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The Musician's Lifeline by Peter Erskine and Dave Black represents the combined opinions of the authors and their knowledge gained through their lives in music. In addition, it includes advice from 150 of the best musicians---such as Gordon Goodwin, Nathan East, Janis Siegel, Christian McBride, Mary Chapin Carpenter, Gary Burton, Kenny Werner, Steve Smith, and so many more---who responded to seven simple questions about topics like sight-reading, travel, warm-ups, networking, preparing for auditions, and general wisdom. The answers will surprise, inform, and confirm what you already know or completely contradict what you've been taught by others. This is a book you can read straight through in one sitting or jump around in . . . and always return to time and again.
This book provides a handy study, practice and resource guide for all musicians who are seeking to improve their music-making abilities. Though written by a drummer, the text exercises and etudes in this book are not for drummers only! And while a good number of the exercises can be sung or played on any instrument, the reader is encouraged to tap these rhythms out: playing" your thighs with your hands, for example, will work just fine. The examples can be performed solo or in a small group. Includes: -Training for all musicians -Specific exercises for jazz phrasing, pop/funk and classical music -Solo and duet exercises, playable on any instrument -Rhythm etudes with 1 - 4 parts for solo and ensemble practice -A recording with 19 tracks of listening and reference materials"
No Beethoven chronicles the life and times of drummer Peter Erskine, with the legendary band Weather Report being the nexus to this first-hand account. Erskine was in the midst of the modern American jazz music scene as it underwent its most dynamic change. Peter Erskine is a musician of his times with incredibly rich stories to tell in this autobiography. Including never-before published photographs. No Beethoven includes chapters dedicated to Weather Report and the musicians Joe Zawinul, Jaco Pastorius, and Wayne Shorter, plus the bands Steps Ahead, Steely Dan, and artists such as Elvin Jones, Joni Mitchell, Freddie Hubbard, Diana Krall, Steve Gadd, producer Manfred Eicher, composers John Williams, and Mark-Anthony Turnage, et al. The book provides a revealing look at the creative process involved in performing music on-stage and in the recording studio, as well as a behind-the-scenes look at how the musical instrument industry operates. This is a book for all musicians and fans of music. As famed drummer and Rush founder Neil Peart writes: No Beethoven is among the best musical autobiographies I have read. Peter's story is absorbing and compelling, full of well-drawn characters and incidents both humorous and serious. It flows with the same ease and naturalness as his drumming, and under that good-humored gloss, it conveys the same profundity of experience and ideas. This book should be read not only by every drummer, but by every musician. Even amateurs of music performance will find it entertaining and worthwhile.
Since ancient times, music has demonstrated the incomparable ability to touch and resonate with the human spirit as a tool for communication, emotional expression, and as a medium of cultural identity. During World War II, Nazi leadership recognized the power of music and chose to harness it with malevolence, using its power to push their own agenda and systematically stripping it away from the Jewish people and other populations they sought to disempower. But music also emerged as a counterpoint to this hate, withstanding Nazi attempts to exploit or silence it. Artistic expression triumphed under oppressive regimes elsewhere as well, including the horrific siege of Leningrad and in Japanese internment camps in the Pacific. The oppressed stubbornly clung to music, wherever and however they could, to preserve their culture, to uplift the human spirit and to triumph over oppression, even amid incredible tragedy and suffering. This volume draws together the musical connections and individual stories from this tragic time through scholarly literature, diaries, letters, memoirs, compositions, and art pieces. Collectively, they bear witness to the power of music and offer a reminder to humanity of the imperative each faces to not only remember, but to prevent another such cataclysm.
Discusses the career of Stefani Germanotta, aka Lady Gaga, and her public social activism.
“I have a girlfriend,” he said. “Several, in fact.” He didn’t pretend to misunderstand what I’d asked. “What I need is a friend. Will you be my friend, Abbie?” My heart sank. The friendzone speech. I withdrew my hand. I should have known better. Sean might have some genuine interest in friendship, or he might be the kind of guy who denies he could ever be hot for a curvy girl. I’d met both kinds. I’d seduced my share, too, but today I didn’t have the heart for the struggle. I didn’t want to start myself down the same old path of wanting more than a man wanted to give me. Plus-sized soprano Abbie Fisher has a great opera career and a lousy love life. Dieting down a hundred pounds hasn’t changed her luck with men. Sexy baritone Sean Grant friendzones her—dashing her hopes for a romance—as they intimately rehearse the opera Tosca in Baltimore. Lots of touching to raise her temperature, and yet she’s supposed to keep her hands off. But then Sean snatches kisses and flirts with her, anyway. Is he pursuing a romance with her after all? What does he want from her? Confused and angered by Sean’s sexy overtures, Abbie consults her trusted Tarot cards before taking a bold step that could resolve her romantic dilemma—or break her heart. This novel is a stand-alone story and also Book 2 in the Singers in Love series about love, opera, and (maybe) the supernatural. A sweet contemporary romance with a hint of steam, much talk of food and dieting, and an upbeat happy ending. Enter the world of opera through the eyes of a woman in love. The Singers in Love Series: Haunted Tenor Friendzoned Soprano Defiant Diva
(Book). The sixth installment in the Modern Drummer Legends series contains extensive and in-depth interviews, exclusive Erskine recordings, pictorials of Weather Report, Peter and Friends, the early years, Peter's analysis and insights on 40+ pages of drum transcriptions, and a great digital download component.
Bands like R.E.M., U2, Public Enemy, and Nirvana found success as darlings of college radio, but the extraordinary influence of these stations and their DJs on musical culture since the 1970s was anything but inevitable. As media deregulation and political conflict over obscenity and censorship transformed the business and politics of culture, students and community DJs turned to college radio to defy the mainstream—and they ended up disrupting popular music and commercial radio in the process. In this first history of US college radio, Katherine Rye Jewell reveals that these eclectic stations in major cities and college towns across the United States owed their collective cultural power to the politics of higher education as much as they did to upstart bohemian music scenes coast to coast. Jewell uncovers how battles to control college radio were about more than music—they were an influential, if unexpected, front in the nation's culture wars. These battles created unintended consequences and overlooked contributions to popular culture that students, DJs, and listeners never anticipated. More than an ode to beloved stations, this book will resonate with both music fans and observers of the politics of culture.
A radical reimagining of the role of art and culture in contemporary democracy, The Compassionate Imagination proposes a new Canadian Cultural Contract that re-humanizes our way of living together by tapping into the instincts for generosity and compassion that find their expression in art. Over the last forty years, the arts have been increasingly deemed unimportant to the creation of an educated workforce. Reflecting a broadly held political view that in a market-based economy the arts were “a frill,” they were deemed “unnecessary” courses compared to sciences, technology, engineering, and mathematics. But what kind of Canada might we make if we were to place art and culture at the heart of our mutual decision-making, and return the arts to a central position in our education, shifting to steam rather than stem? What might be possible if we integrate the creative imagination into our responses to the great social challenges we face? What impact would it have on the future shape of our democracy? It’s time to find where the Compassionate Imagination can take us.