House Of Music

WINNER OF THE ROYAL PHILHARMONIC SOCIETY STORYTELLING AWARD 2021 ‘Riveting, taking in prejudice as well as sacrifice. There are 4.30am starts, lost instruments, fractured wrists, all captured with vivid flourishes. A paean to camaraderie.’ Observer Seven brothers and sisters. All of them classically trained musicians. One was Young Musician of the Year and performed for the royal family. The eldest has released her first album, showcasing the works of Clara Schumann. These siblings don’t come from the rarefied environment of elite music schools, but from a state comprehensive in Nottingham. How did they do it? Their mother, Kadiatu Kanneh-Mason, opens up about what it takes to raise a musical family in a Britain divided by class and race. What comes out is a beautiful and heartrending memoir of the power of determination, camaraderie and a lot of hard work. The Kanneh-Masons are a remarkable family. But what truly sparkles in this eloquent memoir is the joyous affirmation that children are a gift and we must do all we can to nurture them.

Before John Cage (1912-1992), there was hardly anyone as consistent as he was in questioning the boundaries of music and its connections to other fields of art and the everyday world. Along with Erik Satie, Marcel Duchamp, Nam June Paik, and Joseph Beuys, Cage is one of the greatest strategists and pioneers of twentieth-century music and art. Starting with these key figures, this publication examines twelve fundamental strategies of art and music since 1900: recording, collage, silence, destruction, calculation, coincidence, feeling, thought, belief, furnishing, repetition, and playing. Interdisciplinary essays by art and music theorists as well as exemplary works and original sources by artists, musicians, and composers are featured alongside visual documentation, showing the impressive diversity of parallel and overlapping activities between music and art from Laurie Anderson and Robert Filliou to Anri Sala and Iannis Xenakis.0Exhibition: Institut Mathildenhöhe Darmstadt, Germany (13.5.-9.9.2012).

DIY House Shows and Music Venues in the US is an interdisciplinary study of house concerts and other types of DIY ("do- it- yourself") music venues and events in the United States, such as warehouses, all- ages clubs, and guerrilla shows, with its primary focus on West Coast American DIY locales. It approaches the subject not only through a cultural analysis of sound and discourse, as it is common in popular music studies, but primarily through an ethnographic examination of place, space, and community. Focusing on DIY houses, music venues, social spaces, and local and translocal cultural geographies, the author examines how American DIY communities constitute themselves in relation to their social and spatial environment. The ethnographic approach shows the inner workings of American DIY culture, and how the particular people within particular places strive to achieve a social ideal of an "intimate" community. This research contributes to the sparse range of Western popular music studies (especially regarding rock, punk, and experimental music) that approach their subject matter through a participatory ethnographic research.

Originally published in 1998. House music has had a considerable influence in shaping the sound of pop music from the late 1980s onwards. From underground dance events to the pop charts, traces of this aesthetic can be found in many guises. This book traces a genealogy of house and maps some of the power structures that are at play in its production and consumptoin. Places like Chicago, New York, London, Manchester, Amsterdam and Rotterdam have been visited, providing the material to discuss such subjects as contemporary dance culture, DJs and the roles of musical technologies. The author, Hillegonda Rietveld, was already steeped in dance club culture before she decided to write this loving piece of academic prose about house. Taking critical culture studies as its aesthetic fuel, she ram-raids boundaries of academic disciplines, fusing ideas like a meticulous DJing curator.

House of Music takes place on a street in an affluent section of Harlem. The play explores the present-day complexities of a group of African Americans and a liberal Caucasian resulting from their experiencing the impacts of the Civil Rights struggle and subsequent Affirmative Action programs. The play is unique for many reasons. First, in most literature, there is one character that serves as the spokesperson for the author. This is not the case in this play. The author believes that in the real world, there is no one person who possesses all truth. This is especially true when presenting the subject matter of this play. Truth is relative; it is also a factor of time. What was true yesterday may not be true today, and the consequence of not being cognizant of this is one of the major issues explored in the play. The author, then, speaks through all the characters because to do so is closer to life's reality. The play is a discussion between people concerned on very complex issues, and each person's position is respected and considered with the same weight. It is up to the audience to decide with whom they agree; or it may be that they will agree with more than one character—such is life. The play is an exploration of myriad issues facing the African American community. Some of the issues, however, are universal, and thereby, the play has universal appeal. It is serious, delightful, and often funny. Finally, we have a surprise ending. Enjoy.

