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Books on the topic 'Amy Winehouse'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

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1

Amy, Amy, Amy: The Amy Winehouse story. London: Omnibus, 2011.

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2

Amy Winehouse: The biography. London: John Blake, 2008.

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3

Amy Winehouse: R&B, jazz, & soul musician. Minneapolis, MN: ABDO, 2013.

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4

Sarda, Joan. Amy Winehouse: La chica mala del pop rock. Barcelona: Ma Non Troppo/Robinbook, 2008.

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5

Brown, Jake. Too young to die, too old to live: The Amy Winehouse story. Phoenix, AZ: Colossus Books, 2012.

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6

Jim, Driscoll, and McIver Joel, eds. Only the good die young: Robert Johnson, Brian Jones & Amy Winehouse : the rollercoaster ride of rock 'n' roll tragedy. London: Flame Tree Pub., 2012.

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7

27: A History of the 27 Club Through the Lives of Brian Jones, Jimi Hendrix, Janis Joplin, Jim Morrison, Kurt Cobain, and Amy Winehouse. Boston, Massachusetts, USA: Da Capo Press, 2013.

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8

Wood, Blake. Amy Winehouse. 2018.

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9

Amy Amy Amy: The Amy Winehouse Story. Omnibus Press, 2008.

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10

Johnstone, Nick. Amy, Amy, Amy: La historia de Amy Winehouse. Libros Crudos, 2008.

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11

O'Shea, Mick. Amy Winehouse: A Losing Game. Plexus Publishing, 2012.

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12

Amy 27 Amy Winehouse And The 27 Club. Hodder & Stoughton General Division, 2013.

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13

Amy Winehouse: The Biography, 1983-2011. Blake Publishing, Limited, John, 2011.

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14

I'Anson, Mileece. Form, Chaos, and the Nuance of Beauty. Edited by Roger T. Dean and Alex McLean. Oxford University Press, 2018. http://dx.doi.org/10.1093/oxfordhb/9780190226992.013.33.

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Abstract:

In general, musical forms iterate from axioms of pitches and intervals organized by a set of principles, yet when describing music as ‘desirable’ or ‘effective’, we are pointing not to its form, but to our experience of it. In successful music, the composer moves the listener through a series of emotive states in some sense predetermined by the composer, but that are not reducible to the patterns and principles. The argument in this chapter concerns what makes some music capable of eliciting ‘exaltation’ rather than a routine response. Designing chaos into the musical patterns themselves is proposed as one such route. The author uses the evolution of the stochastic processes underlying her ‘aesthetic sonification’ of natural systems and the vocal variabilities of Emma Kirkby and Amy Winehouse to elucidate her thoughts on how chaos can interact with musical forms. Growth in natural systems, while still engaging with ‘choreographed chaos’ has particularly motivated the author.

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15

Back to black: Amy Winehouse's only masterpiece. 2016.

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