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Formerly married to Mick Fleetwood and now to Don Henley's drummer Ian Wallace, Jenny Boyd has spent much of her adult life with the most influential musicians of her generation. Here she provides a forum for musicians in every field of popular music to speak candidly about their lives and the events, people, and other factors that influenced and propelled their own creative processes. 50 photographs. Index.
In our noisy world, music is the key to inner silence Richard Wolf first tried Zen meditation in his teens, but no matter in what posture or for how long he sat, transcendence proved stubbornly out of reach. It was only years later that he found the bridge that could take him there: music. In Tune charts twelve “bridges”—skills and sensibilities refined in musical practice that carry over to mindfulness and meditation, among them: Concentration Posture Harmony Silence The Art of Deep Listening Transcending the Self This inspirational guide offers a wealth of music-based exercises to enhance daily meditation and creativity. Plus, Wolf shares personal anecdotes of eminent musicians—from Miles Davis to Dr. Dre—to illuminate points along the intersection of music and mindful living. As you begin to move fluidly between these two transformative disciplines, you’ll notice the focus, composure, and peacefulness that comes from practice—as well as the joys of tuning in to the music all around you, and to the symphony that plays silently from within.
In the spring of 2014, Grant Cameron received an astonishing message from his friend Chris Bledsoe. Chris had an extraordinary encounter with beings he called "the Guardians". Chris relayed this message to Grant and told him that "the message is in the music". Grant Cameron was never musically inclined, and rarely showed any interest in music until he heard the song, "After the Goldrush" by Neil Young. The message that Chris relayed to Grant now resonated with him. Grant wondered if the lyrics in that song, were part of the message. He then became very interested in musicians who have had experiences with various unexplained phenomenon. And so, the trip down the rabbit hole began...What emerged from the investigation was evidence of a very weird world where many musicians have reported bizarre occurrences such as: unexplained sightings of craft, encounters with other worldly beings and telepathic transmissions from outside our known reality. Many musicians have reported musical downloads and that they have tapped into a non-local consciousness. Many are influenced or inspired by paranormal forces and have written songs with UFO themes. There are even accounts of UFOs that have showed up at their concerts! Many musicians seem to be heavily influenced by supernatural or mystical forces and Grant's investigation expands into many of other aspects to the paranormal world of music.This book examines the parallel stories in pre-rock music and assesses what "the message in the music" might be.Is there a plan by a higher-level consciousness to influence, enlighten and disclose information into our level of reality? After reading this book, you will certainly start to wonder...
The last century has seen radical social changes in Ireland, which have impacted all aspects of local life but none more so than traditional Irish music, an increasingly important identity marker both in Ireland and abroad. The author focuses on a small village in County Clare, which became a kind of pilgrimage site for those interested in experiencing traditional music. He begins by tracing its historical development from the days prior to the influx of visitors, through a period called "the Revival," in which traditional Irish music was revitalized and transformed, to the modern period, which is dominated by tourism. A large number of incomers, locally known as "blow-ins," have moved to the area, and the traditional Irish music is now largely performed and passed on by them. This fine-grained ethnographic study explores the commercialization of music and culture, the touristic consolidation and consumption of "place," and offers a critique of the trope of "authenticity," all in a setting of dramatic social change in which the movement of people is constant.
CelloMind is a two-part pedagogical method book that focuses on intonation and left-hand cello technique. The coauthors of the book are Hans Jørgen Jensen, Professor of cello at the Bienen School of Music at Northwestern University and Minna Rose Chung, Associate Professor of Cello at the Desautels Faculty of Music at the University of Manitoba. Part I: Intonation. The mystery of intonation is revealed by defining and explaining the scientific principles that govern it. To know and understand how to combine the three primary intonation systems has never before been expounded in a methodology publication--and for good reason. Playing with exquisite intonation has mostly been reserved for those who possess a strong intuitive sense; however, CelloMind breaks down this taboo using a systematic approach with a highly attuned manner. The three systems of intonation that string players most commonly use today--equal temperament, just intonation, and Pythagorean tuning--are each explored and explained in great detail. All chapters in the book include many practical samples and listening exercises that bridge the gap between the theory and its application. The chapters on intonation conclude with practical examples from the following repertoire: "Intonation Performance Practice in the Bach Solo Cello Suites" and "Intonation Performance Practice with Piano." Part II: Left-Hand Technique. The left-hand technique chapters in this section complement the study of intonation by providing a solid foundation of skills for essential cello playing. The topics and exercises have been selected to cover a wide range of technical skills that include playing with a light left-hand touch, speed, coordination, balanced vibrato, agility, finger independence, and efficient shifting. Original exercises developed for students over many years have also been incorporated into these chapters, as well as studies from Julius Klengel, Bernhard Cossmann, Louis R. Feuillard, Jean-Louis Duport, Yakov Rosenthal, and Fritz Albert Christian Rudinger.
