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Books on the topic 'Early-music groups'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 August 2024

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1

(Organization), Early Music America, ed. Supplement to the Register of early music in America: Performers, writers, ensembles, instrument makers, presenters, retailers, societies, educational institutions & others in the field of historically-informed performance in North America, 1991. Early Music America, 1991.

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2

(Organization), Early Music America, ed. Register of early music in America: Organizations, educational institutions & individuals in the field of historically-informed performance in North America. Early Music America, 1989.

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3

Bernd, Heyder, ed. 10 Jahre Forum Alte Musik Köln: Eine Dokumentation. Concerto, 2008.

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4

Lajos, Rovatkay, and Hochschule für Musik und Theater Hannover., eds. Aufbruch alte Musik: 30 Jahre "Studio für Alte Musik" an der Hochschule für Musik und Theater Hannover : 15 Jahre "Capella Agostino Steffani" : zum 70. Geburtstag von Prof. Lajos Rovatkay. Hahnsche Buchhandlung, 2003.

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5

ICTM Study Group on Music Archaeology. International Meeting. The archaeology of early music cultures: Third International Meeting of the ICTM Study Group on Music Archaeology. Verlag für systematische Musikwissenschaft, 1988.

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6

V, Palisca Claude, ed. The Florentine Camerata: Documentary studies and translations. Yale University Press, 1989.

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7

Conference, Ontario Educational Research Council. [Papers presented at the 31st Annual Conference of the Ontario Educational Research Council, Toronto, Ontario, December 8-9, 1989]. s.n.], 1989.

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8

Conference, Ontario Educational Research Council. [Papers presented at the 30th Annual Conference of the Ontario Educational Research Council, Toronto, Ontario, December 2-3, 1988]. s.n.], 1988.

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9

Ontario Educational Research Council. Conference. [Papers presented at the 28th Annual Conference of the Ontario Educational Research Council, Toronto, Ontario, Dec. 1986]. s.n.]., 1986.

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10

Ontario Educational Research Council. Conference. [Papers presented at the 33rd Annual Conference of the Ontario Educational Research Council, Toronto, Ontario, December 6-7, 1991]. s.n.], 1991.

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11

Ontario Educational Research Council. Conference. [Papers presented at the 32nd Annual Conference of the Ontario Educational Research Council, Toronto, Ontario, December 7-8, 1990]. s.n.], 1990.

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12

Ontario Educational Research Council. Conference. [Papers presented at the 36th Annual Conference of the Ontario Educational Research Council, Toronto, Ontario, December 2-3, 1994]. s.n.], 1994.

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13

Ontario Educational Research Council. Conference. [Papers presented at the 34th Annual Conference of the Ontario Educational Research Council, Toronto, Ontario, December 4 - 5, 1992]. s.n.], 1992.

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14

Ontario Educational Research Council. Conference. [Papers presented at the 35th Annual Conference of the Ontario Educational Research Council, Toronto, Ontario, December 3-4, 1993]. s.n, 1993.

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15

A guide to funding early music. Early Music America, 1994.

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16

Rene Clemencic: Musica Antiqua. (Incl. 2 CDs). Zyklus der Gesellschaft der Musikfreunde in Wien - Musikverein (Brahms -Saal). H ammerle Druck Ges. mbH. & Co., 2007.

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17

Da sheng yue fu nian pu hui kao. Zhejiang da xue chu ban she, 2016.

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18

Handbuch historische Orchesterpraxis: Barock, Klassik, Romantik. Bärenreiter, 2009.

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19

Uma contribuição de 25 anos à história da música antiga no Brasil. Editora UFJF, 2000.

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20

Bontemps, Arna. Music. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252037696.003.0027.

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This chapter examines Negro music as well as musicians such as singers, instrumentalists, directors, and composers in Illinois in the late nineteenth and early twentieth centuries. It begins with a discussion of various Negro musicians in Illinois, from piano prodigy “Blind Tom” Wiggins and the Hampton Singers to the Fisk Jubilee Singers and choral groups known for singing spirituals. Among them were the Chicago Choral Study Club, one of the first to perform the works of black composer Samuel Coleridge-Taylor. The chapter also considers the emergence of organized music schools among Chicago Ne

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21

Cohen, Ronald D., and Rachel Clare Donaldson, eds. The Weavers and the Resurgence of Folk Music, 1950–1953. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252038518.003.0003.

