%{search_type} search results

• Preface Buddy Emmons Timeline
• Lower Broad, 1965 Back Home in Indiana Chops Sin City Motown Raisin' the Dickens Discovery Days The Importance of Being Ernest California Interlude Color of the Blues A Troubadour Again The Cherokee Cowboys Emmons Original Night Life Steel Guitar Jazz The Bottom Rainbows All Over Your Blues Suite Steel Back to Nashville The Great Stream Gentle on My Mind Hold On The Sound Factory and Swing Shift Awards and Battles Where the Sidewalk Ends When I Call Your Name Steel Guitar Heaven Epilogue Acknowledgments Appendix A: Tributes and Testimonials Appendix B: Buddy Emmons's Tunings and Pedal Changes Notes Index.
• (source: Nielsen Book Data)

The acknowledged maestro of the pedal steel guitar, Buddy Emmons lent his unparalleled virtuosity to over five decades of hit recordings and set standards that remain the benchmark for musicians today. Steve Fishell's merger of biography and memoir draws extensively on in-depth interviews with Emmons and the artist's autobiographical writings. Emmons went from playing strip clubs to a Grand Ole Opry debut with Little Jimmy Dickens at age 18. His restless experimentation led to work with Ernest Tubb and Ray Price--and established him in a career that saw him play alongside a who's who of American music. Fishell weaves in stories and anecdotes from Willie Nelson, Brenda Lee, Linda Ronstadt, Pat Martino, and many others to provide a fascinating musical and personal portrait of an innovator whose peerless playing and countless recordings recognized no boundaries. A one-of-a-kind life story, Buddy Emmons expands our view of a groundbreaking artist and his impact on country music, jazz, and beyond.
(source: Nielsen Book Data)

• Title PageCopyrightContentsAcknowledgmentsIntroductio
• n1. Doing It for Rea
• l2. Birth of a Drea
• m3. The Country Boy
• s4. The Original Kentucky Colonel
• s5. The Blue Grass Boy
• s6. The Nashville Gras
• s7. The New Kentucky Colonel
• s8. Country Gazett
• e9. The Nashville Bluegrass Ban
• d10. The Roland White Ban
• d11. Roland's Family Tie
• s12. A Visit with Roland and Dian
• e13. Back to Where It All StartedAfterwordAppendix A: People, Bands, and VenuesAppendix B: Roland White's FamilyAppendix C: Roland White Instructional MaterialsNotesRoland White Recordings CitedIndexBack cover.
• (source: Nielsen Book Data)

Roland White's long career has taken him from membership in Bill Monroe's Blue Grass Boys and Lester Flatt's Nashville Grass to success with his own Roland White Band. A master of the mandolin and acclaimed multi-instrumentalist, White has mentored a host of bluegrass musicians and inspired countless others. Bob Black draws on extensive interviews with White and his peers and friends to provide the first in-depth biography of the pioneering bluegrass figure. Born into a musical family, White found early success with the Kentucky Colonels during the 1960s folk revival. The many stops and collaborations that marked White's subsequent musical journey trace the history of modern bluegrass. But Black also delves into the seldom-told tale of White's life as a working musician, one who endured professional and music industry ups-and-downs to become a legendary artist and beloved teacher. An entertaining merger of memories and music history, Mandolin Man tells the overdue story of a bluegrass icon and his times.
(source: Nielsen Book Data)

This first volume of Music in Black American Life collects research and analysis that originally appeared in the journals American Music and the Black Music Research Journal, and in the University of Illinois Press's acclaimed book series Music in American Life. In these selections, experts from a cross-section of disciplines engage with fundamental issues in ways that changed our perceptions of Black music. The topics includes the culturally and musically complex Black music-making of colonial America; string bands and other lesser-known genres practiced by Black artists; the jubilee industry and its audiences; and innovators in jazz, blues, and Black gospel. Eclectic and essential, Music in Black American Life, 1600-1945 offers specialists and students alike a gateway to the history and impact of Black music in the United States. Contributors: R. Reid Badger, Rae Linda Brown, Samuel A. Floyd Jr., Sandra Jean Graham, Jeffrey Magee, Robert M. Marovich, Harriet Ottenheimer, Eileen Southern, Katrina Dyonne Thompson, Stephen Wade, and Charles Wolfe.
(source: Nielsen Book Data)

