Music From Both Sides

Matija Arko, po domače Hojer, rojen v Sodražici, se je v mladosti izselil v Ameriko in s seboj prinesel veselje do glasbe in harmonike. Glasba je postala pomemben del njegovega življenja in s svojo skupino Hoyer trio je postal zelo priljubljen med Slovenci v ZDA pa tudi med izseljenci drugih narodnosti. S prepletanjem slovenske ljudske glasbe in različnih oblik ameriške popularne glasbe tistega časa je postavil temelje t. i. polka glasbe, ki je zaradi privlačnosti prestopila etnične meje in pozneje dosegla vsesplošno popularnost. Veliko glasbe Matije Arka je dokumentirane in ohranjene na gramofonskih ploščah, ki nudijo vpogled v njegovo delo in zgodovino slovenske glasbe v ZDA. O Matiji Arku, v Ameriki bolj znanem kot Matt Hoyer, in o njegovem glasbenem ustvarjanju smo vedeli v Sloveniji zelo malo. S pričujočo knjigo, ki je angleški prevod slovenske knjige, želimo opozoriti nanj, na njegovo delovanje in na glasbo, ki je ohranjena na starih gramofonskih ploščah.

An illustrated version of the Joni Mitchell song, in which clouds, love, and life itself appear differently when viewed from different perspectives.

Music Divided explores how political pressures affected musical life on both sides of the iron curtain during the early years of the cold war. In this groundbreaking study, Danielle Fosler-Lussier illuminates the pervasive political anxieties of the day through particular attention to artistic, music-theoretical, and propagandistic responses to the music of Hungary’s most renowned twentieth-century composer, Béla Bartók. She shows how a tense period of political transition plagued Bartók’s music and imperiled those who took a stand on its aesthetic value in the emerging socialist state. Her fascinating investigation of Bartók’s reception outside of Hungary demonstrates that Western composers, too, formulated their ideas about musical style under the influence of ever-escalating cold war tensions. Music Divided surveys Bartók’s role in provoking negative reactions to "accessible" music from Pierre Boulez, Hermann Scherchen, and Theodor Adorno. It considers Bartók’s influence on the youthful compositions and thinking of Bruno Maderna and Karlheinz Stockhausen, and it outlines Bartók’s legacy in the music of the Hungarian composers András Mihály, Ferenc Szabó, and Endre Szervánszky. These details reveal the impact of local and international politics on the selection of music for concert and radio programs, on composers’ choices about musical style, on government radio propaganda about music, on the development of socialist realism, and on the use of modernism as an instrument of political action.

Written against the academically dominant but simplistic romanticization of popular music as a positive force, this book focuses on the 'dark side' of the subject. It is a pioneering examination of the ways in which popular music has been deployed in association with violence, ranging from what appears to be an incidental relationship, to one in which music is explicitly applied as an instrument of violence. A preliminary overview of the physiological and cognitive foundations of sounding/hearing which are distinctive within the sensorium, discloses in particular their potential for organic and psychic violence. The study then elaborates working definitions of key terms (including the vexed idea of the 'popular') for the purposes of this investigation, and provides a historical survey of examples of the nexus between music and violence, from (pre)Biblical times to the late nineteenth century. The second half of the book concentrates on the modern era, marked in this case by the emergence of technologies by which music can be electronically augmented, generated, and disseminated, beginning with the advent of sound recording from the 1870s, and proceeding to audio-internet and other contemporary audio-technologies. Johnson and Cloonan argue that these technologies have transformed the potential of music to mediate cultural confrontations from the local to the global, particularly through violence. The authors present a taxonomy of case histories in the connection between popular music and violence, through increasingly intense forms of that relationship, culminating in the topical examples of music and torture, including those in Bosnia, Darfur, and by US forces in Iraq and Guantánamo Bay. This, however, is not simply a succession of data, but an argumentative synthesis. Thus, the final section debates the implications of this nexus both for popular music studies itself, and also in cultural policy and regulation, the ethics of citizenship, and arguments about human rights.

