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Books on the topic 'Drum (Musical group)'

Author: Grafiati

Published: 4 June 2021

Last updated: 12 February 2022

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Consult the top 34 books for your research on the topic 'Drum (Musical group).'

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1

Drum circle spirit: Facilitating human potential through rhythm. Tempe, Ariz: White Cliffs Media, 1998.

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2

Hill, Nellie. Drum circle facilitators' handbook. Santa Cruz, CA (108 Coalinga Way, Santa Cruz 95060): Village Music Circles, 2013.

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3

Drums, keyboards, and other instruments. Edina, Minn: ABDO, 2009.

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4

The art and heart of drum circles. Milwaukee, WI: Hal Leonard, 2003.

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5

Sugerman, Daniel. Wonderland Avenue: Talesof glamour and excess. New York: Morrow, 1989.

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6

Wonderland Avenue: Tales of glamour and excess. New York: Morrow, 1989.

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7

Wonderland Avenue: Tales of glamour and excess. New York, N.Y: New American Library, 1990.

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8

Ian, Gittins, ed. The heroin diaries: A year in the life of a shattered rock star. New York: VH1 Books, 2007.

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9

De XTC-mafia. Antwerpen: Hadewijch, 1994.

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10

J, Spagnola Lawrence, ed. My appetite for destruction: Sex & drugs & Guns n' Roses. New York: It Books, 2010.

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11

The book of drugs: A memoir. Cambridge, MA: Da Capo Press, 2012.

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12

Psychedelia: The long strange trip. New York, NY: Friedman/Fairfax, 1995.

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13

John, Bryant. Dare to drum. 2017.

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14

Hull, Arthur. Drum Circle Spirit: Games, Exercises & Facilitation. White Cliffs Media, 1997.

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15

You Can Drum But You Can't Hide. Route, 2017.

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16

You can drum but you can't hide. Strata Books, 2014.

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17

Hull, Arthur. Drum Circle Spirit: Games, Exercises & Facilitation (Performance in World Music Ser No 10). White Cliffs Media Co, 1998.

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18

Kartomi, Margaret. Four Sufi Muslim Genres in Minangkabau. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252036712.003.0005.

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This chapter examines four genres of Muslim-associated performing arts in Minangkabau: indang, salawek dulang, dikia Mauluik, and dabuih. Indang is a song-dance performed by a row of men or women in duduak (“sitting,” actually half-kneeling) position with rhythmic body movement, clapping, and frame-drum playing. Salawek dulang is performed by a pair of alternating male solo singers, each of whom accompany themselves on a brass percussion tray (dulang). Dikia Mauluik is a group vocal-instrumental form with mostly Sufi-oriented Muslim song texts based on dikia texts that are sung with body exercises and frame-drum accompaniment in the month of the Prophet's birth. Dabuihis a ritual form involving acts of self-harm as a demonstration of one's faith and physical invulnerability from pain (and sometimes in the colonial era in Aceh, readiness for battle). The chapter first considers the early history of Minangkabau Islam before discussing the styles, content, and history of eachof the four musical genres.

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19

Can I Say: Living Large, Cheating Death, and Drums, Drums, Drums. William Morrow, 2015.

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20

Welch, Chris. John Bonham: A Thunder of Drums. Backbeat Books, 2001.

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21

Dirksen, Rebecca. After the Dance, the Drums Are Heavy. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190928056.001.0001.

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Haitian carnival offers a lens into popular power and politics. Political demonstrations in Haiti often manifest as musical performances. Studying carnival and political protest side by side brings insight to the musical engagement that ordinary citizens and celebrity musicians often cultivate and revere in contemporary Haiti. This book explores how the self-declared president of konpa Sweet Micky (Michel Martelly) rose to the nation’s highest office while methodically crafting a political product inherently entangled with his musical product. It provides deep historical perspective on the characteristics of carnivalesque verbal play—and the performative skill set of the artist (Sweet Micky) who dominated carnival for more than a decade—including vulgarities and polemics. It moreover demonstrates that the practice of leveraging the carnivalesque for expedient political function has precedence in Haiti’s history. Yet there has been profound resistance to this brand of politics led by many other high-profile artists, including Matyas and Jòj, Brothers Posse, Boukman Eksperyans, and RAM. These groups have each released popular carnival songs that have contributed to the public’s discussions of what civic participation and citizenship in Haiti can and should be. Author Rebecca Dirksen presents an in-depth consideration of politically and socially engaged music and what these expressions mean for the Haitian population in the face of challenging political and economic circumstances. After the Dance, the Drums Are Heavy centers the voices of Haitian musicians and regular citizens by extensively sharing interviews and detailed analyses of musical performance in the context of contemporary events well beyond the musical realm.

