Muziekboeken

The Pulitzer Prize winner's "latest indispensable oral history" (New York Times) of the twentieth century's most celebrated musicians.

Throughout the second half of the twentieth century, Studs Terkel hosted a legendary daily radio show in Chicago, presenting listeners with his inimitable take on an eclectic range of music, from classical, opera, and jazz to gospel, blues, folk, and rock. And They All Sang is nothing less than "a tribute to music's universality and power" (Philadelphia Inquirer), featuring more than forty of Terkel's unforgettable conversations with some of the greatest musicians of the past centuryincluding Louis Armstrong, Leonard Bernstein, Big Bill Broonzy, Bob Dylan, Dizzy Gillespie, Mahalia Jackson, Janis Joplin, Rosa Raisa, Pete Seeger, and many others.

The piano is the best loved of musical instruments, thanks in part to the elegant symmetrical design of its ivory and ebony keyboard, relative to pitch. And yet this 'equal temperament' tuning was once a hugely controversial proposition.

For hundreds of years, musicians, craftsmen, church officials, heads of state, and philosophers fought heatedly against the introduction of 'equal temperament' tuning. Stuart Isacoff, editor of Pianom Today magazine, recounts this great battle over the best way to create music - one that culminated in the decisive victory of piano over harpsichord.

The soundscape, a term coined by the author, is our sonic environment, the ever-present array of noises with which we all live. Beginning with the primordial sounds of nature, we have experienced an ever-increasing complexity of our sonic surroundings. As civilization develops, new noises rise up around us: from the creaking wheel, the clang of the blacksmith’s hammer, and the distant chugging of steam trains to the “sound imperialism” of airports, city streets, and factories. The author contends that we now suffer from an overabundance of acoustic information and a proportionate diminishing of our ability to hear the nuances and subtleties of sound. Our task, he maintains, is to listen, analyze, and make distinctions.

As a society we have become more aware of the toxic wastes that can enter our bodies through the air we breathe and the water we drink. In fact, the pollution of our sonic environment is no less real. Schafer emphasizes the importance of discerning the sounds that enrich and feed us and using them to create healthier environments. To this end, he explains how to classify sounds, appreciating their beauty or ugliness, and provides exercises and “soundwalks” to help us become more discriminating and sensitive to the sounds around us. This book is a pioneering exploration of our acoustic environment, past and present, and an attempt to imagine what it might become in the future.

Focuses on six artists and the relationships of rock'n'roll and American culture.

The first book ever to chronicle the most famous and influential jazz label of them all, from its beginning to the present day. Blue Note is a label that stands for more than just the extraordinary music in its catalogue. The label's story has hitherto been told only through collections of art and photography, foregrounding the label as an arbiter of style that continues to have great influence. Francis Wolff's photography, coupled with Reid Miles' designs, set an unrepeatable standard which has become a classic design symbol. But of course it was not only style and elegance in design that set Blue Note apart; Miles David, Thelonius Monk, Bud Powell, Sonny Rollins and - perhaps the archetypal Blue Note group - Art Blakey's Jazz Messengers all made their most significant early recordings under the auspices of the Blue Note genius. The body of this book is a detailed history of the label from its beginnings in 1939, its development, rise, fall and rebirth. Also included is a parallel analysis of all the major records released by the label throughout its history.

From the dawn of civilization to the modern-day music scene, this breathtaking global history reveals how songs have shifted societies and sparked revolutions.
Histories of music overwhelmingly suppress stories of the outsiders and rebels who created musical revolutions and instead celebrate the mainstream assimilators who borrowed innovations, diluted their impact, and disguised their sources. In Music: A Subversive History, historian Ted Gioia reclaims the story of music for the riffraff, insurgents, and provocateurs.
Gioia tells a four-thousand-year history of music as a global source of power, change, and upheaval. He shows how social outcasts have repeatedly become trailblazers of musical expression: slaves and their descendants, for instance, have repeatedly reinvented music, from ancient times all the way to the jazz, reggae, and hip-hop sounds of the current day.
Music: A Subversive History is essential reading for anyone interested in the meaning of music, from Sappho to the Sex Pistols to Spotify.

By the time Jimi Hendrix died in 1970, the idea of a black man playing lead guitar in a rock band seemed exotic. Yet a mere ten years earlier, Chuck Berry and Bo Diddley had stood among the most influential rock and roll performers. Why did rock and roll become “white”? Just around Midnight reveals the interplay of popular music and racial thought that was responsible for this shift within the music industry and in the minds of fans.

Rooted in rhythm-and-blues pioneered by black musicians, 1950s rock and roll was racially inclusive and attracted listeners and performers across the color line. In the 1960s, however, rock and roll gave way to rock: a new musical ideal regarded as more serious, more artistic—and the province of white musicians. Decoding the racial discourses that have distorted standard histories of rock music, Jack Hamilton underscores how ideas of “authenticity” have blinded us to rock’s inextricably interracial artistic enterprise.

According to the standard storyline, the authentic white musician was guided by an individual creative vision, whereas black musicians were deemed authentic only when they stayed true to black tradition. Serious rock became white because only white musicians could be original without being accused of betraying their race. Juxtaposing Sam Cooke and Bob Dylan, Aretha Franklin and Janis Joplin, Jimi Hendrix and the Rolling Stones, and many others, Hamilton challenges the racial categories that oversimplified the sixties revolution and provides a deeper appreciation of the twists and turns that kept the music alive.

Bundel columns over 80 popmuziekhits die verwijzen naar een bepaalde locatie in de wereld.

