Download Free The Lofi Revolution Book in PDF and EPUB Free Download. You can read online The Lofi Revolution and write the review.

Discover the Rhythms of Serenity: Dive Into the Heart of the Lofi Movement In the bustling rhythm of modern life, there exists a sound, a movement, quietly revolutionizing the way we unwind, study, and connect. The Lofi Revolution: Unwinding to the Sound of Now offers an immersive journey into the heart of this cultural phenomenon, weaving through the textured beats and chilled vibes that define the lofi genre. This book is an invitation to explore the layers of lofi, from its underground roots to its surge into mainstream consciousness. Embark on a voyage from the Genesis of Lofi, understanding its obscure origins and the defining characteristics that encapsulate its appeal. Delve into the Historical Backdrop of electronic and sample-based music, where pioneers and influential albums carved the path for lofi's emergence. The narrative then transitions to the vibrant Lofi Aesthetic and Culture, illustrating how visual art, internet subcultures, and a unique community identity fortify the music's impact. What makes the lofi movement truly intriguing is its power to stir the mind and soul. The Science of Relaxation chapter unveils the psychology behind why lofi music is an unparalleled tool for relaxation and mental wellness. Through a deep dive into Soundscapes and Syncopation, the book dissects the intricate beats and production techniques that give lofi music its signature sound. The journey does not stop at the music's creation. The DIY Ethos chapter celebrates the bedroom producers and the role of technology in making music production accessible to all. As the narrative unfolds, the exploration extends into how lofi is distributed, monetized, and integrated into the music industry, live performances, and even educational settings. As we look towards the future, The Lofi Revolution not only predicts the evolution of lofi but positions it as a catalyst for new music movements. Featuring interviews with lofi artists, a guide to creating your own lofi tracks, and insights into the genre's fusion with other styles, this book is a comprehensive guide for fans and aspiring musicians alike. Whether you're a long-time enthusiast or new to the sound, prepare to be entranced by the world of lofi. Discover how this revolutionary sound is reshaping our approach to music and relaxation. Let the beats guide you to a world of calm, creativity, and community. The Lofi Revolution is your all-access pass to understanding and experiencing the soothing power of lofi music.
The soundscape--a term coined by the author--is our sonic environment, the ever-present array of noises with which we all live. Beginning with the primordial sounds of nature, we have experienced an ever-increasing complexity of our sonic surroundings. As civilization develops, new noises rise up around us: from the creaking wheel, the clang of the blacksmith’s hammer, and the distant chugging of steam trains to the “sound imperialism” of airports, city streets, and factories. The author contends that we now suffer from an overabundance of acoustic information and a proportionate diminishing of our ability to hear the nuances and subtleties of sound. Our task, he maintains, is to listen, analyze, and make distinctions. As a society we have become more aware of the toxic wastes that can enter our bodies through the air we breathe and the water we drink. In fact, the pollution of our sonic environment is no less real. Schafer emphasizes the importance of discerning the sounds that enrich and feed us and using them to create healthier environments. To this end, he explains how to classify sounds, appreciating their beauty or ugliness, and provides exercises and “soundwalks” to help us become more discriminating and sensitive to the sounds around us. This book is a pioneering exploration of our acoustic environment, past and present, and an attempt to imagine what it might become in the future.
To witness war is, in large part, to hear it. And to survive it is, among other things, to have listened to it--and to have listened through it. Listening to War: Sound, Music, Trauma, and Survival in Wartime Iraq is a groundbreaking study of the centrality of listening to the experience of modern warfare. Based on years of ethnographic interviews with U.S. military service members and Iraqi civilians, as well as on direct observations of wartime Iraq, author J. Martin Daughtry reveals how these populations learned to extract valuable information from the ambient soundscape while struggling with the deleterious effects that it produced in their ears, throughout their bodies, and in their psyches. Daughtry examines the dual-edged nature of sound--its potency as a source of information and a source of trauma--within a sophisticated conceptual frame that highlights the affective power of sound and the vulnerability and agency of individual auditors. By theorizing violence through the prism of sound and sound through the prism of violence, Daughtry provides a productive new vantage point for examining these strangely conjoined phenomena. Two chapters dedicated to wartime music in Iraqi and U.S. military contexts show how music was both an important instrument of the military campaign and the victim of a multitude of violent acts throughout the war. A landmark work within the study of conflict, sound studies, and ethnomusicology, Listening to War will expand your understanding of the experience of armed violence, and the experience of sound more generally. At the same time, it provides a discrete window into the lives of individual Iraqis and Americans struggling to orient themselves within the fog of war.