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This chapter discusses the folk music scene from 1950 to 1953. It begins by describing the formation and rise of the Weavers into one of the most popular musical groups in the U.S. by early 1951. Their song “On Top of Old Smoky,” landed on the charts in April, reached number 2 for two months, and remained for a total of twenty-three weeks. The group also began appearing at the country's most lavish nightclubs, including Ciro's in Hollywood. The remainder of the chapter details Alan Lomax's move to England where he began an energetic broadcasting, collecting, performing, and traveling career as

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22

Oliphant, Dave. The Early Swing Era, 1930 to 1941. Greenwood, 2002. http://dx.doi.org/10.5040/9798400643095.

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The early swing era of jazz, from 1930 to 1941, represents both an extension of developments of the previous decade and an introduction of new tendencies that influenced subsequent periods of jazz history. Major big bands and individual artists established important styles that brought wide popularity to the music, while small groups created innovative approaches that determined the directions jazz would take in the years to come. This was a time marked by colorful band leaders, flashy instrumental soloists, showy orchestras, and engaging singers, and Oliphant's reference guide to this period

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23

Perone, James E. Mods, Rockers, and the Music of the British Invasion. Praeger, 2008. http://dx.doi.org/10.5040/9798400687051.

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Musical floodgates were opened after the Beatles' first appearance onThe Ed Sullivan Showon February 9, 1964. Suddenly, the U.S. record charts, radio, and television were overrun with British rock and pop musicians. Although this British Invasion was the first exposure many Americans had to popular music from the United Kingdom, British pop — and more specifically British rock and roll — had been developing since the middle of the 1950s. Author James Perone here chronicles the development of British rock, from the 1950s imitators of Elvis Presley and other American rockabilly artists, to the n

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24

Marovich, Robert M. Sacred Music in Transition. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252039102.003.0003.

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This chapter examines Chicago sacred music in a period of transition, focusing on the roles played by Charles Henry Pace and the Pace Jubilee Singers. The Pace Jubilee Singers are a fascinating example of African American sacred music in transition. They were among Chicago's first black religious artists to perform on radio, broadcasting during the 1920s and early 1930s over radio station WCBN and megawatt stations WLS and WGN. The group was also among the first mixed jubilee ensembles to feature a female soloist prominently in the person of Hattie Parker. This chapter first provides a histori

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25

Ogg, Alex. Dead Kennedys : Fresh Fruit for Rotting Vegetables: The Early Years. PM Press, 2014.

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26

Ogg, Alex. Dead Kennedys : Fresh Fruit for Rotting Vegetables: The Early Years. PM Press, 2014.

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27

Ogg, Alex. Dead Kennedys: Fresh Fruit for Rotting Vegetables: The Early Years. PM Press, 2014.

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28

Alcorta, Candace S., and Richard Sosis. Ritual, Religion, and Violence. Edited by Michael Jerryson, Mark Juergensmeyer, and Margo Kitts. Oxford University Press, 2013. http://dx.doi.org/10.1093/oxfordhb/9780199759996.013.0038.

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This chapter, which discusses the association between religion and violence, also addresses why suicide terrorists are willing to offer their lives for their life-affirming religions. Religious violence and “sacred pain” have long been significant components in the mythology and ritual of Western religious traditions. Religious rituals differ widely across cultures. Music intensifies the ritual experience itself, transforming the ordinary into the extraordinary and laying the foundation for creation of the sacred. Religious ritual is an efficient tool for altering group cooperation and cohesio

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29

Rios, Fernando. Panpipes & Ponchos. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190692278.001.0001.

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Melodious panpipes and kena flutes. The shimmering strums of a charango. Poncho-clad musicians playing “El Cóndor Pasa” at subway stops or street corners while selling their recordings. These sounds and images no doubt come to mind for many “world music” fans when they recall their early encounters with Andean music groups. Termed “Andean conjuntos” in this book and “pan-Andean bands” in other scholarship, four-to-six member ensembles of this type have long formed part of the “world music” circuit of the Global North, and also been present in the music scenes of Latin America’s major cities. I

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30

McNeill, Darrell M. The Isley Brothers' 3+3. Bloomsbury Publishing Plc, 2024. http://dx.doi.org/10.5040/9798765106730.