"Breau's astonishing virtuosity influenced countless performers, but unfortunately it came at the expense of his personal relationships and happiness. When he was found dead in his apartment building's pool in 1984, police suspected his wife, but no one has ever been charged. Despite Breau's fascinating life story and his musical importance, however, no full-length biography has yet been published - until now. Forbes-Roberts has interviewed more than 200 people, including family members, fellow musicians, and the luthiers who created his instruments, and closely analyzed his recordings. The result is a detailed biography that sheds light on all areas of Breau's fascinating life with a particular emphasis on his evolution as a musician."--Jacket.
"A fascinating and genuinely accessible guide....Educating, enjoyable, and delightfully unscary."—Classical Music What if Bach and Mozart heard richer, more dramatic chords than we hear in music today? What sonorities and moods have we lost in playing music in "equal temperament"—the equal division of the octave into twelve notes that has become our standard tuning method? Thanks to How Equal Temperament Ruined Harmony, "we may soon be able to hear for ourselves what Beethoven really meant when he called B minor 'black'" (Wall Street Journal).In this "comprehensive plea for more variety in tuning methods" (Kirkus Reviews), Ross W. Duffin presents "a serious and well-argued case" (Goldberg Magazine) that "should make any contemporary musician think differently about tuning" (Saturday Guardian). Some images in the ebook are not displayed owing to permissions issues.
This book focuses on the 'dark side' of popular music by examining the ways in which popular music has been deployed in association with violence. Cloonan and Johnson address the physiological and cognitive foundations of sounding/hearing and provide a historical survey of examples of the nexus between music and violence, from (pre)Biblical times to the late nineteenth century. The book also concentrates on the emergence of technologies by which music can be electronically augmented, generated, and disseminated. The authors investigate the implications of this nexus both for popular music studies itself, and also in cultural policy and regulation, the ethics of citizenship, and arguments about human rights.
ViolinMind is a pedagogical method book that focuses on intonation. It is a transcription for the violin of CelloMind published in 2017 by Ovation Press, Ltd. The co-authors of ViolinMind are Hans Jørgen Jensen, Professor of Cello at the Bienen School of Music at Northwestern University and Grigory Kalinovsky, Professor of Music (Violin) at Indiana University Jacobs School of Music. The mystery of intonation is dissected by defining the scientific principles behind it, and providing easy, intuitive examples of the three main kinds of intonation systems used today: Equal Temperament, Just, and Pythagorean. Playing with exquisite intonation has mostly been reserved for those who possess a strong intuitive sense of pitch and harmonic color; however, ViolinMind breaks down this barrier using a highly detailed, systematic approach, making the process of acquiring a sophisticated sense of intonation similar to any other technical skill. Chapters in the book explore in great detail topics such as the harmonic overtone series, the scientific principles behind Cents, the syntonic comma, the just scales, the Pythagorean comma, the Pythagorean semitones, advanced sympathetic vibrations, Tartini tones, and double stops studies in tritones. All chapters in the book include numerous practical samples and listening exercises that bridge the gap between the theory and its application. The chapters on intonation conclude with practical examples from the following repertoire: intonation performance practice in the Bach Sonatas and Partitas for Violin Solo (BWV 1001-1006), and intonation performance practice with piano. The appendices in the book provide detailed explanations about the Helmholtz intonation chart, the harmonic series, just intonation, the Schisma, as well as an illustration of two violin fingerboards from two method books from the 18th century showing pitch distribution for just intonation and Pythagorean intonation respectively.
Written against the academically dominant but simplistic romanticization of popular music as a positive force, this book focuses on the 'dark side' of the subject. It is a pioneering examination of the ways in which popular music has been deployed in association with violence, ranging from what appears to be an incidental relationship, to one in which music is explicitly applied as an instrument of violence. A preliminary overview of the physiological and cognitive foundations of sounding/hearing which are distinctive within the sensorium, discloses in particular their potential for organic and psychic violence. The study then elaborates working definitions of key terms (including the vexed idea of the 'popular') for the purposes of this investigation, and provides a historical survey of examples of the nexus between music and violence, from (pre)Biblical times to the late nineteenth century. The second half of the book concentrates on the modern era, marked in this case by the emergence of technologies by which music can be electronically augmented, generated, and disseminated, beginning with the advent of sound recording from the 1870s, and proceeding to audio-internet and other contemporary audio-technologies. Johnson and Cloonan argue that these technologies have transformed the potential of music to mediate cultural confrontations from the local to the global, particularly through violence. The authors present a taxonomy of case histories in the connection between popular music and violence, through increasingly intense forms of that relationship, culminating in the topical examples of music and torture, including those in Bosnia, Darfur, and by US forces in Iraq and Guantánamo Bay. This, however, is not simply a succession of data, but an argumentative synthesis. Thus, the final section debates the implications of this nexus both for popular music studies itself, and also in cultural policy and regulation, the ethics of citizenship, and arguments about human rights.