This volume focuses on the collective wisdom of Asian philosophies and their implications for music education. All twenty chapters are written by highly regarded philosophers and music educators steeped in various Asian traditions. These chapters will include an explanation of a prominent philosophical tradition, evidence in a contemporary music teaching and learning settings (including its inception and historical development along with an explanation of how the philosophical tradition works in contemporary music education), and suggestions for potential directions in the near and distant future. The book is organized into five sections. Section I is based on Chinese philosophical traditions, which have the longest history and are some of the most influential across Asia and beyond. Chapters in Section II present a snapshot of Japanese and Korean views, beginning with the musical practices in the Joseon Period (1392-1910) that are still being practiced in South Korea today to Western influences in 19th century Japan. A collection of philosophical traditions from South and Southeast Asia are contained in Section III, ranging from the insights of King Bhumibol Adulyadej, King Rama IX of Thailand, an accomplished jazz musician, to the Balinese notion of taksu, a form of supreme energy and divine power crucial for compelling performances in the performing arts. We venture into the Islamic and the Middle Eastern world in Section IV, where the dance practices of the Hadhrami Arabs in the Malay Archipelago to traditional sharah music are contextualized within Islamic philosophy. This section also describes the philosophical ideas of the 12th-century Persian philosopher and founder of the Illuminationist (Ishraq) philosophy, Shihab al-Din al-Suhrawardi, arguing that his ideas have much to recommend music education, as this approach requires students to listen in deeper ways, absorb more abundantly, and move beyond arts education to encompass the education of the whole person. Section V concludes with a metaphorical view on a New Silk Road in music education in the 21st century, where ideas are traded for mutual benefit and the development multicultural philosophies of music education. While there are numerous publications on the philosophy of music education rooted in the Western philosophical traditions of ancient Greece, the Asian philosophical voice is virtually silent outside of Asia, and this volume aims to begin the long process of redressing this imbalance. This volume will open readers to the richness of Asian philosophical sources and hopefully stimulate dialogues that could generate new insights and directions for further development, cross-pollination, and application of some of the world's earliest philosophical traditions.
Whether you're a lifelong collector or have only just gotten hip to the vinyl revival, navigating the vast landscape of rock albums can be a daunting prospect. Enter Mike Segretto and his mammoth 33 1/3 Revolutions Per Minute, a history of the rock LP era told through a very personal selection of nearly 700 albums. Beginning with the birth of rock and roll in the 1950s, Segretto moves through the explosive innovations of the 1960s, the classic rock and punk albums of the 1970s, the new wave classics of the 1980s, and the alternative revolution of the 1990s, always with an eye to both the iconic and the ephemeral, the failed experiments and the brilliant trailblazers. It's all here: everything from the classics (Sgt. Pepper's Lonely Hearts Club Band, Purple Rain, Nevermind, and countless other usual suspects) to such oddities as albums by Johnny "Guitar" Watson, P. P. Arnold, The Dentists, and Holly Golightly. Throughout, Segretto reveals the perpetual evolution of a modern art form, tracing the rock album's journey from a vehicle for singles and filler sold to kids, through its maturation into a legitimate, self-contained medium of expression by 1967, and onward to its dominance in the '70s, '80s, and '90s. Whether you read it from cover to cover, seek out specific albums, or just dip in at random and let the needle fall where it may, 33 1/3 Revolutions Per Minute is a fun, informative, and unapologetically opinionated read.
The groundbreaking Audio Culture: Readings in Modern Music (Continuum; September 2004; paperback original) maps the aural and discursive terrain of vanguard music today. Rather than offering a history of contemporary music, Audio Culture traces the genealogy of current musical practices and theoretical concerns, drawing lines of connection between recent musical production and earlier moments of sonic experimentation. It aims to foreground the various rewirings of musical composition and performance that have taken place in the past few decades and to provide a critical and theoretical language for this new audio culture. This new and expanded edition of the Audio Culture contains twenty-five additional essays, including four newly-commissioned pieces. Taken as a whole, the book explores the interconnections among such forms as minimalism, indeterminacy, musique concrète, free improvisation, experimental music, avant-rock, dub reggae, ambient music, hip hop, and techno via writings by philosophers, cultural theorists, and composers. Instead of focusing on some "crossover" between "high art" and "popular culture," Audio Culture takes all these musics as experimental practices on par with, and linked to, one another. While cultural studies has tended to look at music (primarily popular music) from a sociological perspective, the concern here is philosophical, musical, and historical. Audio Culture includes writing by some of the most important musical thinkers of the past half-century, among them John Cage, Brian Eno, Ornette Coleman, Pauline Oliveros, Maryanne Amacher, Glenn Gould, Umberto Eco, Jacques Attali, Simon Reynolds, Eliane Radigue, David Toop, John Zorn, Karlheinz Stockhausen, and many others. Each essay has its own short introduction, helping the reader to place the essay within musical, historical, and conceptual contexts, and the volume concludes with a glossary, a timeline, and an extensive discography.