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22

Bear: The life and times of Augustus Owsley Stanley III. 2016.

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23

Heroin diaries. ?, 2000.

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24

GREENFIELD, ROBERT. BEAR: AUGUSTUS OWSLEY STANLEY III. Griffin, 2017.

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25

Sisqo: The Man Behind the Thong. St. Martin's Griffin, 2001.

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26

Rhythmical Alchemy Playshop For Music Educators School Teachers Recreational Drummers Drum Circle Facilitators. Village Music Circles, 2013.

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27

Wolf, Richard K. Beyond the Mātra. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252038587.003.0004.

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This chapter examines the idea of classicism being connected with the counting of homogeneous time units, or mātras, and of local music being oriented to an irregular sequence of accents marked by syllables and claps. It considers the ways in which drum patterns might be linked to texts and accented syllables, as well as the importance of reciting drum syllables not only in the learning process but also in performances. Four principles for organizing drum patterns that do not depend on cycles with a fixed number of pulses are discussed: the number of stressed beats, repeating motives, tone melody, and verbal formulas. The chapter also presents four case studies: Kota and Aruntiyar (Cakkiliyar) drumming in Tamil Nadu; Dalit drumming in Hyderabad, Andhra Pradesh; Muhājir drumming in Hyderabad, Sindh, by men of Agra heritage; and Mamraj's dhol-tāshā group, associated with the Nizamuddin shrine in Delhi.

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28

(Foreword), Legs McNeil, ed. Lobotomy: Surviving the Ramones. 2nd ed. Thunder's Mouth Press, 2000.

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29

Ramone, Dee Dee, and Veronica Kofman. Lobotomy: Surviving the Ramones. Da Capo Press, 2016.

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30

Lucas, Glaura. Drums in the Experience of Black Catholicism in Minas Gerais, Brazil. Edited by Jonathan Dueck and Suzel Ana Reily. Oxford University Press, 2015. http://dx.doi.org/10.1093/oxfordhb/9780199859993.013.11.

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This chapter examines the role of the drums and their music in the formation and development of an Afro-Christian ritual called congado, in Minas Gerais, Brazil. Being the main means for social interactions, music is viewed as a privileged context for the protection, reconstruction, performance, and transmission of spiritual and other cultural knowledge among Africans and their descendants since colonial times, and thus for the reinterpretation of the Catholic faith. Historical and contemporary forms of the congado ritual are discussed, based on ethnographic research of present-day rituals, on a study of the literature on Bantu cultures and on slavery in Brazil, and on analysis of the drums’ performances. The main argument is that music has been used by participants as a conscious means of cultural resistance and survival, being a strategic context for keeping interactions and exchanges with their ancestors as well as for intra-group communication and social relations.

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31

Washed by Blood: Lessons from My Time with Korn and My Journey to Christ. HarperOne, 2008.

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32

Trott, Roger L. Getting in Tune. Coral Press, 2008.

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33

Wolf, Richard K. The Manifest and the Hidden. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252038587.003.0008.

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This chapter presents Muharram Ali's reflections on South Asian drumming and music traditions, which he has jotted down in his notes. It first considers the death of Ali's mother Sakina and how this had set his father on a devil's course. It then discusses the publishing of Ali's article “The Drums of Islam in Multan” as well as his write-up on the ʻurs of Madho Lal Husain. It also recalls Ali's decision to pursue formal anthropological training at Lucknow University, where he earned a PhD in anthropology in record time, along with his classical Hindustani music training at the Bhatkhande School of Music. Finally, it describes Ali's observations of the manganhār repertoire demonstrated by Qasim Shah, the Ajmer and Agra Muhajir groups, and drumming in the context of Islam.

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34

With My Eyes Wide Open: Miracles and Mistakes on My Way Back to KoRn. Thomas Nelson, 2016.

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