Martin Warminger - music obsessive - journeys through his personal history of rock and pop music. Accumulating an extensive collection of singles and albums, his love of popular music has resulted in profound effects on his life.
Can't quite remember who sang that song? Here's someone who's sure to know... a legacy of nostalgic memories to treasure - happy reminiscing!
Sharing his remarkable knowledge and appreciation of the music industry, he recalls the highs and lows of favourite artists and bands - spanning more than fifty years.
This book offers the first musical, cultural, and technological history of loudness, highlighting how loudness calls attention to musical, discursive, affective, and technological continuities that stretch across seemingly disparate traditions. Devine focuses especially on the years since 1915, when the forerunner of the modern loudspeaker was invented, and thus when loud sound became possible in new ways. The book corrects the fact that loudness remains surprisingly un-theorized and un-historicized, especially considering its longstanding importance as a source of pleasure, an object of criticism, and an engine of technological change. In exploring topics ranging from the role of dynamics in music theory to the problematic status of the decibel in the acoustic sciences, and from debates about orchestration technique to criticism in jazz, rock, and disco, the bookbreaks away from the generic and stylistic orthodoxies that circumscribe existing histories of twentieth-century music. Examining how loudness inflects central issues in music studies, including taste, race, gender, and youth, it argues that the crescendo model of the history of loudness stems from an impoverished understanding of music and sound as functions of their social settings. This volume charts an interdisciplinary path forward for music studies, highlighting the insights that can be gained when popular music is studied alongside various forms of art music and acoustic mediation, as overlapping phenomena in a shared history of sound and listening.
Make Your First Festival Show Rock! Are you playing your first green-field music festival or outdoor show soon? Not quite sure how it all works on the other side of the 'Artists Only' sign? Don't worry; help is at hand. My name is Andy Reynolds, a concert tour manager & live sound engineer. In this printed, paperback, mini-guide, I will give you my tips on making the most of your first festival slot. I have toured with bands and singers for more than 25 years, and work on loads of open-air, 'green-field' type festivals, such as Glastonbury, Roskilde, Coachella and Bonaroo, each summer. I know how bands can have a good show at a festival - and how they can mess up their chances by not being prepared for that all -important music festival slot. It is very important to your musical career that your festival appearances happen with no hitches, dramas or technical problems. Audiences go to music festivals to see and hear great bands. If they happen to catch you, and you are totally on fire, playing a great set and full of confidence, those people are likely to become fans. There is so much competition at each festival, and every band has that once chance to ignite the crowd, even if they are a well-known and successful act. None of the bands can afford to be ill-prepared or leave things to chance. But you need not worry about any of that - you will hit the stage looking like a pro after reading this book!
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