Daphne Oram (1925–2003) was one of the central figures in the development of British experimental electronic music. Having declined a place at the Royal College of Music to become a music balancer at the BBC, she went on to become the co-founder and first director of the BBC Radiophonic Workshop. Oram left the BBC in 1959 to pursue commercial work in television, advertising, film and theatre, to make her own music for recording and performance, and to continue her personal research into sound technology – a passion she had had since her childhood in rural Wiltshire. Her home, a former oasthouse in Kent, became an unorthodox studio and workshop in which, mostly on a shoestring budget, she developed her pioneering equipment, sounds and ideas. A significant part of her personal research was the invention of a machine that offered a new form of sound synthesis – the Oramics machine. Oram’s contribution to electronic music is receiving considerable attention from new generations of composers, sound engineers, musicians, musicologists and music lovers around the world. Following her death, the Daphne Oram Trust was established to preserve and promote her work, life and legacy, and an archive created in the Special Collections Library at Goldsmiths, University of London. One of the Trust’s ambitions has been to publish a new edition of Oram’s one and only book, An Individual Note of Music, Sound and Electronics, which was originally published in 1972. With support from the Daphne Oram Archive, the Trust has now been able to realize this ambition. An Individual Note is both curious and remarkable. When commissioned to write a book, she was keen to avoid it becoming a manual or how-to guide, preferring instead to use the opportunity to muse on the subjects of music, sound and electronics, and the relationships between them. At a time when the world was just starting to engage with electronic music and the technology was still primarily in the hands of music studios, universities, and corporations, her approach was both innovative and inspiring, encouraging anyone with an interest in music to think about the nature, capabilities and possibilities that the new sounds could bring. And her thinking was not limited to just the future of the orchestra, synthesizer, computer and home studio, but ventured, with great spirit and wit, into other realms of science, technology, culture and thought. An Individual Note is a playful yet compelling manifesto for the dawn of electronic music and for our individual capacity to use, experience and enjoy it. This new edition of An Individual Note features a specially commissioned introduction from the British composer, performer, roboticist and sound historian Sarah Angliss.

This ground-breaking case study examines record production as ethnographic work. Since its founding in 2003, Seattle-based record label Sublime Frequencies has produced world music recordings that have been received as radical, sometimes problematic critiques of the practices of sound ethnography. Founded by punk rocker brothers Alan and Richard Bishop, along with filmmaker Hisham Mayet, the label’s releases encompass collagist sound travelogues; individual artist compilations; national, regional and genre surveys, and DVDs—all designed in a distinctive graphic style recalling the DIY aesthetic of punk and indie rock. Sublime Frequencies’ producers position themselves as heirs to canonical ethnographic labels such as Folkways, Nonesuch, and Musique du Monde, but their aesthetic and philosophical roots in punk, indie rock, and experimental music effectively distinguish their work from more conventional ethnographic norms. Situated at the intersection of ethnomusicology, sound studies, cultural anthropology, and popular music studies, the essays in this volume explore the issues surrounding the label—including appropriation and intellectual property—while providing critical commentary and charting the impact of the label through listener interviews.

“These poems erupted in the East Greenlanders heart–the human sea at the outer limit of the north–on Earth's most desolate and rugged shores. They were found in the living tradition of a small, recently discovered Eskimo people that I (Thalbitzer) had gone to study. For the first time I heard their language as it sounded on people's lips, as it must have sounded through many generations. I understood that this was part of the Inuit people’s ancient poetry, and these songs and poems deserved to be written down for greater humanity.” —from the introduction

The Christopher Small Reader is the fourth and final book in Christopher Small’s legacy as a composer, pianist, teacher, friend, provocateur, and influential outsider in classical music studies. It is at once a compendium of, a complement to, and an important addition to Small’s prior books: Musicking; Music, Society, Education; and Music of the Common Tongue. The Christopher Small Reader brings previously published work, some of it available in disparate locations, together with key excerpts from his three books, and other writings that remained unpublished at his passing in 2011, making available ideas that were not included in the earlier books and presenting an overview of his thought over the course of his life. The collection is a fitting capstone, providing rich insights into Small’s understanding of musicking as a crucial way of relating to the world.

This is the first book devoted to the studio musicians who were central to Jamaica’s popular-music explosion. With colour portraits and interview excerpts, over 100 musical pioneers—such as Prince Buster, Robbie Shakespeare, Sly Dunbar, Lee “Scratch” Perry, and many of Bob Marley’s early musical collaborators—provide new insights into the birth of Jamaican popular music in the recording studios of Kingston, Jamaica, in the 1950s, 1960s, and 1970s. Includes a listening guide of selected songs. A wonderful read aloud for K-3rd grade, this uplifting story is recommended for nature and science centres, children’s museums, and school and public libraries to support science and social studies sections. Author lives in Massachusetts and Missouri.