Music in the Post-9/11 World addresses the varied and complex roles music has played in the wake of September 11, 2001. Interdisciplinary in approach, international in scope, and critical in orientation, the twelve essays in this groundbreaking volume examine a diverse array of musical responses to the terrorist attacks of that day, and reflect upon the altered social, economic, and political environment of "post-9/11" music production and consumption. Individual essays are devoted to the mass-mediated works of popular musicians such as Bruce Springsteen and Darryl Worley, as well as to lesser-known musical responses by artists in countries including Afghanistan, Egypt, Mexico, Morocco, Peru, and Senegal. Contributors also discuss a range of themes including the role played by Western classical music in rites of mourning and commemoration, "invisible" musical practices such as the creation of television news music, and implicit censorship in the mainstream media. Taken as a whole, this collection presents powerful evidence of the central role music has played in expressing, shaping, and contesting worldwide public attitudes toward the defining event of the early twenty-first century.

There are undercurrents and peripheral taste preferences that are a defining part of our individual and collective cultural experience. Music is no exception. George Plasketes adapts the iconic "A-side/B-side" dichotomy from the 45 r.p.m. for use as a unique conceptual, critical, historical, and cultural framework for exploring and threading together a variety of popular music and media texts. The profiles and perspectives focus on the peripheries; on texts which might be considered "B-sides"”overlooked, underappreciated, and unsung cases, creators, patterns and productions that have unassumingly, but significantly, marked popular culture, music and media during the past 40 years. The underappreciated yet enduring contributions of a variety of creative individuals in music, television and film are a centerpiece of this volume: actress Doris Day's son, Terry Melcher, a 1960s music producer whose imprint is on the surf, country blues, garage pop and most importantly the folk rock genre; Hans Fenger's kid chorus cover project, a musical variation of "outsider art" that became representative of the tribute wave that began in the 1990s and continues today; versatile guitarist virtuoso Ry Cooder's extensive film soundtrack work; World Music "missionary efforts" of American artists beyond Paul Simon's Graceland, including Neil Diamond's precursor with Tap Root Manuscript in the 1970s and the exotic adventures of Henry Kaiser and David Lindley in Madagascar and Norway”to name just a few examples. These B-sides represent undercurrents, but they resonate as overtones in the mainstream of music and culture, many as historical hinges. Collectively, these B-sides are an A-side antidote of outskirt observations, individual snapshots of artists, artifacts and rituals, genres and generations, producers and musical productions in television, film and video. They constitute an important connect-the-dots cultural chronicle with a multi-layered context”social, legal, historic, economic, technological, generational, aesthetic”for interpreting the interrelations between creators and institutions, the music market place, the production of culture and important connections between the peripheral and the popular.

The 4 Seasons & Frankie Valli, rank among the top American vocal acts of all time. Collectively, they amassed seven #1 hits, 18 Top Ten, and an incredible 61 singles in the Hot 100. They also placed 32 LPS on the top albums charts. Their hit making years spanned more than a half-century. Their hits include: Sherry, Big Girls DonÕt Cry, Walk Like a Man, Rag Doll, Working My Way Back to You, CanÕt Take My Eyes Off of You, My Eyes Adored You, December, 1963 (Oh, What a Night), GreaseÉ Their stardom was no overnight success, as they struggled through lean years and recorded many flops while searching for that elusive hit record. The rag-to-riches story has been told via an award-winning Broadway musical & a Clint Eastwood produced motion picture. Learn about the hits, misses, obscure album tracks and B-sides as they sang their way from delinquents to esteemed members of the R&R Hall of Fame. The book examines the music they made famous and tells of all the glorious years that passed between.

A witty and warm-hearted novel about a trans teen finding his place in the world perfect for fans of Red, White and Royal Blue There’s only one thing standing between Finch Kelly and a full-blown case of high school senioritis: the National Speech & Debate Tournament. Taking home the gold would not only be the pinnacle of Finch’s debating career, but the perfect way to launch himself into his next chapter: college in Washington, DC, and a history-making career as the first trans congressman. What could possibly go wrong? Well, for starters, Finch could develop a teeny tiny crush on his very attractive, very taken, and very gay debate partner, Jonah. Never mind that Finch has never considered whether he’s interested in more than just girls. And that dream of college in DC? Finch hasn’t exactly been accepted anywhere yet, let alone received the full-ride scholarship he’ll need to make this dream a reality. Worst of all, though, is this year’s topic for Nationals: transgender rights. If he wants to cinch the gold, and get into college, Finch might have to argue against his own humanity. People say there are two sides to every argument. But, as Finch is about to discover, some things—like who you are and who you love—are not up for debate.