written book provides a firm grounding in the actual and theoretical physics of music.
Author: Iris M. Yob
Publisher: Indiana University Press
ISBN: 0253046947
Category : Music
Languages : en
Pages : 299
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Book Description
Why teach music? Who deserves a music education? Can making and learning about music contribute to the common good? In Humane Music Education for the Common Good, scholars and educators from around the world offer unique responses to the recent UNESCO report titled Rethinking Education: Toward the Common Good. This report suggests how, through purpose, policy, and pedagogy, education can and must respond to the challenges of our day in ways that respect and nurture all members of the human family. The contributors to this volume use this report as a framework to explore the implications and complexities that it raises. The book begins with analytical reflections on the report and then explores pedagogical case studies and practical models of music education that address social justice, inclusion, individual nurturance, and active involvement in the greater public welfare. The collection concludes by looking to the future, asking what more should be considered, and exploring how these ideals can be even more fully realized. The contributors to this volume boldly expand the boundaries of the UNESCO report to reveal new ways to think about, be invested in, and use music education as a center for social change both today and going forward.
Author: Gregory Thornbury
Publisher: National Geographic Books
ISBN: 110190707X
Category : Biography & Autobiography
Languages : en
Pages : 0
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Book Description
The riveting, untold story of the “Father of Christian Rock” and the conflicts that launched a billion-dollar industry at the dawn of America’s culture wars. In 1969, in Capitol Records' Hollywood studio, a blonde-haired troubadour named Larry Norman laid track for an album that would launch a new genre of music and one of the strangest, most interesting careers in modern rock. Having spent the bulk of the 1960s playing on bills with acts like the Who, Janis Joplin, and the Doors, Norman decided that he wanted to sing about the most countercultural subject of all: Jesus. Billboard called Norman “the most important songwriter since Paul Simon,” and his music would go on to inspire members of bands as diverse as U2, The Pixies, Guns ‘N Roses, and more. To a young generation of Christians who wanted a way to be different in the American cultural scene, Larry was a godsend—spinning songs about one’s eternal soul as deftly as he did ones critiquing consumerism, middle-class values, and the Vietnam War. To the religious establishment, however, he was a thorn in the side; and to secular music fans, he was an enigma, constantly offering up Jesus to problems they didn’t think were problems. Paul McCartney himself once told Larry, “You could be famous if you’d just drop the God stuff,” a statement that would foreshadow Norman’s ultimate demise. In Why Should the Devil Have all the Good Music?, Gregory Alan Thornbury draws on unparalleled access to Norman’s personal papers and archives to narrate the conflicts that defined the singer’s life, as he crisscrossed the developing fault lines between Evangelicals and mainstream American culture—friction that continues to this day. What emerges is a twisting, engrossing story about ambition, art, friendship, betrayal, and the turns one’s life can take when you believe God is on your side.
Author: Carla Lalli Music
Publisher: Clarkson Potter
ISBN: 0593138260
Category : Cooking
Languages : en
Pages : 289
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Book Description
NEW YORK TIMES BESTSELLER • Recipes to match every mood, situation, and vibe from the James Beard Award–winning author of Where Cooking Begins ONE OF THE TEN BEST COOKBOOKS OF THE YEAR: San Francisco Chronicle • ONE OF THE BEST COOKBOOKS OF THE YEAR: Time Out, Glamour, Taste of Home Great food is an achievable part of every day, no matter how busy you are; the key is to have go-to recipes for every situation and for whatever you have on hand. The recipes in That Sounds So Good are split between weekday and weekend cooking. When time is short, turn to quick stovetop suppers, one-pot meals, and dinner salads. And for the weekend, lean into lazy lunches, simmered stews, and hands-off roasts. Carla’s dishes are as inviting and get-your-attention-good as ever. All the recipes—such as Fat Noodles with Pan-Roasted Mushrooms and Crushed Herb Sauce or Chicken Legs with Warm Spices—come with multiple ingredient swaps and suggestions, so you can make each one your own. That Sounds So Good shows Carla at her effortless best, and shows how you can be, too.
