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Books on the topic 'Musician's issues'

Author: Grafiati

Published: 28 July 2024

Last updated: 31 July 2025

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1

American Bar Association. Forum Committee on the Entertainment and Sports Industries., ed. Current legal issues in the recording industry, 1987: May 14-16, 1987, Capitol Hilton, Washington, D.C. The Association, 1987.

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2

Marino, Nan. Hiding out at the Pancake Palace. Roaring Brook Press, 2013.

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3

American Bar Association. Forum on the Entertainment and Sports Industries. Meeting. Current issues in: sports law, music law, motion picture & television law, funding for arts and entertainment: 1995 annual meeting, October 6-7, 1995, Minneapolis, Minnesota. The Association, 1995.

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4

Perez, Marlene. Dead is a killer tune. Graphia, 2012.

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5

ill, Kurilla Renée, Reynolds Peter 1961-, and FableVision Studios, eds. SPF 40. Atheneum Books for Young Readers, 2013.

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6

Speech and voice science. Plural Publishing Inc., 2013.

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7

Speech and Voice Science. Plural Publishing, 2017.

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8

Speech and Voice Science. Plural Publishing, Incorporated, 2017.

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9

Gale Canada, Robert Lang, Allison Jones, Roger Matuz. Contemporary Canadian Musicians, Issue 2 (Canadian Contemporary Musicians). Gale Canada, 1998.

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10

Anonyma. Musician: America's Leading Magazine for Musicians, Music-Lovers, Teachers and Students, Volume 17, Issue 9. Creative Media Partners, LLC, 2023.

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11

Kenny, Dianna T. Optimizing physical and psychological health in performing musicians. Edited by Susan Hallam, Ian Cross, and Michael Thaut. Oxford University Press, 2012. http://dx.doi.org/10.1093/oxfordhb/9780199298457.013.0036.

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Performing musicians face a number of physical, social, and psychological challenges that must be mastered if their musical career is to be both rewarding and sustainable. However, musicians are at high risk of physical and psychological strain and injury in the execution of their art. Physical and psychological stressors exert reciprocal and synergistic effects on the musician, and careful analysis of the intrinsic characteristics of the performer and the extrinsic demands on the musician must be made in order to develop appropriate interventions. This article provides an overview of the risk

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12

Magazine, Open City. Open City #25: The Musicians' Issue (Open City). Grove Press, Open City Books, 2008.

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13

Kootnikoff, David. Bono. ABC-CLIO, LLC, 2012. http://dx.doi.org/10.5040/9798400620362.

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Bono is a passionate, articulate celebrity who has transcended his role as international rock star and become an effective political activist. This book provides insights into his life story and contributions to both popular culture and politics. Bono: A Biography takes a broad look at the pop star's life from his birth until the present day while also examining in depth the major events throughout his life. It covers Bono's accomplishments as part of U2 and also provides great detail about this complex celebrity figure's achievements outside of his involvement with his band—for example, his a

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14

Tooth and nail: Women [in] rock the damn, we're lazy global issue. New Boorn Scooting Clam Press, 2001.

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15

Understanding the legal & business issues in country music. Practising Law Institute, 1997.

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16

Ericson, Margaret D. Women and Music: A Selective Annotated Bibliography on Women and Gender Issues in Music, 1987-1992. G. K. Hall & Company, 1996.

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17

Froelich, H. Education of the Professional Musician: A special issue of the journal Musical Performance. Routledge, 2000.

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18

Ohlin, Nancy. Consent. Simon & Schuster, Limited, 2015.

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19

Consent. Simon & Schuster Books for Young Readers, 2015.

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20

Consent. New York: Simon Pulse, 2015.

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21

Consent. Simon Pulse, 2016.

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22

Stern, A. J. Rocking Out! Turtleback, 2012.

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23

Gidal, Marc. SamBop NYC. Oxford University Press, 2024. https://doi.org/10.1093/oso/9780197619049.001.0001.

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Abstract This book explains the music, demographics, cultural issues, and industry surrounding Brazilian jazz composed and performed in New York City by professional musicians between 2000 and 2020. An ethnomusicological study based on original fieldwork and fifty-plus interviews, the book describes how musicians combine nationally associated genres and navigate the music industry while they expand their self-identities transnationally. Chapter 1 compares an original dataset of 173 musicians, their instruments, and social categories (nationality, race, and gender) to published data about Brazi

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24

Issues in African American Music: Power, Gender, Race, Representation. Taylor & Francis Group, 2016.

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25

Issues in African American music: Power, gender, race, representation. Routledge, 2017.

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26

Issues in African American Music: Power, Gender, Race, Representation. Taylor & Francis Group, 2016.

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27

Covach, John. American Rock and the Classical Music Tradition: A special issue of the journal Contemporary Music Review. Routledge, 2000.

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28

Covach, John, and Walter Everett. American Rock and the Classical Music Tradition: A Special Issue of the Journal Contemporary Music Review. Taylor & Francis Group, 2016.

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29

Smilde, Rineke. Community Engagement and Lifelong Learning. Edited by Brydie-Leigh Bartleet and Lee Higgins. Oxford University Press, 2018. http://dx.doi.org/10.1093/oxfordhb/9780190219505.013.32.