In the 1950s, Hammer Film Productions, a small British filmmaking company, introduced the world to a new genre of motion picture. Referred to by some as "horror," by others as "fantasy," Hammer films had a unique look and feel that many other studios would later attempt—and fail—to capture. Hammer films also had a unique sound. For although the studio was small and the budgets limited, those involved in making the Hammer films recognized that the musical score was just as important as the set, the actors, and the script in telling the story. Consequently, Hammer Films Productions recruited the best musical talent to make its films come alive. Those artists and the work they did are chronicled here in careful detail by Randall D. Larson. From the studio's fledging days, through its great successes of the 60s and early 70s, Music from the House of Hammer offers an inside look at how the "Hammer sound" was developed and nurtured.

Celebrating its 20th anniversary, the House of Blues is an institution in music history. Since opening its doors in 1992 in a converted historical house in Cambridge, Massachusetts, it has been home to live music, original folk art, and delta-inspired cuisine. The concert and restaurant chain grew out of a founding ideal to introduce the world to the music of the rural south, including the blues, rhythm and blues, gospel, jazz, and roots-based rock and roll. Today, House of Blues boasts thirteen unique venues across the country. Countless famous musicians have performed on those stages, from the Blues Brothers, Bootsy Collins, Al Green, and Eric Clapton, to Lenny Kravitz, 50 Cent, and Snoop Dogg. Concertgoers, music fans, and pop culture junkies alike will dig this illustrated account of the story behind the music. Chapters explore the venues, musicians, performances, and food, providing readers with a backstage pass to everything House of Blues. Personal interviews with company founders and famous musicians tell the story, revealing behind-the-scenes details and outrageous party anecdotes. Vivid photography showcases iconic performers on stage as well as in private moments in dressing rooms. Tucked among the pages are concert memorabilia, including special reproductions of tickets, posters, and menus.

Grammy Award winner Victor Wooten's inspiring parable of the importance of music and the threats that it faces in today's world. We may not realize it as we listen to the soundtrack of our lives through tiny earbuds, but music and all that it encompasses is disappearing all around us. In this fable-like story three musicians from around the world are mysteriously summoned to Nashville, the Music City, to join together with Victor to do battle against the "Phasers," whose blinking "music-cancelling" headphones silence and destroy all musical sound. Only by coming together, connecting, and making the joyful sounds of immediate, "live" music can the world be restored to the power and spirit of music. A VINTAGE ORIGINAL

In the tradition of Daniel Levitin’s This Is Your Brain on Music and Oliver Sacks’ Musicophilia, Bad Singer follows the delightful journey of Tim Falconer as he tries to overcome tone deafness — and along the way discovers what we’re really hearing when we listen to music. Tim Falconer, a self-confessed “bad singer,” always wanted to make music, but soon after he starts singing lessons, he discovers that he’s part of only 2.5 percent of the population afflicted with amusia — in other words, he is scientifically tone-deaf. Bad Singer chronicles his quest to understand human evolution and music, the brain science behind tone-deafness, his search for ways to retrain the adult brain, and his investigation into what we really hear when we listen to music. In an effort to learn more about his brain disorder, he goes to a series of labs where the scientists who test him are as fascinated with him as he is with them. He also sets out to understand why we love music and deconstructs what we really hear when we listen to it. And he unlocks the secret that helps explain why music has such emotional power over us.

