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Books on the topic 'King's Men (Musical group)'

Author: Grafiati

Published: 4 June 2021

Last updated: 7 February 2022

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

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1

Marten, Neville. The Kinks: Well respected men. Chessington, Surrey: Castle Communications, 1996.

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2

Hardy, James Earl. Boyz II Men. Philadelphia: Chelsea House Publishers, 1996.

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3

Hardy, James Earl. Boyz II Men. Philadelphia: Chelsea House Publishers, 1996.

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4

David, Giffels, ed. Are we not men? We are Devo! London: SAF Pub., 2003.

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5

Henderson, Rita Elizabeth. The Boyz II Men success story: Defying the odds. Los Angeles: Aynderson Press, 1995.

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6

Blayney, David. Sharp dressed men: ZZ Top behind the scenes from blues to boogie to beards. New York: Hyperion, 1994.

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7

Fathomless riches: Or, How I went from pop to pulpit. London: Weidenfeld & Nicolson, 2014.

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8

Thompson, Dave. Red Hot Chili Peppers: True men don't kill coyotes. London: Virgin, 1993.

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9

Dalton, Linda S. Playing in the sand with Boyz II Men: The making of the video Water runs dry. Syracuse, N.Y: L.S. Dalton, 1996.

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10

Tim, Wapshott, ed. Mercury and me. London: Bloomsbury, 1994.

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11

Kinks -- Well Respected Men. Sanctuary Publishing, Ltd., 1998.

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12

Gerry Boulet: Avant de men aller. Art Global, 2005.

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13

Morris, Nathan, Michael McClary, Shawn Stockman, and Wanya Morris. Boyz II Men: Us II You. Harpercollins, 1995.

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14

Morris, Nathan, Michael McClary, Shawn Stockman, and Wanya Morris. Boyz II Men: Us II You. Harpercollins, 1995.

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15

(Editor), Tom Gallagher, Michael Campbell (Editor), and Murdo Gillies (Editor), eds. All Men Have Secrets. Doctor Who Books, 1995.

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16

Contemporary Musicians: Profiles of the People in Music (Contemporary Musicians). Thomson Gale, 2004.

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17

Contemporary Musicians: Profiles Of The People In Music (Contemporary Musicians). Thomson Gale, 2005.

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18

Pilchak, Angela M. Contemporary Musicians: Profiles of the People in Music (Contemporary Musicians). Thomson Gale, 2005.

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19

Pilchak, Angela M. Contemporary Musicians: Profiles Of The People In Music (Contemporary Musicians). Thomson Gale, 2005.

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20

Contemporary Musicians: Profiles of the People in Music (Contemporary Musicians). Thomson Gale, 2005.

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21

Pilchak, Angela M. Contemporary Musicians: Profiles of the People in Music (Contemporary Musicians). Thomson Gale, 2005.

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22

Pilchak, Angela M. Contemporary Musicians: Profiles Of The People In Music (Contemporary Musicians). Thomson Gale, 2005.

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23

Pilchak, Angela M. Contemporary Musicians: Profiles of the People in Music (Contemporary Musicians). Thomson Gale, 2004.

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24

Pilchak, Angela M. Contemporary Musicians: Profiles of the People in Music (Contemporary Musicians). Thomson Gale, 2004.

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25

Pilchak, Angela M. Contemporary Musicians. Thomson Gale, 2004.

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26

Pilchak, Angela M. Contemporary Musicians. Thomson Gale, 2007.

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27

Pilchak, Angela M. Contemporary Musicians. Thomson Gale, 2006.

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28

Pilchak, Angela M. Contemporary Musicians: Profiles of the People in Music (Contemporary Musicians). Thomson Gale, 2005.

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29

Pilchak, Angela M. Contemporary Musicians. Thomson Gale, 2006.

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30

Coles, Richard. Fathomless riches ; or how I went from pop to pulpit. 2015.

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31

Stephen Gately And Boyzone Blood Brothers. John Blake, 2010.

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32

Richards, Paul. Shifting Cultivation as Improvisation. Edited by George E. Lewis and Benjamin Piekut. Oxford University Press, 2014. http://dx.doi.org/10.1093/oxfordhb/9780195370935.013.22.

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Shifting cultivation is a type of farming without fixed boundaries. It obeys an ecological logic but requires constant improvisation and adaptation to fluid circumstances. The character of improvisation in shifting cultivation is explored with reference to an African case study (rice farming by the Mende people of Sierra Leone). Two elements are emphasized in particular—the management of fire (by men) and rice seeds (by women). A contrast, applicable not only to farming, but also to other activities such as military conflict and musical performance, is drawn between strategic planning and tactical improvisation. The relevance of Mary Douglas’s grid-group theory to the framing of the social skill sets required for improvisation is discussed.

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33

Beale, Charles. “A Different Kind of Goose Bump”. Edited by Frank Abrahams and Paul D. Head. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199373369.013.20.

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This chapter examines the musical practices and procedures of choruses such as the famous Gay Men’s Chorus within the LGBTQ (Lesbian, Gay, Bisexual, Transgender, Queer) communities of the United States and Europe, and more specifically the discourse in and around them. It focuses on choral pedagogy as it is found in such ensembles and communities, drawing on the literature and first-hand accounts from singers, conductors and audience members, and examines what they uniquely value in their singing. Specific questions include: what is a good sound for an early MTF (male to female) transgender singer? Is it good to have female tenors in your ensemble, and if so, how many? How does the meaning of a song change for singers and audience when sung by a group of 250 gay men? How does that inflect the way in which that song should be taught to the singers? In short, is there a queer choral pedagogy?

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34

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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