• Acknowledgments vii
• Introduction 1
• CHAPTER ONE: Queer Country and Sincerity 25
• CHAPTER TWO: Genre Trouble 70
• CHAPTER THREE: Rurality and Journey as Queer and Trans Musical Narratives 125
• CHAPTER FOUR: (Mis)representation, Ownership, and Appropriation 153
• CHAPTER FIVE: Masks, Sincerity, and (Re)claiming Country Music 172
• Notes 201
• Discography 229
• Bibliography 235
• Index 251.
• (source: Nielsen Book Data)

Though frequently ignored by the music mainstream, queer and transgender country and Americana artists have made essential contributions as musicians, performers, songwriters, and producers. Queer Country blends ethnographic research with analysis and history to provide the first in-depth study of these artists and their work. Shana Goldin-Perschbacher delves into the careers of well-known lesbian artists like k.d. lang and Amy Ray and examines the unlikely success of singer-songwriter Patrick Haggerty, who found fame forty years after releasing the first out gay country album. She also focuses on later figures like nonbinary transgender musician Rae Spoon and renowned drag queen country artist Trixie Mattel; and on recent breakthrough artists like Orville Peck, Amythyst Kiah, and chart-topping Grammy-winning phenomenon Lil Nas X. Many of these musicians place gender and sexuality front and center even as it complicates their careers. But their ongoing efforts have widened the circle of country/Americana by cultivating new audiences eager to connect with the artists' expansive music and personal identities. Detailed and one-of-a-kind, Queer Country reinterprets country and Americana music through the lives and work of artists forced to the margins of the genre's history.
(source: Nielsen Book Data)

• CoverTitleCopyrightContentsList of IllustrationsIntroduction: Americanaland
• Chapter 1. Will You Miss Me When I'm Gone?
• Chapter 2. The Lost Highway
• Chapter 3. Sunrise
• Chapter 4. Blowin' in the Wind
• Chapter 5. Turn! Turn! Turn!
• Chapter 6. White Line Fever
• Chapter 7. Something in the Air
• Chapter 8. Sweetheart of the Rodeo
• Chapter 9. American Tune
• Chapter 10. Troubadours
• Chapter 11. Grievous Angels
• Chapter 12. The Red-Headed Icon
• Chapter 13. Punks, God, and Urbane Cowboys
• Chapter 14. Hard-Core Troubadours
• Chapter 15. The "Birth" of Americana
• Chapter 16. Across the Great Divide
• Chapter 17. Yesterday and TodayLast CallNotesBibliographyIndexBack cover.
• (source: Nielsen Book Data)

A musical genre forever outside the lines With a claim on artists from Jimmie Rodgers to Jason Isbell, Americana can be hard to define, but you know it when you hear it. John Milward's Americanaland is filled with the enduring performers and vivid stories that are at the heart of Americana. At base a hybrid of rock and country, Americana is also infused with folk, blues, R&B, bluegrass, and other types of roots music. Performers like Bob Dylan, Johnny Cash, Ray Charles, and Gram Parsons used these ingredients to create influential music that took well-established genres down exciting new roads. The name Americana was coined in the 1990s to describe similarly inclined artists like Emmylou Harris, Steve Earle, and Wilco. Today, Brandi Carlile and I'm With Her are among the musicians carrying the genre into the twenty-first century. Essential and engaging, Americanaland chronicles the evolution and resonance of this ever-changing amalgam of American music. Margie Greve's hand-embroidered color portraits offer a portfolio of the pioneers and contemporary practitioners of Americana.
(source: Nielsen Book Data)

• CoverTitleCopyrightContentsList of IllustrationsIntroduction: Americanaland
• Chapter 1. Will You Miss Me When I'm Gone?
• Chapter 2. The Lost Highway
• Chapter 3. Sunrise
• Chapter 4. Blowin' in the Wind
• Chapter 5. Turn! Turn! Turn!
• Chapter 6. White Line Fever
• Chapter 7. Something in the Air
• Chapter 8. Sweetheart of the Rodeo
• Chapter 9. American Tune
• Chapter 10. Troubadours
• Chapter 11. Grievous Angels
• Chapter 12. The Red-Headed Icon
• Chapter 13. Punks, God, and Urbane Cowboys
• Chapter 14. Hard-Core Troubadours
• Chapter 15. The "Birth" of Americana
• Chapter 16. Across the Great Divide
• Chapter 17. Yesterday and TodayLast CallNotesBibliographyIndexBack cover.
• (source: Nielsen Book Data)

