Mostrando títulos en Historia y Crítica

Rolling Stone contributing editor Steve Knopper delves deeply into Michael Jackson's music and talent. From the artist's early days with the Jackson 5, to his stratospheric success as a solo artist, to "Beat It" and "Thriller", "Bad", and "The Man in the Mirror", to his volatile final years, his attempted comeback, and his untimely death, Knopper explores the beguiling and often contradictory forces that fueled Michael Jackson's genius.

This is a content-heavy audiobook with a lot of analysis. It is designed for Beatle fans new and old. This is a band that has transcended generations. Future generations will be following the songwriting model Lennon, McCartney, and Harrison created with the great arrangement and production guidance from George Martin.

It's 1963, and Detroit is on top of the world. The city's leaders are among the most visionary in America. It was the American auto makers' best year; the revolution in music and politics was underway. Walter Reuther's UAW had helped lift the middle class. Once in a Great City shows that the shadows of collapse were evident even then. Yet so much of what Detroit gave America lasts.

This audiobook analyzes the themes and progression of the composers' most famous works, comparing and contrasting them to each other and other composers' great works.

An American institution, Sun Records has a history with many chapters: its Memphis origins with visionary Sam Phillips, the breakthrough recordings of Elvis Presley, and the studio's immense influence on the sound of popular music. But behind the company's chart toppers and legendary musicians there exists another story, told by Barbara Barnes Sims. In the male-dominated workforce of the 1950s, 24-year-old Sims found herself thriving in the demanding roles of publicist and sales promotion coordinator at Sun Records.

Jon Fine spent nearly 30 years performing and recording with bands that played various forms of aggressive and challenging underground rock music. And, as he writes in this memoir, at no point were any of those bands "ever threatened, even distantly, by actual fame". Yet when members of his first band, Bitch Magnet, reunited after 21 years to tour Europe, Asia, and America, diehard longtime fans traveled from far and wide to attend those shows.

Children of the Stone chronicles Ramzi's journey - from stone thrower to music student to school founder - and shows how through his love of music he created something lasting and beautiful in a land torn by violence and war. This is a story about the power of music, but also about freedom and conflict, determination and vision.

At once the most lucrative, popular, and culturally oppositional musical force in the United States, hip-hop demands the kind of interpretation Imani Perry provides here: criticism engaged with this vibrant musical form on its own terms. A scholar and a fan, Perry considers the art, politics, and culture of hip-hop through an analysis of song lyrics, the words of the prophets of the hood.

Almost from the second they played the first note, the Beatles would be hit with the resounding screams, which made it impossible for them to even hear themselves sing. When they made their American debut on The Ed Sullivan Show in early 1964, they were greeted by young fans who whipped themselves up into such a frenzy that some of them fainted. Beatlemania had struck North America, creating a musical and pop culture phenomenon unlike anything the world had ever seen.

Born in Mississippi, a young kid named Elvis Presley came to Memphis as a teenager and changed music forever. Fusing country and rhythm and blues with rock, Elvis brought traditional African-American sounds to the forefront of music in the 1950s, but he did so as a handsome white man before the height of the Civil Rights Movement. On top of that, his famous stage fright led to the hip gyrations that would make him the envy of young girls and the scorn of their parents.

A reaction to the likes of the previous decade's yuppies and acts like M.C. Hammer, grunge became a sound and culture for angst-ridden teens and the disaffected youth who were proud to be plain. Combining punk, metal, and hard rock, the grunge sound emanated out of Seattle from groups like Nirvana, Pearl Jam, Soundgarden, and Alice in Chains, giving the young decade its trademark sound.

Sir Paul may have never topped the highs established by the Beatles, but he has gone on to have the longest and most productive solo career of the four. While that was helped in part by the tragic murder of Lennon in 1980, McCartney has nonetheless remained at the forefront of pop culture since 1970, and the Guinness Book of World Records has recognized him as the most successful recording artist of all time. Indeed, McCartney wrote or co-wrote over 30 #1 hits and has sold over 100 million albums and 100 million singles in his music career.

No longer dismissed as relics of the hippie era, a new generation has lionized the Dead for creating a culture that paved the way for social networking, free music swapping, and the uncompromising anticorporate attitude of indie rock. Now, fifty years after the band first began changing rock 'n' roll both sonically and psychically, So Many Roads paints the most vivid portrait yet of the Grateful Dead, one of the most enduring institutions in American music and culture.

In a book that inspired the Amazon original series starring Gael Garcia Bernal and Malcolm McDowell, oboist Blair Tindall recounts her decades-long professional career as a classical musician, from the recitals and Broadway orchestra performances to the secret life of musicians who survive hand to mouth in the backbiting New York classical music scene, trading sexual favors for plum jobs and assignments in orchestras across the city.

Martin Schleske, einer der großen Geigenbauer der Gegenwart, liest die besten Passagen aus seinem Buch und gewährt einen akustischen Einblick in seine international renommierte Werkstatt. Dabei zeigt er, wie für ihn die Kunst des Geigenbaus ein Gleichnis für persönliche Entwicklung und für das Streben nach dem richtigen Platz im Leben ist. Und wer schon immer wissen wollte, wie eine Schleske-Geige tönt: Der Geiger Alban Beikircher, Solist u. a. bei den Münchner Symphonikern, bringt sie in diesem Hörbuch zum Klingen.

Neste audiolivro, o jornalista e crítico musical Irineu Franco Perpetuo conta a História da Música Clássica a partir da Idade Média, com seu cantochão. Depois, explica o que era a prática da polifonia, fala dos trovadores, da Ars Nova e da escola franco-flamenga.

Unlike all previous versions of rock 'n' roll history, this book omits almost every iconic performer and ignores the storied events and turning points everyone knows. Instead, in a daring stroke, Greil Marcus selects 10 songs recorded between 1956 and 2008 and then proceeds to dramatize how each embodies rock 'n' roll as a thing in itself in the story it tells, inhabits, and acts out - a new language, something new under the sun.

In Elvis Presley: A Southern Life, one of the most admired Southern historians of our time takes on one of the greatest cultural icons of all time. The result is a masterpiece: a vivid, gripping biography, set against the rich backdrop of Southern society - indeed, American society - in the second half of the 20th century.

Simon Critchley first encountered David Bowie in the early '70s, when the singer appeared on Britain's most-watched music show, Top of the Pops. His performance of "Starman" mesmerized Critchley: it was "so sexual, so knowing, so strange". Two days later Critchley's mum bought a copy of the single; she liked both the song and the performer's bright orange hair (she had previously been a hairdresser). The seed of a lifelong love affair was thus planted in the mind of her son, aged 12.

Written by a leading authority and artist of the historical transverse flute, The Notation Is Not the Music offers invaluable insight into the issues of historically informed performance and the parameters - and limitations - of notation-dependent performance. As Barthold Kuijken illustrates, performers of historical music should consider what is written on the page as a mere steppingstone for performance.