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| Author | : Barry Miles |
| Publisher | : Sterling Publishing Company, Inc. |
| Total Pages | : 312 |
| Release | : 2009 |
| Genre | : Music |
| ISBN | : 9781402769764 |
Examines the British influences on American culture between 1964 and 1969, discussing rock bands such as The Beatles, the Yardbirds, supermodel Twiggy and Mary Quant minidresses, James Bond films, and more.
| Author | : Percy Marshall Young |
| Publisher | : |
| Total Pages | : 668 |
| Release | : 1967 |
| Genre | : Music |
| ISBN | : |
| Author | : Trevor Herbert |
| Publisher | : Oxford University Press, USA |
| Total Pages | : 368 |
| Release | : 2013-08-15 |
| Genre | : History |
| ISBN | : 0199898316 |
The first book to explore the contribution made by the military to British music history, Music & the British Military in the Long Nineteenth Century shows that military bands reached far beyond the official ceremonial duties they are often primarily associated with and had a significant impact on wider spheres of musical and cultural life.
| Author | : Karl Whitney |
| Publisher | : Weidenfeld & Nicolson |
| Total Pages | : 336 |
| Release | : 2019-06-27 |
| Genre | : Music |
| ISBN | : 147460742X |
After discovering a derelict record plant on the edge of a northern English city, and hearing that it was once visited by David Bowie, Karl Whitney embarks upon a journey to explore the industrial cities of British pop music. Manchester, Liverpool, Newcastle, Leeds, Sheffield, Hull, Glasgow, Belfast, Birmingham, Coventry, Bristol: at various points in the past these cities have all had distinctive and highly identifiable sounds. But how did this happen? What circumstances enabled those sounds to emerge? How did each particular city - its history, its physical form, its accent - influence its music? How were these cities and their music different from each other? And what did they have in common? Hit Factories tells the story of British pop through the cities that shaped it, tracking down the places where music was performed, recorded and sold, and the people - the performers, entrepreneurs, songwriters, producers and fans - who made it all happen. From the venues and recording studios that occupied disused cinemas, churches and abandoned factories to the terraced houses and back rooms of pubs where bands first rehearsed, the terrain of British pop can be retraced with a map in hand and a head filled with music and its many myths.
| Author | : Clark Tracey |
| Publisher | : Equinox Publishing (UK) |
| Total Pages | : 0 |
| Release | : 2017 |
| Genre | : Jazz musicians |
| ISBN | : 9781781793534 |
This is the first book about the life of jazz pianist and composer Stan Tracey CBE (1926-2013). Drawn largely from his personal diaries and some of his many interviews, his son Clark Tracey pieces together what made the late Stan Tracey a unique character in jazz music. Stan's wit and wisdom also come shining through in abundance in this long overdue account of one of the UK's most important jazz musicians. In a career that spanned 70 years, Stan Tracey recalls his earliest memories in war torn London and his first experiences of hearing jazz. As a teenager, he joined ENSA and the RAF Gang Show and for the next three years played at more venues than many musicians do in a lifetime. Once demobbed, Stan befriends pianist Eddie Thomson, vibist and drummer Victor Feldman and clarinettist Vic Ash and begins his career in music. He toured with Kenny Baker's band and the Kirchin Band before joining the Ted Heath Orchestra, then began recording under his own name. He was asked by Ronnie Scott to be the house pianist at Scott's new club, where Stan's legendary status grew for the next six years. He accompanied giants of American jazz such as Stan Getz, Sonny Rollins, Roland Kirk, Dexter Gordon, Freddie Hubbard and many others. During this period he wrote and recorded the seminal album Under Milk Wood, which to this day remains his best selling work. Stan left Ronnie's club following a drug addiction and in the 1970s found himself penniless. His wife Jackie employed her skill in the music business as an A&R from previous years and began presenting concerts to keep Stan afloat, as he formed new musical friendships in the free/improvised idiom at that time, such as Mike Osborne and Keith Tippett. Commissions for suites emerged and Stan's writing skills found an outlet again through the formation of his various groups that were to last for nearly 30 years. Stan's achievements and awards are ample and in many cases unique. Recipient of an OBE and a CBE, Stan also received several lifetime achievement awards and in his last year became the first recipient of the Ivor Novello Jazz Award. The book includes a complete discography of all commercial recordings featuring Stan Tracey, compiled by Stephen Didymus.