A musical genre forever outside the lines With a claim on artists from Jimmie Rodgers to Jason Isbell, Americana can be hard to define, but you know it when you hear it. John Milward's Americanaland is filled with the enduring performers and vivid stories that are at the heart of Americana. At base a hybrid of rock and country, Americana is also infused with folk, blues, R&B, bluegrass, and other types of roots music. Performers like Bob Dylan, Johnny Cash, Ray Charles, and Gram Parsons used these ingredients to create influential music that took well-established genres down exciting new roads. The name Americana was coined in the 1990s to describe similarly inclined artists like Emmylou Harris, Steve Earle, and Wilco. Today, Brandi Carlile and I'm With Her are among the musicians carrying the genre into the twenty-first century. Essential and engaging, Americanaland chronicles the evolution and resonance of this ever-changing amalgam of American music. Margie Greve's hand-embroidered color portraits offer a portfolio of the pioneers and contemporary practitioners of Americana.
(source: Nielsen Book Data)

• Introduction. On the "Minnesota Workshop" Lectures
• Part I. Basic Needs for a Music Situation That Is Alive. On Artist's Originality ; On Music Tradition ; Composer's Own Training as a Criticism of the Society ; Composer as a Critic of Contemporary Music, Art, and the Audience ; The Historic Relation between the Public and the Music Profession ; Music as a Force of Communication ; The View of Twentieth-Century Music through the Present and the Past ; Composers as Critics of Their Own Works ; Toward "New Virtuosity" ; Toward Metric Virtuosity
• Part II. How to Live with the Musical Present. On Charles Ives ; Luigi Nono's Il canto sospeso ; On Pierre Boulez and Karlheinz Stockhausen ; On Edgard Varèse ; On Krzysztof Penderecki ; What Is the Domain of Serious Music? A Case Study of Olivier Messiaen ; On Musical Thought
• Part III. The Symphony Orchestra: Relic of the Past or Active Force for New Music? Sociological Aspects of the Symphony Orchestra: State-Supported and Privately Funded Orchestras ; Techniques of Orchestration ; Pocahontas (1939) ; Holiday Overture (1944) ; Variations for Orchestra (1953-1955)
• Part IV. Can an Established Musical Form Like the Concerto Have Any Relevance Today? Contextualizing Piano Concertos ; J. S. Bach : Brandenburg Concerto No. 5 in D Major ; Mozart Piano Concerto No. 24 in C Minor, K. 491 ; Beethoven : Piano Concerto No. 4 in G Major ; Alexander Scriabin : Prometheus ; Igor Stravinsky : Concerto for Piano and Wind Instruments and Capriccio for Piano and Orchestra ; Béla Bartók : Piano Concerto No. 1 ; Elliott Carter : The Double Concerto (1959-1961) and Piano Concerto (1964-1965) ; Double Concerto for Harpsichord and Piano ; Piano Concerto (1964-1965)

These previously unpublished lectures by Elliott Carter date to the summer of 1967, when the acclaimed composer taught at the Contemporary Music Workshop held by the University of Minnesota. Leading an introductory course on orchestra repertoire, Carter gave nine hours of lectures covering principal topics like how to live with the musical present and whether the symphony orchestra was a relic of the past or a possible active force for new music. But Carter's observations and prompts by audience questions broadened the discussion into areas ranging from electronic music to analyses of works by other artists and himself. Laura Emmery presents the complete text from each session alongside introductions, commentary, and annotated examples that provide valuable context for readers. Expansive and essential, Elliott Carter Speaks opens up the artist's teaching and introspection to new contemporary perspectives on his thought and art.
(source: Nielsen Book Data)

• Prologue
• Southern Roots and Early Years
• Gospel Songs and Urban Revivalism
• Commercial Gospel Music
• New Technology to Promote an Old Story
• The Mission of Rainbow Records
• Spirituals and Minstrelsy
• Jim Crow Revivalism Meets the Klan
• Preserving and Exporting the Gospel Songs
• Falling Out of Step at the Close of an Era
• Epilogue. "It's Up to You, Rody, to Free Them".