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The Isley Brothers' 3+3, dissects The Isleys’ 50-year-old undisputed masterwork, an album that firmly established their music dynasty on a global scale, as well as heralding the boldest run of genre-defiant albums of their 65-year career. The 1973 watershed was their first multiplatinum release and is significant as a rare, crossover record by a Black act that struck a chord with urban, rock and pop consumers, despite the schisms between audiences due to bias-driven media and industry marketing. The book looks at the album from all angles: From The Isleys’ early career to their influence on ro

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31

Wiener Schule und Alte Musik: Bericht zum Symposium : 8.-10. Oktober 2009 = Viennese School and early music : report of the symposium. Arnold Schönberg Center Privatstiftung, 2015.

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32

Harlig, Alexandra. Communities of Practice. Edited by Melissa Blanco Borelli. Oxford University Press, 2014. http://dx.doi.org/10.1093/oxfordhb/9780199897827.013.002.

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This chapter considers three moments in early twentieth-century American social dance history in which the popular screen had a particularly large impact, spreading local forms across the country and propelling dance forms from their communities of origin to wider communities of practice. This chapter focuses on Vernon and Irene Castle’s filmed representations of ragtime partner dances pre–World War I, the flapper film and newsreel representations of the Charleston throughout the 1920s, and television dance party shows likeAmerican Bandstandbroadcasting the Twist and other new dances in the 19

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33

Parsons, Laurel, and Brenda Ravenscroft, eds. Analytical Essays on Music by Women Composers: Secular & Sacred Music to 1900. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190237028.001.0001.

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This multi-author collection, the second to be published in an unprecedented four-volume series of analytical essays on music by women composers from the twelfth to the twenty-first centuries, presents detailed studies of compositions written up to 1900 by Hildegard of Bingen, Maddalena Casulana, Barbara Strozzi, Élisabeth-Claude Jacquet de La Guerre, Marianna Martines, Fanny Hensel, Josephine Lang, Clara Schumann, and Amy Beach. Each chapter opens with a brief biographical sketch of the composer, followed by an in-depth analysis of one representative composition or a small number of comparabl

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34

Comentale, Edward P. Thought I Had Your Heart Forever. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252037399.003.0003.

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This chapter shows how country music provided emotional bearing for an entire region gripped by processes of change. It presents country song as a dynamic phenomenon of space and time, one that provides an affective link between home and away as well as past and present. In the commercial ballads of the late 1920s and early 1930s, the chapter shows how the ground slips away and time moves forward, and the listener is propelled backward and forward on a current of uneasy but thrilling affect that comes to stand in for regional experience itself. The chapter develops this argument through four d

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35

McClellan, Lawrence. The Later Swing Era, 1942 to 1955. Greenwood, 2004. http://dx.doi.org/10.5040/9798400676864.

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Today's Retro Swing bands, like the Squirrel Nut Zippers and the Brian Setzer Orchestra, all owe their inspiration to the original masters of Swing. This rich reference details the oeuvre of the leading Swing musicians from the WWII and post-WWII years. Chapters on the masters of Swing (Ella Fitzgerald, Woody Herman, Billy Strayhorn), the legendary Big Band leaders (such as Les Brown, Dizzy Gillespie, Stan Kenton, Buddy Rich, Vaughan Monroe, etc.), vocalists (including Cab Calloway, Billie Holiday, Peggy Lee, Frank Sinatra, Sarah Vaughn, Dinah Washington), and Small Groups (Louis Jordan, Art T

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36

West, Jeremy. Intervention. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780199355914.003.0013.

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In this Intervention, Jeremy West, the founding cornett player of the early music group His Majesty’s Sagbutts and Cornetts, reflects on the excitement and challenge of commissioning a new work from a living composer for the first time in the ensemble’s thirty-year history. The short account shows how working with the composer in the room provides not only technical support, but aesthetic insight and the confidence to strike out in new directions.

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37

Taylor, Scott D. Culture and Customs of Zambia. Greenwood, 2006. http://dx.doi.org/10.5040/9798400636066.

