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During the Cold War, state-sponsored musical performances were central to the diplomatic agendas of the United States and the Soviet Union. But states on the periphery of the conflict also used state-funded performances to articulate their positions in the polarized global network. In Albania in particular, the postwar government invested heavily in public performances at home, effectively creating a new genre of popular music: the wildly popular light music. In Audible States: Socialist Politics and Popular Music in Albania, author Nicholas Tochka traces an aural history of Albania's government through a close examination of the development and reception of light music at Radio-Television Albania's Festival of Song. Drawing on a wide range of archival resources and over forty interviews with composers, lyricists, singers, and bureaucrats, Tochka describes how popular music became integral to governmental projects to improve society--and a major concern for both state-socialist and postsocialist regimes between 1945 and the present. Tochka's narrative begins in the immediate postwar period, arguing that state officials saw light music as a means to cultivate a modern population under socialism. As the Cold War ended, postsocialist officials turned again to light music, now hoping that these musicians could help shape Albania into a capitalist, "European" state. Interweaving archival research with ethnographic interviews, Audible States demonstrates that modern political orders do not simply render social life visible, but also audible. Incorporating insights from ethnomusicology, governmentality studies, and post-socialist studies, Audible States presents an original perspective on music and government that reveals the fluid, pervasive, but ultimately limited nature of state power in the modern world. A remarkably researched and engagingly written study, Audible States is a foundational text in the growing literature on popular music and culture in post-socialist Europe and will be of great interest for readers interested in popular music, sound studies, and the politics of the Cold War.
The Audible Life Stream, or Primordial Sound Current, is the all-pervasive universal consciousness within everyone. Few realise there is credible evidence indicating that Jesus, Buddha, Krishna, and so on, all perfected the meditative technique of turning their attention inwards, thereby merging with the Audible Life Stream, to become adepts of dying while living. This is the first book to provide convincing evidence of the Audible Life Stream and emphasise the importance of it to every human being, since none of us can escape the clutches of the Lord of Death. This unique book provides evidence of the Audible Life Stream from a variety of sources, including, testimonials of near-death experiences and out-of-body experiences from people in USA, UK and Australia; excerpts from major religious texts; simply explained quantum physics principles; and independent anecdotes from the increasingly popular field of sound/music therapy.
Table of contents
Audible Empire rethinks the processes and mechanisms of empire and shows how musical practice has been crucial to its spread around the globe. Music is a means of comprehending empire as an audible formation, and the contributors highlight how it has been circulated, consumed, and understood through imperial logics. These fifteen interdisciplinary essays cover large swaths of genre, time, politics, and geography, and include topics such as the affective relationship between jazz and cigarettes in interwar China; the sonic landscape of the U.S.– Mexico border; the critiques of post-9/11 U.S. empire by desi rappers; and the role of tonality in the colonization of Africa. Whether focusing on Argentine tango, theorizing anticolonialist sound, or examining the music industry of postapartheid South Africa, the contributors show how the audible has been a central component in the creation of imperialist notions of reason, modernity, and culture. In doing so, they allow us to hear how empire is both made and challenged. Contributors: Kofi Agawu, Philip V. Bohlman. Michael Denning, Brent Hayes Edwards, Nan Enstad, Andrew Jones, Josh Kun, Morgan Luker, Jairo Moreno, Tejumola Olaniyan, Marc Perry, Ronald Radano, Nitasha Sharma, Micol Seigel, Gavin Steingo, Penny Von Eschen, Amanda Weidman.
"Music is typically encountered as a cultural surface. Songs emanate instantaneously and almost magically from our computers and phones. Tools for playing and making music, such as recordings and guitars, wait for us in stores, ready for purchase with no assembly required. And when we're done with this stuff, we can kick it to the curb, where it disappears effortlessly and without a trace. Day-to-day musical enjoyment seems so simple, so easy, so automatic. But it isn't. This book digs beneath such surface-level encounters to reveal the infrastructural dimensions of music and listening. It takes nothing for granted about the manufacture, delivery, or disposal of music's material and human bases. These infrastructural phenomena encompass the interrelated material, organizational, and ideological systems that facilitate three main phases in the social life and social death of musical commodities: (1) resources and production, (2) circulation and transmission, (3) failure and waste. The book asks how these three phases influence and respond to aesthetic conventions, material-environmental realities, and political-economic conditions in both industrializing and industrialized parts of the world. Although sawmills, mineshafts, power grids, telecoms networks, transport systems, and junk piles may seem peripheral to musical culture, Audible Infrastructures shows that all these humble things and their ordinary people are actually pivotal to what music is, how it works, and why it matters. Undertaking a concerted archaeology of music's media infrastructures is thus a means of understanding society and of knowing ourselves-and it is a step toward the reorientation of our musical cultures"--
Falling in love with Lenny should have been the end to all her troubles. For Anita, it's only the beginning, when family secrets start unravelling. His ex-wife, Natasha, is succumbing to a mysterious disease. How can Anita compete with her shadow? How can she find a voice of her own? And when his estranged son, Ben, comes back and lives in the same small apartment, can she keep the balance between the two men, whose desire for her is marred by guilt and blame? Dealing with the challenging prospects of the marriage of opposites, this book can be read as a standalone novel as well as part of one of family sagas best sellers. Still Life with Memories is a family saga series tinged with family saga romance, fraught with marital issues, and riddled with the difficulty of connecting fathers and sons.