In the wars in Afghanistan and Iraq, recent technological developments in music listening enabled troops to carry with them vast amounts of music and easily acquire new music, for themselves and to share with their fellow troops as well as friends and loved ones far away. This ethnographic study examines U.S. troops’ musical-listening habits during and after war, and the accompanying fear, domination, violence, isolation, pain, and loss that troops experienced. My Music, My War is a moving ethnographic account of what war was like for those most intimately involved. It shows how individuals survive in the messy webs of conflicting thoughts and emotions that are intricately part of the moment-to-moment and day-to-day phenomenon of war, and the pervasive memories in its aftermath. It gives fresh insight into musical listening as it relates to social dynamics, gender, community formation, memory, trauma, and politics.

David Sylvian may be seen as a philosopher, accordingly to the postmodern spirit, who invalidates identity, while preserving it at the level of “non-sound”, in a troubled relationship between the ego and the others. His most recent songs have been analysed, as well as the lyrics and Sylvian’s way of life. Music is the goal of a path of self-realization, which brought Sylvian to conceive a new view of arrangement, increasingly deprived of its frills and capable of magnifying his voice, which that it is uncontainable. Sylvian shows everybody that silence may become an integral part of music towards nonsense, or the recovery of existential nudity.

Radicalism and Music offers a convincing argument for music's transformational impact on the radicalization, reinforcement, and motivational techniques of violent political activists. It makes a case for the careful examination of music's roles in radical cultures, roles that have serious impacts, as evidenced by the actions of the Frankfurt Airport shooter Arid Uka, Sikh Temple murderer Wade Page, white supremacist Matthew Hale, and animal-rights activist Walter Bond, among others. Such cases bring up difficult questions about how those involved in radical groups can be stirred to feel or act under the influence of music. Radicalism and Music is based on interviews, email correspondence, concerts, and videos. As a "sound strategy," music is exploited to its fullest potential as a tool for recruiting and retaining members by members of al-Qa'ida, the Hammerskin Nation, Christian Identity, Kids in Ministry International, Earth First!, and Vegan Straight Edge. But, as the book points out, the coercive use of music is not isolated to radical cultures, but in political propaganda, sporting events, and popular music as well. Ultimately, Radicalism and Music shows how music affects us through our emotions, and how it triggers violence and enables hateful ideology.

Fela: Kalakuta Notes is an evocative account of Fela Kuti - the Afrobeat superstar who took African music into the arena of direct action. With his antiestablishment songs, he dedicated himself to Pan-Africanism and the down-trodden Nigerian masses, or "sufferheads." In the 1970s, the British/Ghanaian musician and author John Collins met and worked with Fela in Ghana and Nigeria. Kalakuta Notes includes a diary that Collins kept in 1977 when he acted in Fela's autobiographical film, Black President. The book offers revealing interviews with Fela by the author, as well as with band members, friends, and colleagues. For the second edition, Collins has expanded the original introduction by providing needed context for popular music in Africa in the 1960s and the influences on the artist's music and politics. In a new concluding chapter, Collins reflects on the legacy of Fela: the spread of Afrobeat, Fela's musical children, Fela's Shrine and Kalakuta House, and the annual Felabration. As the dust settles over Fela's fiery, creative, and controversial career, his Afrobeat groove and political message live on in Kalakuta Notes. Features a new foreword by Banning Eyre, an up-to-date discography by Ronnie Graham, a timeline, historical photographs, and snapshots by the author.

Mirio Cosottini dedicates his book "Playing with silence" to everyone who loves silence and its multiple facets. In this volume, he advances a series of questions and exercises through which to set off on a path of enquiry into silence, shedding light on its multiple appearances and, at the same time, on what remains constant despite various transformations. In the first part of this work, Cosottini proposes a series of questions that invite readers to confront themselves with a silence that frightens. This silence is to be found in our bodies, enters our experience, and hides itself in the world. It can be cultivated, desired and listened to. In the second part, readers are invited to "play" with silence, turning it into a performative exercise: silence, here, is conceived as a tool for action and the fulfilment of a direct experience of silence.

Throughout his prolific career, John Mellencamp has performed more than twenty Top 40 hits, has been nominated for thirteen Grammy Awards, and has been inducted into the Rock and Roll Hall of Fame. Hits like "Jack and Diane," "Small Town," and "Cherry Bomb" are iconic American songs that have played an important role in defining midwestern music and developing the rock genre. Despite his critical and commercial success, however, the rough guy from a small town writing songs about everything he "learned about living" is often omitted from the ranks of America's songwriting elite. In Mellencamp, David Masciotra explores the life and career of one of America's most important and underrated songwriters, persuasively arguing that he deserves to be celebrated alongside artists like Bruce Springsteen, Neil Young, and Bob Dylan. Beginning with his modest beginnings in Seymour, Indiana, Masciotra details Mellencamp's road to fame, examining his struggles with the music industry and his persistent dedication to his midwestern roots. Shaking off the shortsighted "regionalist" stereotype and dismissing his assumed pop-star persona, Mellencamp found success by remaining true to where he came from.This thoughtful analysis highlights four decades of the artist's music, which has consistently elevated the dignity of everyday people and honored the quiet heroism of raising families and working hard. This first serious biography of the legendary musician will charm fans and music enthusiasts who are interested in the development of roots rock and Americana music.

