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This text presents a comprehensive and up-to-date reference work on popular music, from the early 20th century to the present day.
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Since the transformative 1960s, concert masses have incorporated a range of political and religious views that mirror their socio-cultural context. Those of the long 1960s (c1958-1975) reflect non-conformism and social activism; those of the 1980s, environmentalism; those of the 1990s, universalism; and those of the 2000s, cultural pluralism. Despite utilizing a format with its roots in the Roman Catholic liturgy, many of these politicized concert masses also reflect the increasing religious diversification of Western societies. By introducing non-Catholic and often non-Christian beliefs into masses that also remain respectful of Christian tradition, composers in the later twentieth century have employed the genre to promote a conciliatory way of being that promotes the value of heterogeneity and reinforces the need to protect the diversity of musics, species and spiritualities that enrich life. In combining the political with the religious, the case studies presented pose challenges for both supporters and detractors of the secularization paradigm. Overarchingly, they demonstrate that any binary division that separates life into either the religious or the secular and promotes one over the other denies the complexity of lived experience and constitutes a diminution of what it is to be human.
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TheInternational Who's Who in Popular Music 2002offers comprehensive biographical information covering the leading names on all aspects of popular music. It brings together the prominent names in pop music as well as the many emerging personalities in the industry, providing full biographical details on pop, rock, folk, jazz, dance, world and country artists. Over 5,000 biographical entries include major career details, concerts, recordings and compositions, honors and contact addresses. Wherever possible, information is obtained directly from the entrants to ensure accuracy and reliability. Appendices include details of record companies, management companies, agents and promoters. The reference also details publishers, festivals and events and other organizations involved with music.
Provides up-to-date profiles on the careers of leading and emerging poets.
Organized as a series of walks through the distinct neighborhoods of Dartmouth College and parts of the surrounding town of Hanover, New Hampshire, The Campus Guide: Dartmouth College provides an intimate view of one of the most unique and picturesque Ivy League campuses. It contains a comprehensive illustration of today's campus and charts its historic evolution from a small school in the wilderness to the last college granted a Royal charter before the Revolution. Dartmouth College is architecturally distinguished by such unique features as its central Green, which dates from the days when the college considered itself a town in its own right. Comprised primarily of clean, classical, and simple buildings by turn-of-the-century architects like Jens Frederick Larson and Charles Alonzo Rich, Dartmouth’s campus also boasts impressive modern buildings by Gwathmey Siegel; Robert A.M; Stern, KieranTimberlake Associates; and Venturi, Scott Brown and Associates. This extensively illustrated guide explores how these beautiful and historical buildings have helped to shape the Dartmouth identity. Author Scott Meacham explains the historically productive tension between the ideals of college and university and how it affects the scale and character of the campus, the ninth oldest in the U.S.
Rates the best of the twentieth century's art and pop culture, while accompanying essays provide commentary on the way art and performance influences the public and modern world.
A portrait of folk rock cites its role as a vehicle for musical and social change, chronicling its evolution in the 1960s while profiling its major contributors and milestones, such as Bob Dylan, the Byrds, Simon and Garfunkel, the Newport Folk Festival, and Woodstock. Original.