Xenakis Creates in Architecture and Music describes the collaborative interaction of internationally acclaimed composer Roger Reynolds, musician Karen Reynolds, and musically inspired composer, engineer, and architect Iannis Xenakis (1922-2001) to create a house design, The Reynolds Desert House. The process combined aesthetics and intuition with mathematical systems, showcasing how art and science are balanced—by way of music and architecture—to address the essential technical aspects of music along with the role of emotion and energy. The book analyzes three representative chamber works and presents a trove of primary sources: letters, diaries, notes, photographs, sketches, and person-to-person conversations. What emerges are patterns of direct parallels between how Xenakis characterized the process of musical creation and his design of The Reynolds Desert House. Xenakis Creates in Architecture and Music is a testament to the singularly innovative and creative mind of Iannis Xenakis. Supplementary materials—including color reproductions of black and white images in the book—can be found at: www.rogerreynolds.com/xenakisreynoldsroutledge.html

Defining community music as non-commercial music performed by local musicians for members of a small group, traditional music aficionado and English professor Lyon (Mount Royal College, Calgary) offers a historical survey of the diverse musical styles played primarily by nonprofessional performers of Alberta, Canada. Abundant, fine b&w historical photographs. Annotation copyrighted by Book News, Inc., Portland, OR.

(Fake Book). Since the 1970s, The Real Book has been the most popular book for gigging jazz musicians. Hal Leonard is proud to publish completely legal and legitimate editions of the original volumes as well as exciting new volumes to carry on the tradition to new generations of players in all styles of music! All the Real Books feature hundreds of time-tested songs in accurate arrangements in the famous easy-to-read, hand-written notation. This collection presents 200 classics from all genres of rock 'n' roll in the world-famous Real Book format: Against the Wind * Ain't No Sunshine * All Shook Up * American Woman * Another One Bites the Dust * Bad Case of Loving You * Bad Moon Rising * Band on the Run * Beast of Burden * Born to Be Wild * California Dreamin' * Centerfold * Cocaine * Dancing in the Street * Don't Do Me like That * Don't Stand So Close to Me * Free Bird * Give Me One Reason * Got to Get You into My Life * Hang on Sloopy * Hard Habit to Break * Hey Jude * Highway to Hell * The House of the Rising Sun * I Love Rock 'N Roll * I Will Survive * Imagine * La Bamba * Layla * Livin' on a Prayer * The Logical Song * Maggie May * Minute by Minute * Money for Nothing * Mustang Sally * My Sharona * One Headlight * Oye Como Va * Pride and Joy * Rhiannon * Rikki Don't Lose That Number * Roxanne * September * Sir Duke * (Sittin' On) the Dock of the Bay * Slow Ride * Smoke on the Water * Sunshine of Your Love * Takin' It to the Streets * Tears in Heaven * Tempted * Under the Boardwalk * Walk Don't Run * We Are the Champions * What I like About You * With or Without You * Yesterday * Young Americans * and more.

In this groundbreaking union of art and science, rocker-turned-neuroscientist Daniel J. Levitin explores the connection between music—its performance, its composition, how we listen to it, why we enjoy it—and the human brain. Taking on prominent thinkers who argue that music is nothing more than an evolutionary accident, Levitin poses that music is fundamental to our species, perhaps even more so than language. Drawing on the latest research and on musical examples ranging from Mozart to Duke Ellington to Van Halen, he reveals: • How composers produce some of the most pleasurable effects of listening to music by exploiting the way our brains make sense of the world • Why we are so emotionally attached to the music we listened to as teenagers, whether it was Fleetwood Mac, U2, or Dr. Dre • That practice, rather than talent, is the driving force behind musical expertise • How those insidious little jingles (called earworms) get stuck in our head A Los Angeles Times Book Award finalist, This Is Your Brain on Music will attract readers of Oliver Sacks and David Byrne, as it is an unprecedented, eye-opening investigation into an obsession at the heart of human nature.