From tent revivals to radio and records with a gospel music innovator Homer Rodeheaver merged evangelical hymns and African American spirituals with popular music to create a potent gospel style. Kevin Mungons and Douglas Yeo examine his enormous influence on gospel music against the backdrop of Christian music history and Rodeheaver's impact as a cultural and business figure. Rodeheaver rose to fame as the trombone-playing song leader for evangelist Billy Sunday. As revivalism declined after World War I, Rodeheaver leveraged his place in America's newborn celebrity culture to start the first gospel record label and launch a nationwide radio program. His groundbreaking combination of hymnal publishing and recording technology helped define the early Christian music industry. In his later years, he influenced figures like Billy Graham and witnessed the music's split into southern gospel and black gospel. Clear-eyed and revealing, Homer Rodeheaver and the Rise of the Gospel Music Industry is an overdue consideration of a pioneering figure in American music.
(source: Nielsen Book Data)

• Prologue
• Southern Roots and Early Years
• Gospel Songs and Urban Revivalism
• Commercial Gospel Music
• New Technology to Promote an Old Story
• The Mission of Rainbow Records
• Spirituals and Minstrelsy
• Jim Crow Revivalism Meets the Klan
• Preserving and Exporting the Gospel Songs
• Falling Out of Step at the Close of an Era
• Epilogue. "It's Up to You, Rody, to Free Them"

From tent revivals to radio and records with a gospel music innovator Homer Rodeheaver merged evangelical hymns and African American spirituals with popular music to create a potent gospel style. Kevin Mungons and Douglas Yeo examine his enormous influence on gospel music against the backdrop of Christian music history and Rodeheaver's impact as a cultural and business figure. Rodeheaver rose to fame as the trombone-playing song leader for evangelist Billy Sunday. As revivalism declined after World War I, Rodeheaver leveraged his place in America's newborn celebrity culture to start the first gospel record label and launch a nationwide radio program. His groundbreaking combination of hymnal publishing and recording technology helped define the early Christian music industry. In his later years, he influenced figures like Billy Graham and witnessed the music's split into southern gospel and black gospel. Clear-eyed and revealing, Homer Rodeheaver and the Rise of the Gospel Music Industry is an overdue consideration of a pioneering figure in American music.
(source: Nielsen Book Data)

• Foreword: Industrial Strength Bluegrass Neil V. Rosenberg Notes from the Editors Acknowledgments A Southwestern Ohio Bluegrass Timeline
• 1 Appalachian Migration: Setting the Musical Stage in Southwestern Ohio Phillip J. Obermiller
• 2 Bobby Osborne Remembers How It Was Bobby Osborne and Joe Mullins
• 3 All the Way to the Fence: Bluegrass Broadcasting in the Miami Valley Daniel Mullins
• 4 Taking the Music Home: Bluegrass Recording Studios, Record Labels, and Record Stores Mac McDivitt
• 5 Sing Me Back Home: Early Bluegrass Venues in Southwestern Ohio Larry Nager
• 6 Using My Bible for a Roadmap: Sacred Bluegrass Music in the Miami Valley Fred Bartenstein
• 7 Green to Bluegrass: Reflections on an Unlikely Musical Career Lily Isaacs
• 8 Buckeyes in the Briar Patch: Southwestern Ohio Bluegrass in the 1970s Jon Hartley Fox
• 9 The Living Arts Center's East Dayton Roots Rick Good
• 10 Bluegrass Music and Urban Appalachian Identity in Cincinnati Nathan McGee
• 11 Distinctive Qualities of Southwestern Ohio Bluegrass Ben Krakauer Appendix A: Recommended Southwestern Ohio Bluegrass Recordings Appendix B: For Further Reading List of Contributors Index.
• (source: Nielsen Book Data)

In the twentieth century, Appalachian migrants seeking economic opportunities relocated to southwestern Ohio, bringing their music with them. Between 1947 and 1989, they created an internationally renowned capital for the thriving bluegrass music genre, centered on the industrial region of Cincinnati, Dayton, Hamilton, Middletown, and Springfield. Fred Bartenstein and Curtis W. Ellison edit a collection of eyewitness narratives and in-depth analyses that explore southwestern Ohio's bluegrass musicians, radio broadcasters, recording studios, record labels, and performance venues, along with the music's contributions to religious activities, community development, and public education. As the bluegrass scene grew, southwestern Ohio's distinctive sounds reached new fans and influenced those everywhere who continue to play, produce, and love roots music. Revelatory and multifaceted, Industrial Strength Bluegrass shares the inspiring story of a bluegrass hotbed and the people who created it. Contributors: Fred Bartenstein, Curtis W. Ellison, Jon Hartley Fox, Rick Good, Lily Isaacs, Ben Krakauer, Mac McDivitt, Nathan McGee, Daniel Mullins, Joe Mullins, Larry Nager, Phillip J. Obermiller, Bobby Osborne, and Neil V. Rosenberg.
(source: Nielsen Book Data)