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Zambia stands out in Africa as one of the continent's most peaceful countries. In its early years as an independent state, Zambia became a regional bulwark against imperialism and colonial domination and South African apartheid. Today, it stands out as an important example of Africa's recent democratization, experiencing both incredible success as well as some notable setbacks. The country is also one of the most urbanized in Sub-Saharan Africa. As a result of this urban influx, Zambia's diverse ethno-linguistic groups interact regularly. Moreover, many contemporary Zambian households, especia

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38

Brend, Mark. The Sound of Tomorrow. Bloomsbury Publishing Plc, 2012. http://dx.doi.org/10.5040/9781501382888.

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London, 1966: Paul McCartney met a group of three electronic musicians called Unit Delta Plus. McCartney was there because he had become fascinated by electronic music, and wanted to know how it was made. He was one of the first rock musicians to grasp its potential, but even he was notably late to the party. For years, composers and technicians had been making electronic music for film and TV. Hitchcock had commissioned a theremin soundtrack for Spellbound (1945); The Forbidden Planet (1956) featured an entirely electronic score; Delia Derbyshire had created the Dr Who theme in 1963; and by t

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39

Weisethaunet, Hans. Roots, Routes, and Cosmopolitanism. Edited by Fabian Holt and Antti-Ville Kärjä. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780190603908.013.5.

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This chapter explores transnational connections and mobilities of Norwegian musicians in a long history of migration to the United States and evolving media spheres of folk and popular music. The analysis begins by addressing the continued desire in contemporary culture for cultural belonging in a globalizing world. This discussion adopts the epistemology of routes, which gained ground in the 1990s, and adds nuance through the analysis of particular experiences of circulation and mobility, highlighting dynamics particular to music. Musical examples are the Hellbillies, one of Norway’s most pop

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40

Lambert, Philip. Celebrations. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252037603.003.0005.

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This chapter focuses on Wilder's last decade. His catalog of original compositions for instrumental groups, large and small, continued to grow, as did his collection of distinguished contributions to the popular-song genre. His interest in writing for the stage persisted as well. Still more pivotal was a new attitude of reflection and historical contemplation, both personal and professional, and a commitment to preserve his thoughts for posterity. He had always been a writer, but his yield had often been restricted by the dimensions of a postcard or a page of hotel stationery. In the early 197

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41

Ó Briain, Lonán. On Becoming Vietnamese. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190626969.003.0002.

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Chapter 1 examines the mythologization of the Hmong and other minorities by mainstream performing artists to show how those minorities have been inscribed into Vietnam’s national consciousness through popular music. The chapter traces the early history and migrations of the Hmong into the mountains of Southeast Asia to their formal identification as an ethnic group in French Indochina. From revolutionary songs (ca khúc cách mạnh) in the 1950s and 1960s to independent creative artists in the late twentieth and early twenty-first centuries, the multivalent superculture that comprises the Vietnam

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42

McAllister, Lesley S. Yoga in the Music Studio. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190915001.001.0001.

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The ancient practice of yoga, which has exploded in popularity in the United States over the past two decades, has the potential to help music students learn to practice more mindfully and reach peak performance more quickly. This book explores how professional musicians and music teachers of all instruments and levels can use yoga postures (asana) and breath work (pranayama) to enhance artistry. It begins with an overview of yoga philosophy and history before delving into principles of movement, alignment, anatomy, and breath. Following a research-oriented chapter illustrating the cognitive,

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43

Borgmeyer, John, and Holly Lang. Dr. Dre. Greenwood, 2006. http://dx.doi.org/10.5040/9798400642340.

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It is almost impossible to listen to a current hip-hop song that does not bear Dr. Dre's influence. With innovations in style that started with the hip-hop group N.W.A., and, later, as a solo rapper and producer, Dre's influence and lasting impact on hip-hop music and culture is undeniable. He pioneered a new style of music that in the early 1990s would come to be known as gangsta rap, and his proteges - Snoop and Eminem - are both considered some of the top rappers to emerge since rap was born on the streets of New York three decades ago. This biography traces Dre's rise to fame, a story that

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44

Bose, Ines, Kati Hannken-Illjes, and Stephanie Kurtenbach, eds. Kinder im Gespräch – mit Kindern im Gespräch. Frank & Timme, 2019. http://dx.doi.org/10.26530/20.500.12657/42800.

