Rhythm is the fundamental pulse that animates poetry, music, and dance across all cultures. And yet the recent explosion of scholarly interest across disciplines in the aural dimensions of aesthetic experience--particularly in sociology, cultural and media theory, and literary studies--has yet to explore this fundamental category. This book furthers the discussion of rhythm beyond the discrete conceptual domains and technical vocabularies of musicology and prosody. With original essays by ...

This collection of essays and interviews addresses important theoretical, philosophical and creative issues in Western art music at the end of the twentieth- and the beginning of the twenty-first centuries. Edited by Max Paddison and Irène Deliège, the book offers a wide range of international perspectives from prominent musicologists, philosophers and composers, including Célestin Deliège, Pascal Decroupet, Richard Toop, Rudolf Frisius, Alastair Williams, Herman Sabbe, François Nicolas, ...

The grand narratives of European music history are informed by the dichotomy of placements and displacements. Yet musicology has thus far largely ignored the phenomenon of displacement and underestimated its significance for musical landscapes and music history. Music and Displacement: Diasporas, Mobilities, and Dislocations in Europe and Beyond constitutes a pioneering volume that aims to fill this gap as it explores the interactions between music and displacement in theoretical and pract...

The 25th anniversary edition of Chuck Klosterman’s debut, a hilarious memoir of growing up as a shameless metalhead in Wyndmere, North Dakota (population: 498), empirically proving that no matter where you are, kids wanna rock—now with a new introduction from the author.With a voice like Ace Frehley’s guitar, Klosterman hacks his way through hair-band history, beginning with that fateful day in 1983 when his older brother brought home Mötley Crüe’s Shout at the...

Every culture on Earth has music. Every culture that's ever existed has had it, but we don't exactly know why. Music is not like food, shelter, or having opposable thumbs. We don't need it to live, and yet we can't seem to live without it. Glenn Dixon travels the globe exploring how and why people make music. From a tour of Bob Marley's house to sitar lessons in India, he experiences music around the world and infuses the stories with the latest in brain research, genetics, and evolutionar...

With extensive photographs and an audio CD, this guide to Balinese music showcases the history, culture and art of the gamelan ceremony.Bali has developed and nourished an astonishing variety of musical ensembles—called gamelan—comprising dozens of instruments mainly made of bronze or bamboo, and organized into groups with as many as 30 to 40 players. In Balinese Gamelan Music, Michael Tenzer, a noted Professor of Music at the University of Britis...

For the first time, Appetite for Self-Destruction recounts the epic story of the precipitous rise and fall of the recording industry over the past three decades, when the incredible success of the CD turned the music business into one of the most glamorous, high-profile industries in the world -- and the advent of file sharing brought it to its knees. In a comprehensive, fast-paced account full of larger-than-life personalities, Rolling Stone contributing editor Steve Kno...

"World music" is an awkward phrase. Used to describe the hugely multifaceted nature of a range of typically non-English-language popular music from the world over, it's a tag that throws up as many problems as it does solutions.Louise Gray's The No-Nonsense Guide to World Music attempts to go behind the phrase to explore the reasons for the contemporary interest in world music, who listens to it, and why. Through chapters that focus on specific areas of music, such as remb...

Alan Cross is the preeminent chronicler of popular music.Here he provides a history of punk-rock revolutionaries The Sex Pistols.This look at the band -- "Delivering Anarchy to the UK" -- is adapted from the audiobook of the same name.

"Russian folk songs are a living history of the Russian people, rich, vivid and truthful, revealing their entire life," wrote the great Russian writer Nikolai Gogol.Russian folk songs have always played an essential part in Russian life, culture, and music. They have played an important part in the work of many great Russian composers including Glinka, Rimsky-Korsakov, Borodin, Tchaikovsky, Prokoviev, and Stravinsky. In this new study, Vadim Prokhorov provides a historical survey a...

Bob Dylan, Willie Nelson, Emmylou Harris, U2, Peter Gabriel, and the Neville Brothers all have something in common: some of their best albums were produced by Daniel Lanois. A French-speaking kid from Canada, Lanois was driven by his innate curiosity and intense love of music to transcend his small-town origins and become one of the world's most prolific and successful record producers, as well as a brilliant musician in his own right.Lanois takes us through his childhood, from bein...

Despite its isolation on the western edge of Europe, Ireland occupies vast amounts of space on the music maps of the world. Although deeply rooted in time and place, Irish songs, dances and instrumental traditions have a history of global travel that span the centuries. Whether carried by exiles, or distributed by commercial networks, Irish traditional music is one of the most popular World Music genres, while Clare, on Ireland's Atlantic seaboard, enjoys unrivaled status as a "Home of the...