Noise is so often a 'stench in the ear' – an unpleasant disturbance or an unwelcome distraction. But there is much more to noise than what greets the ear as unwanted sound. Beyond Unwanted Sound is about noise and how we talk about it. Weaving together affect theory with cybernetics, media histories, acoustic ecology, geo-politics, sonic art practices and a range of noises, Marie Thompson critiques both the conservative politics of silence and transgressive poetics of noise music, each of which position noise as a negative phenomenon. Beyond Unwanted Sound instead aims to account for a broader spectrum of noise, ranging from the exceptional to the banal; the overwhelming to the inaudible; and the destructive to the generative. What connects these various and variable manifestations of noise is not negativity but affectivity. Building on the Spinozist assertion that to exist is to be affected, Beyond Unwanted Sound asserts that to exist is to be affected by noise.
Electronic Music Revolution: Exploring Sounds of the Future is your comprehensive guide to the vibrant world of electronic music. Delve into the origins and evolution of this dynamic genre, from the pioneering days of early synthesizers to the global dominance of EDM. Discover the intricate production techniques, iconic artists, and the profound impact of electronic music on popular culture and society. This book offers a detailed exploration of various subgenres, the technological advancements that have shaped the soundscape, and the business aspects that drive the industry. Whether you're a seasoned producer, a dedicated fan, or someone new to the electronic music scene, Electronic Music Revolution provides invaluable insights into the past, present, and future of this ever-evolving musical frontier.
Miles Davis’s Bitches Brew is one of the most iconic albums in American music, the preeminent landmark and fertile seedbed of jazz-fusion. Fans have been fortunate in the past few years to gain access to Davis’s live recordings from this time, when he was working with an ensemble that has come to be known as the Lost Quintet. In this book, jazz historian and musician Bob Gluck explores the performances of this revolutionary group—Davis’s first electric band—to illuminate the thinking of one of our rarest geniuses and, by extension, the extraordinary transition in American music that he and his fellow players ushered in. Gluck listens deeply to the uneasy tension between this group’s driving rhythmic groove and the sonic and structural openness, surprise, and experimentation they were always pushing toward. There he hears—and outlines—a fascinating web of musical interconnection that brings Davis’s funk-inflected sensibilities into conversation with the avant-garde worlds that players like Ornette Coleman and John Coltrane were developing. Going on to analyze the little-known experimental groups Circle and the Revolutionary Ensemble, Gluck traces deep resonances across a commercial gap between the celebrity Miles Davis and his less famous but profoundly innovative peers. The result is a deeply attuned look at a pivotal moment when once-disparate worlds of American music came together in explosively creative combinations.
Americans tend to think of the Revolution as a Massachusetts-based event orchestrated by Virginians, but in fact the war took place mostly in the Middle Colonies—in New York and New Jersey and the parts of Pennsylvania that on a clear day you can almost see from the Empire State Building. In My American Revolution, Robert Sullivan delves into this first Middle America, digging for a glorious, heroic part of the past in the urban, suburban, and sometimes even rural landscape of today. And there are great adventures along the way: Sullivan investigates the true history of the crossing of the Delaware, its down-home reenactment each year for the past half a century, and—toward the end of a personal odyssey that involves camping in New Jersey backyards, hiking through lost "mountains," and eventually some physical therapy—he evacuates illegally from Brooklyn to Manhattan by handmade boat. He recounts a Brooklyn historian's failed attempt to memorialize a colonial Maryland regiment; a tattoo artist's more successful use of a colonial submarine, which resulted in his 2007 arrest by the New York City police and the FBI; and the life of Philip Freneau, the first (and not great) poet of American independence, who died in a swamp in the snow. Last but not least, along New York harbor, Sullivan re-creates an ancient signal beacon. Like an almanac, My American Revolution moves through the calendar of American independence, considering the weather and the tides, the harbor and the estuary and the yearly return of the stars as salient factors in the war for independence. In this fiercely individual and often hilarious journey to make our revolution his, he shows us how alive our own history is, right under our noses.