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How do children behave in conversations? The authors of this book provide answers that are relevant to research and practice. The analysis is based on authentic conversations in everyday situations. The discussion process and the situational embedding of the discussion actions are the focus of the investigations. The volume contains articles on argumentative conversations between children of preschool and elementary school age and on communication-promoting strategies of early childhood education professionals in daycare. In addition, framework conditions and observation instruments for commun

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45

Leonard, Karen. The South Asian Americans. Greenwood, 1997. http://dx.doi.org/10.5040/9798216016816.

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Immigrants from South Asian countries are among the fastest growing segment of our population. This work, designed for students and interested readers, provides the first in-depth examination of recent South Asian immigrant groups—their history and background, current facts, comparative cultures, and contributions to contemporary American life. Groups discussed include Indians, Pakistanis, Bangladeshis, Sri Lankans, Nepalis, and Afghans. The topics covered include patterns of immigration, adaption to American life and work, cultural traditions, religious traditions, women's roles, the family,

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46

Hautamäki, Irmeli, Laura Piippo, and Helena Sederholm, eds. Avantgarde Suomessa. SKS Finnish Literature Society, 2021. http://dx.doi.org/10.21435/tl.267.

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Avant-garde in Finland is the first book to provide an overarching introduction to avant-garde art by Finnish artists. The articles in the book discuss the application and development of the cultural ideas of the avant-garde in Finnish art from the early 20th century till the present day. The book focusses on the social, political, and artistic characteristics of avant-garde art and their manifestation in Finnish avant-garde literature, visual arts, architecture, fashion, and music. The book shows the remarkable role of women artists in the development of the Finnish avant-garde. Many artists

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47

Levy, Benjamin R. Metamorphosis in Music. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780199381999.001.0001.

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In the 1950s and 1960s György Ligeti went through a remarkable transition from writing music in the style of Bartók to working at the cutting edge of the avant-garde. Through careful study of the sketches and drafts, as well as analysis of the finished scores, Metamorphosis in Music takes a detailed look at this compositional evolution. The book begins with Ligeti’s synthesis of folk music and modernism in Musica ricercata and continues through the turn of the 1970s, examining nearly every major work as well as numerous unpublished studies. It shows Ligeti’s early discovery of twelve-tone tech

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48

Eyerman, Ron. The Making of White American Identity. Oxford University PressNew York, 2022. http://dx.doi.org/10.1093/oso/9780197658932.001.0001.

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Abstract This book traces the development of whiteness in the United States as a distinctive collective identification, from the early colonial period through the January 6, 2021, assault on the Capitol Building in Washington, D.C. The theory of cultural trauma provides the framework for mapping and analyzing this process. The central argument is that whiteness is a mobilizing ideology, articulated and communicated over generations by individuals and carrier groups who make use of various means of mass media, from traditional print and visual media to the internet. In analyzing this transmissi

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49

Chapman, Con. Rabbit's Blues. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190653903.001.0001.

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The book explores the career of Johnny Hodges, at one time one of the most famous saxophone players in the world. He was closely identified with Duke Ellington’s orchestra, playing with that seminal jazz group for nearly four decades, with only a four-year break in the early 1950s, when he led a band of his own. Just a few years after his death, however, he would be largely forgotten and his style considered passé. The book details why Hodges deserves reconsideration: he helped codify the vocabulary and syntax of his instrument in a jazz context, drawing inspiration from Sidney Bechet and Loui

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50

Dewar, Andrew Raffo. Performance, Resistance, and the Sounding of Public Space. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190842741.003.0015.

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Two years after the 1966 military coup in Argentina, three musicians, Norberto Chavarri, Roque de Pedro and Guillermo Gregorio, formed the intermedia performance collective Movimiento Música Más. The collective combined experimental music, visual art, poetic performance, and political action, carrying out activities in concert halls, plazas, and city buses. This chapter examines the activist art of this little-known “Other” avant-garde that existed at the periphery of 1960s internationalism, focusing on two of its performance pieces: Plaza para una siesta de domingo (1970) and Música para cole

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