| Author | : Matthew Riley |
| Publisher | : Ashgate Publishing, Ltd. |
| Total Pages | : 350 |
| Release | : 2010 |
| Genre | : Music |
| ISBN | : 9780754665854 |
Imaginative analytical and critical work on British music of the early twentieth century has been hindered by perceptions of the repertory as insular in its references and backward in its style and syntax, escaping the modernity that surrounded its composers. Recent research has begun to break down these perceptions and has found intriguing links between British music and modernism. This book brings together contributions from scholars working in analysis, hermeneutics, reception history, critical theory and the history of ideas. Three overall themes emerge from its chapters: accounts of British reactions to Continental modernism and the forms they took; links between music and the visual arts; and analysis and interpretation of compositions in the light of recent theoretical work on form, tonality and pitch organization
| Author | : Richard Anthony Baker |
| Publisher | : Pen and Sword |
| Total Pages | : 604 |
| Release | : 2014-05-31 |
| Genre | : Music |
| ISBN | : 1473837405 |
'The music hall ...had no place for reticence; it was downright, it shouted, it made noise, it enjoyed itself and made the people enjoy themselves as well.' W.J. MACQUEEN POPEMusic Hall lies at the root of all modern popular entertainment. With stars such as Marie Lloyd, Harry Lauder and Dan Leno, it reached its glorious, brassy height between 1890 and the First World War. In the first book on this subject for many years, Richard Anthony Baker whisks us off on a colourful and nostalgic tour of the rise and fall of British music hall.At the beginning of the nineteenth century people sang traditional songs in taverns for entertainment. This was so popular that rooms started to be added to inns for shows to be staged, and, before long, songs were being specially composed and purpose-built theatres were springing up everywhere. Britain's working class had, for the first time, its own form of public entertainment and its own breed of stars. The colour and vitality attracted serious writers and artists, as well as the future Edward VII, and music hall became simultaneously the haunt of the working classes and the avant-garde.Including stories of a clergyman who wrote music-hall sketches, a hall in Glasgow where luckless entertainers were pulled off stage by a long hooked pole, and Cockney dictionaries that helped Americans understand touring British performers, this book is a hugely engaging slice of social history, rich in humour, tragedy and bathos.As featured on BBC Radio Lincolnshire and in the Sunderland Echo.
| Author | : Frederick James Crowest |
| Publisher | : |
| Total Pages | : 428 |
| Release | : 1896 |
| Genre | : Music |
| ISBN | : |
| Author | : Sarah Kirby |
| Publisher | : Boydell & Brewer |
| Total Pages | : 264 |
| Release | : 2022 |
| Genre | : Exhibitions |
| ISBN | : 1783276738 |
"International exhibitions were among the most significant cultural phenomena of the late nineteenth century. These vast events aimed to illustrate, through displays of physical objects, the full spectrum of the world's achievements, from industry and manufacturing, to art and design. But exhibitions were not just visual spaces. Music was ever present, as a fundamental part of these events' sonic landscape, and integral to the visitor experience. This book explores music at international exhibitions held in Australia, India, and the United Kingdom during the 1880s. At these exhibitions, music was codified, ordered, and all-round 'exhibited' in manifold ways. Displays of physical instruments from the past and present were accompanied by performances intended to educate or to entertain, while music was heard at exhibitors' stands, in concert halls, and in the pleasure gardens that surrounded the exhibition buildings. Music was depicted as a symbol of human artistic achievement, or employed for commercial ends. At times it was presented in nationalist terms, at others as a marker of universalism. This book argues, by interrogating the multiple ways that music was used, experienced, and represented, that exhibitions can demonstrate in microcosm many of the broader musical traditions, purposes, arguments, and anxieties of the day. Its nine chapters focus on sociocultural themes, covering issues of race, class, public education, economics, and entertainment in the context of music, trading these through the networks of communication that existed within the British Empire at the time. Combining approaches from reception studies and historical musicology, this book demonstrates how the representation of music at exhibitions drew the press and public into broader debates about music's role in society"--Page 4 of cover.
| Author | : Rachel Cowgill |
| Publisher | : Ashgate Publishing, Ltd. |
| Total Pages | : 436 |
| Release | : 2007-01-01 |
| Genre | : Music |
| ISBN | : 9780754631606 |
The period 1700-1900, roughly from Purcell to Elgar, has traditionally been seen as a dark age in British musical history, while research into British music of the period has tended to concentrate on London. However, it is becoming increasingly clear that by 1750 Britain had a highly distinctive musical culture, in terms of its reach, the way it was organised, and its size, richness and quality. This is the first book to concentrate specifically on musical life in the provinces, bringing together new archival research and offering a fresh perspective on British music of the period.
