Live Looping In Musical Performance

Live Looping in Musical Performance offers a diverse range of interdisciplinary perspectives on the application of live looping technology by lusophone performers and composers. This book explores various aspects, including the aesthetic component, instrumentation, and setup, highlighting the versatility of this technology in music-making. Written by musicians and researchers from Portuguese-speaking countries, this book comprises eleven chapters that delve into various musical contexts, genres, and practices. The novelty of including collaborative texts written alongside non-professional researchers offers the possibility of drawing from real experience to consider how live looping has been changing and "cyborguising" the concept of music, the ritual of the performance, the identity of the musicians, and the public's expectations. Live Looping in Musical Performance provides cutting-edge reading for composers and performers, as well as ethnomusicologists, students, and researchers working in the areas of music production, technology, and performance. This book addresses a broader audience, both academic and non-academic, who are interested in new processes of musical creativity in a post-human world.

Music Technology in Live Performance explores techniques to augment live musical performance and represents a comprehensive guide to best practices in music technology for live performance. This book presents a practical and accessible introduction to the theories of liveness and an array of live performance technologies and techniques. Areas covered include analogue and digital audio, live sound, the recording studio, and electronic music, revealing best professional practices and expert tips, alongside an exploration of approaches to increasing the exchange of energy in live performance. Music Technology in Live Performance is an ideal introduction for students of music performance, music production, and music technology, and a vital resource for professional musicians, producers, and technology developers.

The political has always been part of popular music, but how does that play out in today’s musical and political landscape? Mixing Pop and Politics: Political Dimensions of Popular Music in the 21st Century provides an innovative exploration of the complex politics of popular music in its contemporary formations. Amid the shifting paradigms of power in the 2020s, the chapters in this book go beyond the idea of popular music as protest to explore how resistance, subversion, containment, and reconciliation all interact in the popular music realm. Covering a wide range of international artists and genres, from South African hip-hop to Polish punk, and addressing topics such as climate change and environmentalism, feminism, diasporic identity, political parties, music-making as labour, the far right, conservatism and nostalgia, and civic engagement, the contributors expand our understanding of how popular music is political. For students and scholars of music, popular culture, and politics, the volume offers a broad, exciting snapshot of the latest scholarship on contemporary popular music and politics.

More than any other person, Deke Sharon is responsible for the current success of pop a cappella. Founder of the House Jacks (the original “rock band without instruments”), Deke continues to influence through his work with The Sing-Off, Pitch Perfect, Pitch Perfect 2, and Vocalosity. Combine Deke’s expertise with that of directors Ben Spalding and Brody McDonald, add a foreword by Ben Folds, throw in advice from contributors like Peter Hollens, and you have the most comprehensive volume ever created on the subject of contemporary a cappella singing. Sections include: * Setting the Stage * Getting the Band Together * Arranging * Preparing * Technology * Making a Name * and more!

Performing Electronic Music Live lays out conceptual approaches, tools, and techniques for electronic music performance, from DJing, DAWs, MIDI controllers, traditional instruments, live sound design, hardware setups, custom software and hardware, to live visuals, venue acoustics, and live show promotion. Through case studies and contrasting tutorials by successful artists, Kirsten Hermes explores the many different ways in which you can create memorable experiences on stage. Featuring interviews with highly accomplished musicians and practitioners, readers can also expand on their knowledge with hands-on video tutorials for each chapter via the companion website, performingelectronicmusic.live. Performing Electronic Music Live is an essential, all-encompassing resource for professionals, students of music production courses, and researchers in the field of creative-focused performance technology.

In a major expansion of the conversation on music and film history, The Routledge Companion to Global Film Music in the Early Sound Era draws together a wide-ranging collection of scholarship on music in global cinema during the transition from silent to sound films (the late 1920s to the 1940s). Moving beyond the traditional focus on Hollywood, this Companion considers the vast range of cinema and music created in often-overlooked regions throughout the rest of the world, providing crucial global context to film music history. An extensive editorial Introduction and 50 chapters from an array of international experts connect the music and sound of these films to regional and transnational issues—culturally, historically, and aesthetically—across five parts: Western Europe and Scandinavia Central and Eastern Europe North Africa, The Middle East, Asia, and Australasia Latin America Soviet Russia Filling a major gap in the literature, The Routledge Companion to Global Film Music in the Early Sound Era offers an essential reference for scholars of music, film studies, and cultural history.

In today’s digital age, learning and creating music has never been so easy and affordable. Anyone can enhance their musical knowledge, skills, and creativity with the multitude of music apps available. However, sifting through thousands of music apps in the Apple App Store and Google Play can be a daunting task for any musician or music instructor. But not anymore! Having spent countless hours researching the most interesting useful, educational, fun, and easy-to-use music apps, Elizabeth C. Axford in Music Apps for Musicians and Music Teachers surveys the landscape of music-related apps for both iOS and Android mobile devices, including tablets and smartphones. Music Apps for Musicians and Music Teachers lists hundreds of music-related apps organized by category, including singing, musical instruments, music theory and composition, songwriting, improvisation, recording, evaluating music performances, listening to music, music history and literature, music appreciation, and more. App developers are listed with each app, including links to their websites for updates and support. The book sections and chapters align with the newly revised National Standards for Music Education released in 2014 by the National Association for Music Education. Suggested activities for educators are provided, as well as key terms and a bibliography. Music Apps for Musicians and Music Teachers is for anyone interested in music, whether hobbyist or professional. It enhances the ability to learn on the go by offering musicians, music students, and music instructors a list of the most useful music apps available.

Researching Live Music offers an important contribution to the emergent field of live music studies. Featuring paradigmatic case studies, this book is split into four parts, first addressing perspectives associated with production, then promotion and consumption, and finally policy. The contributors to the book draw on a range of methodological and theoretical positions to provide a critical resource that casts new light on live music processes and shows how live music events have become central to raising and discussing broader social and cultural issues. Their case studies expand our knowledge of how live music events work and extend beyond the familiar contexts of the United States and United Kingdom to include examples drawn from Argentina, Australia, France, Jamaica, Japan, New Zealand, Switzerland, and Poland. Researching Live Music is the first comprehensive review of the different ways in which live music can be studied as an interdisciplinary field, including innovative approaches to the study of historic and contemporary live music events. It represents a crucial reading for professionals, students, and researchers working in all aspects of live music.