What makes the Eurovision Song Contest so popular? Why do so many people love to hate it? Is the voting fair? Will Ireland ever win again? This book is the Eurovision uncovered. For the first time, one of its insiders reveals the inner workings of the Contest, the controversies and the key players over the last ten years. Julian Vignoles was a member of the Contest's 'board of directors', the Reference Group, for six years. He reveals the debates that led to changes in the rules, and the political disputes behind the bright lights and glitter of Europe's most popular TV show. He analyses in detail the voting patterns, completely de-bunking the 'bloc voting' allegations. Did you know that seven of the last ten Eurovision winners were actually from Western Europe? Julian Vignoles argues that, contrary to popular belief, former communist countries are under represented in the results. And why have both Ireland and the UK failed to win or come close in the televoting era? Inside the Eurovision Song Contest is also a Visual treat. Kyran O'Brien, a veteran press photographer, covered Ireland's involvement in the Eurovision for many years and his eye for the candid shot is evidenced throughout this book. With contributions from Linda Martin, Niamh Kavanagh and Charlie McGettigan, as well as critics, fans and the legendary 'back room man', Executive Supervisor Svante Stockselius, this book is a must read for all those who love - or are deeply sceptical about Eurovision.

Between Nostalgia and Apocalypse is a close-to-the-ground account of musicians and dancers from Arcoverde, Pernambuco—a small city in the northeastern Brazilian backlands. The book's focus on samba de coco families, marked as bearers of tradition, and the band Cordel do Fogo Encantado, marketed as pop iconoclasts, offers a revealing portrait of performers engaged in new forms of cultural preservation during a post-dictatorship period of democratization and neoliberal reform. Daniel B. Sharp explores how festivals, museums, television, and tourism steep musicians' performances in national-cultural nostalgia, which both provides musicians and dancers with opportunities for cultural entrepreneurship and hinders their efforts to be recognized as part of the Brazilian here-and-now. The book charts how Afro-Brazilian samba de coco became an unlikely emblem in an interior where European and indigenous mixture predominates. It also chronicles how Cordel do Fogo Encantado—drawing upon the sounds of samba de coco, ecstatic Afro-Brazilian religious music, and heavy metal—sought to make folklore dangerous by embodying an apocalyptic register often associated with northeastern Brazil. A multimedia app will also be available that complements the themes of the book's ethnography with audio tracks, video footage, and photographs.

In Planet Beethoven, Mina Yang makes the compelling case that classical music in the twenty-first century is just as vibrant and relevant as ever—but with significant changes that give us insight into the major cultural shifts of our day. Perusing events, projects, programs, writings, musicians, and compositions, Yang shines a spotlight on the Western art music tradition. The book covers an array of topics, from the use of Beethoven's "Für Elise" in YouTube clips and hip-hop, to the marketing claims of Baby Einstein products, and the new forms of music education introduced by Gustavo Dudamel, conductor of the Los Angeles Philharmonic. While the book is global in its outlook, each chapter investigates the unique attributes of a specific performer, performance, or event. One chapter reflects on Chinese pianist Yuja Wang's controversial performance at the Hollywood Bowl, another explores the highly symbolic Passion 2000 Project in Stuttgart, Germany. Sure to be of interest to students, professionals, and aficionados, Planet Beethoven traces the tensions that arise from the "classical" nature of this tradition and our rapidly changing world.

It is difficult to imagine a world without John Cage. His playful, challenging spirit remains pervasive—a formative force in the lives of those in the forefront of today's arts. This special book combines iconic photographs of Cage by James Klosty with eclectic testimony the author commissioned from people the world over, each asked to contribute their thoughts on Cage's influence on their lives and work with one-hundred-word statements. These remembrances range from humorous to reverent, to irreverent, and are from artists including Laurie Anderson, John Ashbery, Gavin Bryars, Jasper Johns, Harry Mathews, Meredith Monk, Mark Morris, Ron Padgett, Yoko Ono, Yvonne Rainer, Steve Reich, Peter Sellars, Stephen Sondheim, Twyla Tharp, Michael Tilson Thomas, Anne Waldman, Robert Wilson, and many more. The evocative duotone photographs show John Cage alone and in association with Merce Cunningham, Marcel Duchamp, Octavio Paz, Aaron Copland, and many others. The book provides public and private glimpses into the man who transformed chance from an inescapable inevitability of life into disciplined creativity through music, writing, philosophy, printmaking, and, on the largest scale of all, living. John Cage Was gives us a privileged view of an irreplaceable man who had few enemies and innumerable disciples.

How was national consciousness developed? The present book aims to investigate such matter trough a series of different case studies, in which the terms nation, homeland and people have been applied. This Romantic lexicon identifies similar conceptions of the national idea in some countries dominated by Italian, German and Slavic cultures, and in some groups or minorities such as the Jews and the Vlachs in Central and Mediterranean Europe. In order to clarify the cultural framework, the authors explore the construction of identity through folk tunes, poetry inspired by popular culture, and opera in which the national myths or heroes appear. In the self-making tradition, the national traits are sustained by the process of embodiment of any regional utterance, and also by the elimination of the ‘other’, especially the minorities. The symbols of the nation, as an achievement of the power that flourishes from the sense of belonging, are defined per differentiam.