Music

This book explores the life and performance practices of the Irish sean-nós singer Joe Heaney (1919–1984). Born in Connemara, Ireland, as an autonomous state was about to be created, Heaney grew up speaking the Irish language on a windswept coastal landscape, where he absorbed a rich oral heritage in Irish and in his second language, English. Circumstances took him abroad, and eventually to the United States; he performed and sang his way through life, seeking to accomplish his quest of recognition for an art that was understood as such by only a few. His ability to enthrall and mesmerize his audiences in North America became legendary. That the songs and stories he presented in performance were rooted in a Gaelic culture strange to most of his audiences made his capacity all the more remarkable. This book traces the trajectory that led Heaney to present certain songs and stories to his audiences while excluding others. It offers song texts, translations, and musical transcriptions, together with a detailed discussion of their function and significance for the song man. The authors highlight issues of masculinity, language, religion, history, authenticity, and identity as part of their work in uncovering one Irishman's presentation of self, region, and nation. Many of the works can be heard on a web site constructed as an accompaniment to this book. The book makes for a rich feast of material, exposing the often-thorny decisions made by a stellar performer to forge a professional repertoire from material he had absorbed in his youth.

This book examines Cajun music’s social and cultural evolution through 1950. Since the ethnic group’s inception, the Cajun community constantly adapted and incorporated select elements of the American musical landscape. French North American songs, minstrel tunes, blues, New Orleans jazz, hillbilly, Tin Pan Alley melodies, and western swing all became part of the Cajun musical equation. The idiom’s synthetic nature suggests an extensive and intensive dialogue with popular culture that extinguishes the myth that Cajuns were an insular folk group astray in the American South. Musical exchange and the pervasive pressures of marginalization, denigration, and poverty are used to demonstrate the extent of Cajun interaction with members of English-speaking United States. Cajun Breakdown is the most thoroughly researched and broadly conceived history of Cajun music ever put into print. It raises broad questions about the ethnic experience in North America and the nature of vernacular American music.

This book demonstrates how the history of the Broadway musical is inseparable from the history of U.S. women, and argues that this mainstream, commercial form has been dominated by women onstage as performers and offstage as spectators and fans. Beginning in the 1950s and organized by decade, the book examines women in musicals and in the context of U.S. culture, considering both the representation of women—that is, images of women—and the labor of the female performer—that is, her centrality to the musical as performance. In addition to surveying key ideas around gender and sexuality in each decade of U.S. history, every chapter focuses on a specific convention: the female duet in the 1950s; the single woman as a moving body in the 1960s; the ensemble number in the 1970s; sceneography in the 1980s; the opening number and 11 o’clock number in the 1990s. The final chapters on the blockbuster Broadway musical Wicked returns to the 1950s model and analyzes how the musical Wicked reinvigorates the Rodgers and Hammerstein formula in a feminist and queer musical. This book argues that gender, as a key element of the musical, played a crucial role in the Broadway musical’s formal and structural changes from the 1950s on.

This book offers a wide-ranging look at jazz in the Windy City, revealing how Chicago became the major centre for jazz in the 1920s, one of the most vital periods in the history of the music. It describes how the migration of blacks from the South to Chicago before and after World War I set the stage for the development of jazz in Chicago, and how nightclubs and cabarets became the social setting for aficionados and musicians, black and white. In an examination of such well known greats as Louis Armstrong and King Oliver, the book sheds new light on the musical and cultural context in which jazz developed. And it travels beyond the South Side of Chicago to examine the evolution of white jazz and the influence of the South Side school on young players. Drawing on the personal recollections of many who experienced the influence of the Jazz Age, as well as historical texts, the book presents a new interpretation of Chicago jazz that shows the influence of race, culture, and politics on its development.