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This chapter discusses the relationship of community engagement through music and the concept of lifelong learning, which is a dynamic concept of learning that enables us to respond to change. Underpinning the work of community musicians is the notion that artistic processes can have transformative potential that can bring about a sense of community, inclusion, and collective identity. Three case studies of community engagement will be explored with different aims and points of departure but with shared values and approaches, comprising important aspects of the concept of lifelong learning. Ou

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30

Music, the brain, and ecstasy: How music captures our imagination. W. Morrow, 1997.

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31

Music, the brain, and ecstasy: How music captures our imagination. Avon Books, 1998.

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32

Lopez-Real, Carlos. Insight. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780199346677.003.0016.

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Carlos Lopez-Real explores his own ‘pathway to creative performance’ in holistic terms, considering issues to do with identity, ‘constantly evolving practice’, shifts of focus in his artistic journey, and various types of uncertainty along the way. In particular, he contemplates his various roles and activities as improviser, composer, performer and educator, along with his individual artistic voice and a further artistic voice embedded within a collective of musicians, a community of practice.

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33

MacDonald, Raymond, David J. Hargreaves, and Dorothy Miell. Musical identities. Edited by Susan Hallam, Ian Cross, and Michael Thaut. Oxford University Press, 2012. http://dx.doi.org/10.1093/oxfordhb/9780199298457.013.0043.

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This article presents a number of key themes relating to the concept of musical identities. It provides a definition of identity, with a discussion of why identity is a timely topic for consideration. The article then presents an overview of a series of studies investigating musical identities of jazz musicians. These highlight the utility of qualitative techniques, and in particular focus-group and semi-structured interview methods, for understanding how professional musicians construct their identities in relation to both their musical activities and wider psychological and cultural issues.

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34

Avery, Susan. Adult Community Choruses. Edited by Frank Abrahams and Paul D. Head. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199373369.013.19.

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When considering teaching and conducting diverse populations in community choirs, one must begin with discussions of the phenomenon itself: a description of the term, a brief history of adult singing ensembles in the United States, and an exploration into the many types of community choirs and issues such as age, gender, exclusivity, purpose, and goals. Examined research on these issues is organized into large topics such as adult learning theories (music literacy and learning styles) and adult physiological concerns (untrained adult singers’ vocal mechanisms and aging voice issues). Personal

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35

Graziosi, Barbara. Homer: A Very Short Introduction. Oxford University Press, 2019. http://dx.doi.org/10.1093/actrade/9780199589944.001.0001.

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Homer’s mythological tales of war and homecoming, the Iliad and the Odyssey, are widely considered to be two of the most influential works in the history of world literature. Yet their author, ‘the greatest poet that ever lived’, is something of a mystery. Homer: A Very Short Introduction considers Homer’s famous works, their composition, and their impact on readers throughout the centuries. It also shows how scholars’ notes on ancient manuscripts still influence our interpretation of Homer’s work today. Homer’s poems have inspired artists, writers, philosophers, musicians, playwrights, and fi

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36

Sheridan, Chris. Brilliant Corners. Greenwood Publishing Group, Inc., 2001. http://dx.doi.org/10.5040/9798400621420.

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In this masterful compilation, world-recognized discographer Chris Sheridan draws together the most comprehensive reconstruction of Thelonious Monk's performances and recordings. Woven through the chronological listing of Monk's work is the story of his rise to acceptance as one of the key pianists and composers of jazz and his decline in health and popularity to his death in 1982. Following a Prologue which attempts to summarize the career and man, the narrative discography covers Monk's entire performance career. This is followed by appendixes listing all microgroove and post-microgroove iss

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37

Girl Online. penguin, 2016.

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38

Lebler, Don, and Scott Harrison. Evaluating progress and setting directions. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780199346677.003.0006.

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The complexity of assessing musical performance as a nonverbal art form is well known within the field of professional practice. This chapter addresses key issues including the tension between assessing craftsmanship and artistry. It surveys the strong tradition of expert panel assessment that continues to be the hallmark of musical performance assessment in many contexts, in relation to both solo and ensemble performance. It also explores how such practices may intersect with the development of self-assessment and self-reflection as core professional skills for performers, as well as the proc

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39

Thaut, Michael H., and Donald A. Hodges, eds. The Oxford Handbook of Music and the Brain. Oxford University Press, 2018. http://dx.doi.org/10.1093/oxfordhb/9780198804123.001.0001.

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The Oxford Handbook of Music and the Brain is a compendium of current research on music in the human brain. An international roster of 54 authors from 13 countries have written over 350,000 words that are organized into 33 chapters. Major themes include Music, the Brain, and Cultural Contexts; Music Processing in The Human Brain; Neural Responses to Music; Musicianship and Brain Function; Developmental Issues in Music and the Brain; Music, the Brain, and Health; and the Future. Each chapter offers a thorough review of the current status of research literature as well as an examination of limit

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40

Whitaker, Alecia. Way Back Home. Little, Brown Books for Young Readers, 2016.

