Yodel Ay Ee Oooo

Yodel-Ay-Ee-Oooo is the first book to address the question: How did a centuries-old, Swiss mountain tradition make its way into American country music? Along the way, the reader discovers that yodeling is not just a Swiss thing--everyone from Central African pygmies, Nashville hunks-in-hats, avant-garde tonsil-twisters like Meredith Monk, hiphop stars De La Soul, and pop stars like Jewel have been known to kick back and release a yodeling refrain. Along the way, we encounter a gallery of unique characters, ranging from the legendary, such as country singer Jimmie Rodgers, to the definitely different, including Mary Schneider (the Australian Queen of Yodeling) who specializes in yodeling Mozart, Beethoven, and Brahms, and the Topp Twins, a yodeling lesbian duo who employ the sound in their songs aimed at battling homophobia. The book is both a serious study of the history of yodeling around the world and a fun look at how this unique sound has worked its way into popular culture. Yodel-Ay-Ee-Oooo promises to be a classic for fans of music and popular culture.

Yodel in Hi-Fi explores the vibrant and varied traditions of yodelers around the world. Far from being a quaint and dying art, yodel is a thriving vocal technique that has been perennially renewed by singers from Switzerland to Korea, from Colorado to Iran. Bart Plantenga offers a lively and surprising tour of yodeling in genres from opera to hip-hop and in venues from cowboy campfires and Oktoberfests to film soundtracks and yogurt commercials. Displaying an extraordinary versatility, yodeling crosses all borders and circumvents all language barriers to assume its rightful place in the world of music. “If Wisconsin wasn’t on the yodel music map before, this book puts it there.”—Wisconsin State Journal

Big secrets of great yodelers ; Relax ; Singing exercise ; Find your voice break ; Basic yodel lesson ; Styles, rhythms, and tongue tricks ; Happy trails!

“Bright, colorful illustrations and short, catchy rhymes… in an accessible, knowledgeable format [that] is a solid success.” —School Library Journal Caldecott Honor winner and two-time New York Times best illustrator of the year author and illustrator Stephen T. Johnson’s lyrical journey of sounds, styles, and rhythms culminate in this highly imaginative and beautifully orchestrated celebration of music. Experience ten different types of music—classical, Latin, jazz, country, heavy metal, hip-hop, rock and roll, rhythm and blues, electronica, pop, and a surprise finale. Unfolding through an inventive accordion form is a masterful concert of playfully crafted singsong text in harmony with delightfully whimsical art. On the reverse side is a rich, in-depth glossary for each genre, sure to be a wonderful resource for all ages. Stephen T. Johnson is well known for his innovate children’s books and glorious public artwork and his dynamic performance in (with) Music is… will leave you wanting an encore!

Timothy E. Wise presents the first book to focus specifically on the musical content of yodeling in our culture. He shows that yodeling serves an aesthetic function in musical texts. A series of chronological chapters analyzes this musical tradition from its earliest appearances in Europe to its incorporation into a range of American genres and beyond. Wise posits the reasons for yodeling's changing status in our music. How and why was yodeling introduced into professional music making in the first place? What purposes has it served in musical texts? Why was it expunged from classical music? Why did it attach to some popular music genres and not others? Why does yodeling now appear principally at the margins of mainstream tastes? To answer such questions, Wise applies the perspectives of critical musicology, semiotics, and cultural studies to the changing semantic associations of yodeling in an unexplored repertoire stretching from Beethoven to Zappa. This volume marks the first musicological and ideological analysis of this prominent but largely ignored feature of American musical life. Maintaining high scholarly standards but keeping the general reader in mind, the author examines yodeling in relation to ongoing cultural debates about singing, music as art, social class, and gender. Chapters devote attention to yodeling in nineteenth-century classical music, the nineteenth-century Alpine-themed song in America, the Americanization of the yodel, Jimmie Rodgers, and cowboy yodeling, among other topics.

In this book, Barbara Ellison and Thomas B. W. Bailey lay out and explore the mystifying and evanescent musical territory of 'sonic phantoms': auditory illusions within the musical material that convey a 'phantasmatic' presence. Structured around a large body of compositional work developed by Ellison over the past decade, sonic phantoms are revealed and illustrated as they arise through a diverse array of musical sources, materials, techniques, and compositional tools: voices (real and synthetic), field recordings, instrument manipulation, object amplification, improvisation, and recording studio techniques. Somehow inherent in all music--and perhaps in all sound--sonic phantoms lurk and stalk with the promise of mystery and elevation. We just need to conjure them.

New York Times bestselling poet and multi-platinum singer-songwriter Jewel explores her unconventional upbringing and extraordinary life in an inspirational memoir that covers her childhood to fame, marriage, and motherhood. When Jewel’s first album, Pieces of You, topped the charts in 1995, her emotional voice and vulnerable performance were groundbreaking. Drawing comparisons to Joan Baez and Joni Mitchell, a singer-songwriter of her kind had not emerged in decades. Now, with more than thirty million albums sold worldwide, Jewel tells the story of her life, and the lessons learned from her experience and her music. Living on a homestead in Alaska, Jewel learned to yodel at age five, and joined her parents’ entertainment act, working in hotels, honky-tonks, and biker bars. Behind a strong-willed family life with an emphasis on music and artistic talent, however, there was also instability, abuse, and trauma. At age fifteen, she moved out and tasked herself with a mission: to see if she could avoid being the kind of statistic that her past indicated for her future. Soon after, she was accepted to the prestigious Interlochen Arts Academy in Michigan, and there she began writing her own songs as a means of expressing herself and documenting her journey to find happiness. Jewel was eighteen and homeless in San Diego when a radio DJ aired a bootleg version of one of her songs and it was requested into the top-ten countdown, something unheard-of for an unsigned artist. By the time she was twenty-one, her debut had gone multiplatinum. There is much more to Jewel’s story, though, one complicated by family legacies, by crippling fear and insecurity, and by the extraordinary circumstances in which she managed to flourish and find happiness despite these obstacles. Along her road of self-discovery, learning to redirect her fate, Jewel has become an iconic singer and songwriter. In Never Broken she reflects on how she survived, and how writing songs, poetry, and prose has saved her life many times over. She writes lyrically about the natural wonders of Alaska, about pain and loss, about the healing power of motherhood, and about discovering her own identity years after the entire world had discovered the beauty of her songs.

Wanted Cultured Ladies Only! maps out the early culture of cinema stardom in India from its emergence in the silent era to the decade after Indian independence in the mid-twentieth century. Neepa Majumdar combines readings of specific films and stars with an analysis of the historical and cultural configurations that gave rise to distinctly Indian notions of celebrity. She argues that discussions of early cinematic stardom in India must be placed in the context of the general legitimizing discourse of colonial "improvement" that marked other civic and cultural spheres as well, and that "vernacular modernist" anxieties over the New Woman had limited resonance here. Rather, it was through emphatically nationalist discourses that Indian cinema found its model for modern female identities. Considering questions of spectatorship, gossip, popularity, and the dominance of a star-based production system, Majumdar details the rise of film stars such as Sulochana, Fearless Nadia, Lata Mangeshkar, and Nargis