{"title":"Music-General Books","description":"","products":[{"product_id":"the-sounds-of-capitalism-timothy-d-taylor-9780226151625","title":"The Sounds of Capitalism: Advertising, Music, and the Conquest of Culture","description":"From the early days of radio through the rise of television after World War II to the present, music has been used more and more to sell goods and establish brand identities. And since the 1920s, songs originally written for commercials have become popular songs, and songs written for a popular audience have become irrevocably associated with specific brands and products. Today, musicians move flexibly between the music and advertising worlds, while the line between commercial messages and popular music has become increasingly blurred.\u003cp\u003e Timothy D. Taylor tracks the use of music in American advertising for nearly a century, from variety shows like \u003ci\u003eThe Clicquot Club Eskimos\u003c\/i\u003e to the rise of the jingle, the postwar upsurge in consumerism, and the more complete fusion of popular music and consumption in the 1980s and after. \u003ci\u003eThe Sounds of Capitalism\u003c\/i\u003e is the first book to tell truly the history of music used in advertising in the United States and is an original contribution to this little-studied part of our cultural history. \u003c\/p\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003eAuthor:\u003c\/b\u003e Timothy D. 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This book is the first to provide a critical overview of Kern's musical accomplishments throughout his career. Stephen Banfield ranges from Broadway, to Hollywood, and to London's West End, drawing on unpublished manuscripts and scores to assess the composer's extraordinary oeuvre. Kern's life, personality, and working methods are given due attention, as is the development of his work from the early musical comedies through the collaborations with Hammerstein and P. G. Wodehouse up to the later film scores. 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However, the publication of this bibliography coincides with a renewed interest, especially in Roussel's native land, in recording his compositions. While the majority of English-language works on Roussel have concentrated on the details of his life or attempted to define and analyze his compositional style, this first annotated bibliography and discography focuses on his opus and provides copious information about specific works, performances, recordings, and reviews. \u003c\/p\u003e\u003cp\u003e\u003c\/p\u003eBorn in Tourcoing, France, Roussel received recognition for his compositions as early as 1897. His productivity soared during the 1920s, when his work was influenced by Impressionism, and his neo-classical compositions of the 1930s achieved national recognition. The work commences with a biography, and then presents a listing voice, and includes a directory of publishers. A discography, broken into similar divisions, follows. 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In more than 775 entries, it comprises all known recordings on phonograph records, cassettes, and compact disks in which one or more steel pans is featured or used in an accompanying role. This includes steel bands of any size and configuration, pan soloists, and small ensembles in a variety of settings. For each entry, information is provided on the location of the recording session\/studio, release date, record company catalog number, and complete contents. Indexes facilitate access to artists, arrangers\/conductors\/musical directors, record titles, years of release, and compositions; and appendices provide additional information on record manufacturers and distributors, calypsonians, and sources. A reference bibliography completes the work. \u003c\/p\u003e\u003cp\u003e\u003c\/p\u003eThe creation, teaching, and performance of most of othe pan music of the past belongs to an oral tradition. 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It was one of just a few instruments that could be faithfully reproduced in the early days of sound recording, and its recording history dates back to 1889. Heier documents that history on cylinders and 78-rpm disks in the pre-LP era ending in the mid-1950s. The book offers a comprehensive compilation of all such recordings on which the banjo plays a solo role or dominant part. Organized by performer or performing group, the recordings are listed chronologically with location, date, matrix number, and take-digit as available, as well as manufacturer and catalog number. 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It draws on a multi-disciplinary approach to look at the defining issues of music therapy as a scholarly discipline, rather than as an area of clinical practice. It is the single best resource for scholars interested in music therapy because it focuses on the areas that tend to be of greatest interest to them, such as issues of definition, theory, and the function of social context, but also does not assume detailed prior knowledge of the subject.\u003c\/p\u003e\u003cp\u003eSome of the topics discussed include defining the nature of music therapy, its relation to current and historical uses of music in human well-being, and considerations on what makes music therapy work. Contemporary thinking on the role of neurological theory, early interaction theory, and evolutionary considerations in music therapy theory are also reviewed. 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Ray Charles undoubtedly belongs in this pantheon of major musical stars. \u003cem\u003eRay Charles: Man and Music\u003c\/em\u003e begins with Charles's impoverished childhood in Greenville, Florida, where tragedy struck early when the young Charles went blind at age 6 and was orphaned at age 14. Driven by his enormous talent and determination, Charles landed work playing some of the toughest juke joints in the state, fought heroin addiction, and finally landed a recording contract with Atlantic Records. Unlike other R\u0026amp;B singers, Charles took control of his career from its earliest days, moving on from his gospel-soul stylings of the mid-'50s to break through musical barriers, recording two country albums in the late '50s (at a time when the black presence in country music was barely felt), pure jazz, and then the powerful pop hits of the '60s. 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For the fifty years since his death on September 8, 1949, Richard Strauss has remained dogmatically elusive in the wider body of musical and historical criticism. Lauded as nothing less than the \"greatest musical figure\" of his time by Canadian musician, Glenn Gould, in 1962, Strauss also has attracted his share of posthumous epithets: in summary, an artist who lived off his own fat during his later years. As recently as 1995, the English critic Rodney Milnes wrote, \"the court of posterity is still reserving judgment.\" In Richard Strauss: Man, Musician, Enigma, biographer Michael Kennedy demonstrates that the many varying shades of criticism that have painted this figure in the past half century resemble the similar understandings and misunderstandings held by his contemporaries--perceptions that touched almost every aspect of Strauss' life and career. Introducing his detailed work more as a broad explication than a firm answer to the Straussian riddle, Kennedy's scope includes the exuberant, extroverted Strauss of young adulthood as well as the phlegmatic and aloof middle-aged man who resembled a \"prosperous bank manager;\" the arch-fiend of modernism and the composer who redefined the term; a man who professed to lack all spiritual curiosity and a musician who penned the touching ballet Der Kometentanz; an at times almost humble family man and an artist who claimed to be as interesting as Napoleon and Alexander the Great. Kennedy clearly elucidates his enigmatic subject by building his analysis around the few constants in Strauss' life: his profound admiration for German culture, his dependence on his own family for guidance, and his \"Nietzschean total absorption in art.\" This frame offers everyone from Straussian scholars to general readers an insightful and easy-to-follow biographical narrative. Kennedy also deals at length with Strauss' problematic relationship with Nazi authorities, detailing his incompatible roles as the father-in-law of a Jewish woman and as one of the country's leading composers. 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