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41

Bakan, Michael B. Toward an Ethnographic Model of Disability in the Ethnomusicology of Autism. Edited by Blake Howe, Stephanie Jensen-Moulton, Neil Lerner, and Joseph Straus. Oxford University Press, 2016. http://dx.doi.org/10.1093/oxfordhb/9780199331444.013.2.

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This essay proposes an ethnographic model of disability in contradistinction to existing social and medical models. Building from an ethnomusicological study of the Artism Ensemble, a neurodiverse music performance collective comprising children on the autism spectrum, their coparticipating parents, and professional musicians of diverse musicultural lineage, it discusses issues of autistic self-advocacy, Disability Studies and rights, the anthropology of autism, and epistemological and pragmatic debates and consequences of competing autism discourses and philosophies. The essay argues that mus

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42

Merchant, Tanya. Introduction. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252039539.003.0001.

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This book explores issues of gender performance and national identity as they are personalized and individualized and then themselves performed by women musicians of Uzbekistan. It considers the rich relationship that dutar music has with women's culture and history in Uzbekistan but shows that the performance of national identity, of femininity, and of a sense of tradition that engaged the modern world was not limited to the dutar but encompassed a wide range of professional musical activities. The book demonstrates the central place of women in the musical project of nationalism, not only as

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43

Woodworth, Griffin. Synthesizers As Social Protest in Early-1970s Funk. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780199985227.003.0011.

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The advent of the synthesizer brought a new timbral palette for artists to explore. Early synthesizers sought to imitate acoustic instruments, but over time they developed their own unique timbral qualities used in 1970s funk and progressive rock. Occupying the Freudian uncanny, synthesized sounds are just distinguishable enough from those of acoustic instruments to inspire discomfort or create an otherworldly, science-fiction sound. This chapter argues that African-American funk musicians of the 1970s used synthesizers in the spirit of black social empowerment movements, which advocated for t

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44

Shope, Bradley. Orchestras and musical intersections with regimental bands, blackface minstrel troupes, and jazz in India, 1830s–1940s. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780199352227.003.0013.

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This chapter discusses blackface minstrel troupes, British regimental bands and jazz orchestras performing in India from the mid-nineteenth century to the mid-twentieth century. It details their challenges and strategies for success, and suggests that their capacity to facilitate cosmopolitan encounters in the wider world contributed to their popularity and value. It first introduces problems and practicalities in maintaining bands performing British military music in India in the mid- and late-nineteenth century. It then briefly introduces the character and scope of ballroom dance music and b

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45

Ntarangwi, Mwenda. Cultural Preferences, Christianity, and the Street. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252040061.003.0002.

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This chapter explores the basis for the “disconnect” between the church and the street and how Juliani's work brings them together. Juliani, this chapter argues, provides an important bridge for the church and the street, using music that focuses on social issues to bring people who care about them in for a closer look at his Christian message embedded in his songs. And, in looking beyond the musician to the context within which he performs, this chapter also considers the ways that Christianity in Kenya found its feet in different cultural communities, as well as how the culture of the missio

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46

Wallace, Richard. Pop Documentary Since 1980. Bloomsbury Publishing Plc, 2025. https://doi.org/10.5040/9781350214279.

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In The Pop Documentary Since 1980, Richard Wallace examines the representation of pop music, musicians and music-making in documentary film and television. He draws together conceptual frameworks from within and outside of film and television studies - including performance studies, musicology, celebrity studies and fan studies - to provide a critical interrogation of the central issues in this genre. A common criticism of the music documentary is that it lacks artistic integrity because of its close affiliation with its subject. Wallace argues that music documentaries can be artful and concep

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47

Rubens, Michael. Bad Decisions Playlist. Penguin Random House, 2016.

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48

Rubens, Michael. Bad Decisions Playlist. Houghton Mifflin Harcourt Trade & Reference Publishers, 2016.

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49

Allen, Ray. Jump Up! Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190656843.001.0001.

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Jump Up! Caribbean Carnival Music in New York City is the first comprehensive history of Trinidadian calypso and steelband music in the diaspora. Carnival, transplanted from Trinidad to Harlem in the 1930s and to Brooklyn in the late 1960s, provides the cultural context for the study. Blending urban studies, oral history, archival research, and ethnography, Jump Up! examines how members of New York’s diverse Anglophile-Caribbean communities forged transnational identities through the self-conscious embrace, transformation, and hybridization of select Carnival music styles and performances. The

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50

Hilder, Thomas R. Sámi Musical Performance and the Politics of Indigeneity in Northern Europe. The Rowman & Littlefield Publishing Group, 2014. https://doi.org/10.5040/9798881815745.

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The Sámi are Europe’s only recognized indigenous people living across regions of Norway, Sweden, Finland and the Russian Kola peninsula. The subjects of a history of Christianization, land dispossession, and cultural assimilation, the Sámi have through their self-organization since World War II worked towards Sámi political self-determination across the Nordic states and helped forge a global indigenous community. Accompanying this process was the emergence of a Sámi music scene, in which the revival of the distinct and formerly suppressed unaccompanied vocal tradition of joik was central. Thr

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