In settings that range from the old American West to pre-revolutionary France, from a present-day dig site in the high tablelands of South America to deep space, That Tiny Life is a wide-ranging and utterly original collection of short fiction and a novella that examines the idea of progress — humanity’s never-ending cycle of creation and destruction. In the award-winning story, “Valley Floor,” a surgeon performs an amputation in the open desert in the American West. In “Da Capo al Fine,” set in eighteenth-century France, the creator of the fortepiano designs another, more brutal instrument. And in “That Tiny Life,” the reader gets a glimpse into a future in which human resource extraction goes far beyond Earth. Each story is infused with impeccably researched detail that brings obscure and fascinating subject matter into bright relief, be it falconry, ancient funeral rites, or space exploration. The result is an amazing interplay of minute detail against the backdrop of huge themes, such as human expression and impact, our need for connection, the innate violence in nature, and the god-complex present in all acts of human creation. A highly accomplished, evocative, and wholly impressive work of short fiction, That Tiny Life introduces readers to a writer with limitless range and imagination.

NEW YORK TIMES BESTSELLER • A beautifully written, witty memoir that is also an immersive exploration of classical music—its power, its meanings, and what it can teach us about ourselves—from the MacArthur “Genius” Grant–winning pianist “Jeremy Denk has written a love letter to the music, and especially to the music teachers, in his life.”—Conrad Tao, pianist and composer In Every Good Boy Does Fine, renowned pianist Jeremy Denk traces an implausible journey. His life is already a little tough as a precocious, temperamental six-year-old piano prodigy in New Jersey, and then a family meltdown forces a move to New Mexico. There, Denk must please a new taskmaster, an embittered but devoted professor, while navigating junior high school. At sixteen he escapes to college in Ohio, only to encounter a bewildering new cast of music teachers, both kind and cruel. After many humiliations and a few triumphs, he ultimately finds his way as a world-touring pianist, a MacArthur “Genius,” and a frequent performer at Carnegie Hall. Many classical music memoirs focus on famous musicians and professional accomplishments, but this book focuses on the everyday: neighborhood teacher, high school orchestra, local conductor. There are few writers capable of so deeply illuminating the trials of artistic practice—hours of daily repetition, mystifying advice, pressure from parents and teachers. But under all this struggle is a love letter to the act of teaching. In lively, endlessly imaginative prose, Denk dives deeply into the pieces and composers that have shaped him—Bach, Mozart, and Brahms, among others—and offers lessons on melody, harmony, and rhythm. How do melodies work? Why is harmony such a mystery to most people? Why are teachers so obsessed with the metronome? In Every Good Boy Does Fine, Denk shares the most meaningful lessons of his life, and tries to repay a debt to his teachers. He also reminds us that we must never stop asking questions about music and its purposes: consolation, an armor against disillusionment, pure pleasure, a diversion, a refuge, and a vehicle for empathy.

Nicholas Kenyon explores the enduring appeal of the classical canon at a moment when we can access all music—across time and cultures Immersed in music for much of his life as writer, broadcaster and concert presenter, former director of the BBC Proms, Nicholas Kenyon has long championed an astonishingly wide range of composers and performers. Now, as we think about culture in fresh ways, Kenyon revisits the stories that make up the classical tradition and foregrounds those which are too often overlooked. This inclusive, knowledgeable, and enthusiastic guide highlights the achievements of the women and men, amateurs and professionals, who bring music to life. Taking us from pianist Myra Hess’s performance in London during the Blitz, to John Adams’s composition of a piece for mourners after New York’s 9/11 attacks, to Italian opera singers singing from their balconies amidst the 2020 pandemic, Kenyon shows that no matter how great the crisis, music has the power to bring us together. His personal, celebratory account transforms our understanding of how classical music is made—and shows us why it is more relevant than ever.

The only history and theory textbook to include accessible extracts from a wide range of historical writing. Provides a comprehensive introduction to the theorists who have most inflenced twentieth-century historians. Chapters follow a consistent structure, putting difficult ideas into an accessible context. This is the only critical reader aimed at the undergraduate market.