Author: Michael Hewitt
Publisher: Course Technology Ptr
ISBN: 9781598635034
Category : Music
Languages : en
Pages : 309
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Book Description
Many DJs, gigging musicians, and electronic music producers understand how to play their instruments or make music on the computer, but they lack the basic knowledge of music theory needed to take their music-making to the next level and compose truly professional tracks. Beneath all the enormously different styles of modern electronic music lie certain fundamentals of the musical language that are exactly the same no matter what kind of music you write. It is very important to acquire an understanding of these fundamentals if you are to develop as a musician and music producer. Put simply, you need to know what you are doing with regard to the music that you are writing. Music Theory for Computer Musicians explains these music theory fundamentals in the most simple and accessible way possible. Concepts are taught using the MIDI keyboard environment and today's computer composing and recording software. By reading this book and following the exercises contained within it, you, the aspiring music producer/computer musician, will find yourself making great progress toward understanding and using these fundamentals of the music language. The result will be a great improvement in your ability to write and produce your own original music!
Author: Martin August Gemünder
Publisher:
ISBN:
Category : Music
Languages : en
Pages : 120
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Book Description
Author: Nancy Newman
Publisher: University Rochester Press
ISBN: 1580463452
Category : History
Languages : en
Pages : 334
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Book Description
A transatlantic perspective that illuminates the Germania Musical Society's crucial role in introducing a "classical," predominantly German, repertory of instrumental works into American musical life. In Good Music for a Free People, author Nancy Newman examines the activities and reception of the Germania Musical Society, an orchestra whose members emigrated from Berlin during the Revolutions of 1848. These two dozen "Forty-Eighters" gave nearly a thousand concerts in North America during the ensuing six-year period, possibly reaching a million listeners. Drawing on a memoir by member Henry Albrecht, Newman provides insights into the musicians'desire to bring their music to the audiences of a democratic republic at this turbulent time. Eager to avoid the egotism and self-promotion of the European patronage system, they pledged to work for their mutual interests both musically and socially. "One for all, and all for one" became their motto. Originally published in German, Albrecht's memoir is presented here in for the first time in translation. Nancy Newman is Associate Professor in the Music Department at the University at Albany, SUNY.
Author: Kelefa Sanneh
Publisher: Penguin
ISBN: 0525559604
Category : Music
Languages : en
Pages : 497
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Book Description
One of Oprah Daily's 20 Favorite Books of 2021 • Selected as one of Pitchfork's Best Music Books of the Year “One of the best books of its kind in decades.” —The Wall Street Journal An epic achievement and a huge delight, the entire history of popular music over the past fifty years refracted through the big genres that have defined and dominated it: rock, R&B, country, punk, hip-hop, dance music, and pop Kelefa Sanneh, one of the essential voices of our time on music and culture, has made a deep study of how popular music unites and divides us, charting the way genres become communities. In Major Labels, Sanneh distills a career’s worth of knowledge about music and musicians into a brilliant and omnivorous reckoning with popular music—as an art form (actually, a bunch of art forms), as a cultural and economic force, and as a tool that we use to build our identities. He explains the history of slow jams, the genius of Shania Twain, and why rappers are always getting in trouble. Sanneh shows how these genres have been defined by the tension between mainstream and outsider, between authenticity and phoniness, between good and bad, right and wrong. Throughout, race is a powerful touchstone: just as there have always been Black audiences and white audiences, with more or less overlap depending on the moment, there has been Black music and white music, constantly mixing and separating. Sanneh debunks cherished myths, reappraises beloved heroes, and upends familiar ideas of musical greatness, arguing that sometimes, the best popular music isn’t transcendent. Songs express our grudges as well as our hopes, and they are motivated by greed as well as idealism; music is a powerful tool for human connection, but also for human antagonism. This is a book about the music everyone loves, the music everyone hates, and the decades-long argument over which is which. The opposite of a modest proposal, Major Labels pays in full.