Four Parts, No Waiting investigates the role that vernacular, barbershop-style close harmony has played in American musical history, in American life, and in the American imagination. Starting with a discussion of the first craze for Austrian four-part close harmony in the 1830s, Averill traces the popularity of this musical form in minstrel shows, black recreational singing, vaudeville, early recordings, and in the barbershop revival of the 1930s. In his exploration of barbershop, Averill uncovers a rich musical tradition--a hybrid of black and white cultural forms, practiced by amateurs, and part of a mythologized vision of small-town American life. Barbershop harmony played a central -- and overlooked -- role in the panorama of American music. Averill demonstrates that the barbershop revival was part of a depression-era neo-Victorian revival, spurred on by insecurities of economic and social change. Contemporary barbershop singing turns this nostalgic vision into lived experience. Arguing that the "old songs" function as repositories of idealized social memory, Averill reveals ideologies of gender, race, and class. This engagingly-written, often funny book critiques the nostalgic myths (especially racial myths) that have surrounded the barbershop revival, but also celebrates the civic-minded, participatory spirit of barbershop harmony. The contents of the CD have been replaced by a companion website with helpful links, resources, and audio examples.

Can a song change a nation? In 1964, Marvin Gaye, record producer William 'Mickey' Stevenson, and Motown songwriter Ivy Jo Hunter wrote 'Dancing in the Street.' Recorded at Motown's Hitsville USA Studio by Martha and the Vandellas, it was supposed to be an upbeat dance recording - a precursor to disco, a song about the joyousness of dance, the song of a summer. But events overtook it, and the song became one of the anthems of American pop culture.

The Beatles landed in the United States in early 1964. By that summer, the '60s were in full swing. 1964 was the Mississippi Freedom Summer, the Berkeley Free Speech Movement, the Vietnam War, the Civil Rights Act, and the lead-up to a dramatic election that completely changed American politics. As the country grew more radicalized in those few months, 'Dancing in the Street' gained currency as an activist anthem. The song took on new meanings, multiple meanings, for many different groups that were all altered as the country changed.

From the writer legendary for finding the big story in unlikely places, Mark kurlansky's Ready for a Brand New Beat recounts that extraordinary time and showcases the role that a simple song about dancing played in our nation's history.

Praise for Mark Kurlansky

'Every once in a while a writer of particular skill takes a fresh, seemingly improbable idea and turns out a book of pure delight.' David McCullough

'Fascinating stuff . . . Kurlansky has a keen eye for odd facts and natural detail.' The Wall Street Journal

'Kurlansky continues to prove himself remarkably adept at taking a most unlikely candidate and telling its tale with epic grandeur.' Los Angeles Times

One evening, journalist Eric Siblin attended a recital of Johann Sebastian Bach's Cello Suites and began an epic quest that would unravel three centuries of intrigue, politics, and passion. Winner of the Mavis Gallant Prize for Nonfiction and the McAuslan First Book Prize, The Cello Suites weaves together three dramatic narratives: the disappearance of Bach's manuscript in the eighteenth century; Pablo Casals's discovery and popularization of the music in Spain in the late-nineteenth century; and Siblin's infatuation with the suites in the present day. The search led Siblin to Barcelona, where Casals, just thirteen and in possession of his first cello, roamed the backstreets with his father in search of sheet music and found Bach's lost suites tucked in a dark corner of a store. Casals played them every day for twelve years before finally performing them in public. Siblin pursues the mysteries that continue to haunt this music more than 250 years after its composer's death: Why did Bach compose the suites for the cello, then considered a lowly instrument? What happened to the original manuscript? A seamless blend of biography and music history, The Cello Suites is a true-life journey of discovery, fueled by the power of these musical masterpieces.

The oldest written tradition of European music, the art we know as Gregorian chant, is seen from an entirely new perspective in Katherine Bergeron's engaging and literate study. Bergeron traces the history of the Gregorian revival from its Romantic origins in a community of French monks at Solesmes, whose founder hoped to rebuild the moral foundation of French culture on the ruins of the Benedictine order. She draws out the parallels between this longing for a lost liturgy and the postrevolutionary quest for lost monuments that fueled the French Gothic revival, a quest that produced the modern concept of "restoration."
Bergeron follows the technological development of the Gregorian restoration over a seventy-year period as it passed from the private performances of a monastic choir into the public commodities of printed books, photographs, and Gramophone records. She discusses such issues as architectural restoration, the modern history of typography, the uncanny power of the photographic image, and the authority of recorded sound. She also shows the extent to which different media shaped the modern image of the ancient repertory, an image that gave rise to conflicting notions not only of musical performance but of the very idea of music history.

Verkenningen over muziek en van de muzikale belevingswereld van de auteur.

Scenario van en documentatie over de gelijknamige film, waarin een vrouw in Nieuw Zeeland zich alleen in pianospel kan uiten. (Gouden Palm, Cannes 1993)

Schetsen over (opera)zangers; met cd.

Autobiografie van de gitarist/medeoprichter van de Rolling Stones.

Praktische gids.

Bundel liedteksten, voorzien van commentaar waarin Wiegersma verhaalt over het onstaan en de achtergronden van de liedjes. Wiegersma was de tekstschrijver en levenspartner van cabaretier Wim Sonneveld.

By giving brief accounts of the lives, characters, and history of great violinists, this book brings out the special achievement of each. A "family tree" shows the stylistic lineage of such differing players as Perlman, Stern, and Menuhin in unbroken teacher-pupil continuity back to Corelli.