Although he died in a tragic car accident at the age of twenty-five, Clifford Brown is widely considered one of the most important figures in the history of jazz, a trumpet player who ranks with Louis Armstrong, Dizzy Gillespie, and Miles Davis, and a leading influence on contemporary jazz musicians. This book gives us a major biography of this musical giant. Based on extensive interviews with Clifford Brown's family, friends, and fellow jazz musicians, here is a fascinating portrait of a remarkable musician. The book depicts Brown's early life, showing how he developed a facility and dazzling technique that few jazz players have ever equalled. We read of his meteoric rise in Philadelphia, where he played with many of the leading jazz players of the 1950s, including Dizzy Gillespie and Charlie Parker; his tour of Europe with Lionel Hampton, which made him famous; and his formation of the Brown-Roach Quintet with prominent drummer Max Roach—one of the most popular hard bop combos of the day. In an era when most jazz players were either alcoholics or addicts, Brown was clean living and drug free. Indeed, he became a role model for musicians who were struggling with drugs and had great influence in this area with one prominent colleague, tenor sax player Sonny Rollins. This book not only provides a colorful account of Brown's life, but also features an informed analysis of his major recorded solos, highlighting Brown's originality and revealing why he remains a great influence on trumpet players today.

Cosmic Cowboys and New Hicks: The Countercultural Sounds of Austin's Progressive Country Music Scene explores the roles that music, as a sounding phenomenon with culturally specific meanings, played in mediating the experiences of a community of musicians, entrepreneurs, journalists, and fans who viewed country music as part of their collective heritage. These same people sought to reclaim the sounds of country music to articulate a distinctively Texan musical counterculture that has had an indelible impact on the production and consumption of country music. Arguing that the sounds of a scene function as relatively stable and extremely powerful signifiers for scene participants, this book explores how music performs important cultural work within a music scene by helping participants to construct personal and collective identities, to imbue music scenes with a sense of place, and to relate to people who are not active within the scene.

La Monte Young, generally regarded as the father of musical minimalism, is one of America’s most important contemporary composers--and one of the most elusive. Early on Young eschewed the conventional musical institutions of publishers, record labels, and venues, in order to create compositions completely unfettered by commercial concerns. At the same time, however, he exercised profound influence on such varied figures as Terry Riley, Cornelius Cardew, Andy Warhol, Yoko Ono, Velvet Underground, Brian Eno and entire branches of pop music. For half a century he and his partner and collaborator, Marian Zazeela, have worked in near-seclusion in their Tribeca loft, creating works that explore the furthest extremes of conceptual audacity, technical sophistication, acoustical complexity, and overt spirituality. Because of this seclusion, his importance as a composer has heretofore not been matched by a commensurate amount of scholarly scrutiny. Draw A Straight Line and Follow It: The Music and Mysticism of La Monte Young stands as the first monograph to examine Young’s life and work in detail. The book is a culmination of a decade of research, during which the author gained rare access to the composer and his archives. The book takes a multi-disciplinary approach that combines biography, musicology, ethnomusicology, and music analysis, and illuminates such seemingly disparate aspects of Young’s work as integral serialism and indeterminacy, Mormon esoterica and Vedic mysticism, and psychedelia and psychoacoustics. The book is a long-awaited, in-depth look at one of experimental music’s most fascinating figures.

In the 1930s swing music was everywhere—on radio, recordings, and in the great ballrooms, hotels, theatres, and clubs. Perhaps at no other time were drummers more central to the sound and spirit of jazz. Benny Goodman showcased Gene Krupa. Jimmy Dorsey featured Ray McKinley. Artie Shaw helped make Buddy Rich a star while Count Basie riffed with the innovative Jo Jones. Drummers were at the core of this music; as Jo Jones said, “The drummer is the key—the heartbeat of jazz”. An oral history told by the drummers, other musicians, and industry figures, this book is also Burt Korall's memoir of more than fifty years in jazz. Personal and moving, the book is a celebration of the music of the time and the men who made it. Meet Chick Webb, small, fragile-looking, a hunchback from childhood, whose explosive drumming style thrilled and amazed; Gene Krupa, the great showman and pacemaker; Ray McKinley, whose rhythmic charm, light touch, and musical approach provided a great example for countless others, and the many more that populate this story. Based on interviews with a collection of the most important jazzmen, this book offers an inside view of the swing years that cannot be found anywhere else.