• Foreword: Industrial Strength Bluegrass Neil V. Rosenberg Notes from the Editors Acknowledgments A Southwestern Ohio Bluegrass Timeline
• 1 Appalachian Migration: Setting the Musical Stage in Southwestern Ohio Phillip J. Obermiller
• 2 Bobby Osborne Remembers How It Was Bobby Osborne and Joe Mullins
• 3 All the Way to the Fence: Bluegrass Broadcasting in the Miami Valley Daniel Mullins
• 4 Taking the Music Home: Bluegrass Recording Studios, Record Labels, and Record Stores Mac McDivitt
• 5 Sing Me Back Home: Early Bluegrass Venues in Southwestern Ohio Larry Nager
• 6 Using My Bible for a Roadmap: Sacred Bluegrass Music in the Miami Valley Fred Bartenstein
• 7 Green to Bluegrass: Reflections on an Unlikely Musical Career Lily Isaacs
• 8 Buckeyes in the Briar Patch: Southwestern Ohio Bluegrass in the 1970s Jon Hartley Fox
• 9 The Living Arts Center's East Dayton Roots Rick Good
• 10 Bluegrass Music and Urban Appalachian Identity in Cincinnati Nathan McGee
• 11 Distinctive Qualities of Southwestern Ohio Bluegrass Ben Krakauer Appendix A: Recommended Southwestern Ohio Bluegrass Recordings Appendix B: For Further Reading List of Contributors Index.
• (source: Nielsen Book Data)

In the twentieth century, Appalachian migrants seeking economic opportunities relocated to southwestern Ohio, bringing their music with them. Between 1947 and 1989, they created an internationally renowned capital for the thriving bluegrass music genre, centered on the industrial region of Cincinnati, Dayton, Hamilton, Middletown, and Springfield. Fred Bartenstein and Curtis W. Ellison edit a collection of eyewitness narratives and in-depth analyses that explore southwestern Ohio's bluegrass musicians, radio broadcasters, recording studios, record labels, and performance venues, along with the music's contributions to religious activities, community development, and public education. As the bluegrass scene grew, southwestern Ohio's distinctive sounds reached new fans and influenced those everywhere who continue to play, produce, and love roots music. Revelatory and multifaceted, Industrial Strength Bluegrass shares the inspiring story of a bluegrass hotbed and the people who created it. Contributors: Fred Bartenstein, Curtis W. Ellison, Jon Hartley Fox, Rick Good, Lily Isaacs, Ben Krakauer, Mac McDivitt, Nathan McGee, Daniel Mullins, Joe Mullins, Larry Nager, Phillip J. Obermiller, Bobby Osborne, and Neil V. Rosenberg.
(source: Nielsen Book Data)

• Foreword Acknowledgments
• Prefatory Notes
• Introduction
• Part I. The California Years Scene One: On the Road Scene Two: Spot Behind The Scenes One: The Giaimos Scene Three: Eleanor Powell's Shoes Behind The Scenes Two: The Tiptons Scene Four: The Eight-Day Clock Scene Five: Polio Scene Six: Jail Bait Scene Seven: TD&L Scene Eight: Mingus Scene Nine: Apple Pie, Apple Pie, Apple Pie Scene Ten: A Little Help from My Friends Scene Eleven: The Drummer Was Always Late Scene Twelve: Monty Scene Thirteen: Jerry Scene Fourteen: 176 Steps Behind The Scenes Three: Eugene's Lessons Scene Fifteen: First Time in Vegas Scene Sixteen: Followed by Myself in the Moonlight Scene Seventeen: The IT Club Scene Eighteen: Thunderbird Part II. The New York and East Coast Years Scene Nineteen: 14 Drummers Scene Twenty: Mount Airy Lodge Scene Twenty-One: Strollers Scene Twenty-Two: The Village Stompers Scene Twenty-Three: Eddie Condon's Behind The Scenes Four: Pearls to Swine Scene Twenty-Four: Park Ridge Scene Twenty-Five: Piano Party Behind The Scenes Five: Ruby Scene Twenty-Six: Suburban Housewife Scene Twenty-Seven: In the Middle of the Brook Scene Twenty-Eight: Harold's Rogue and Jar Scene Twenty-Nine: Melba Liston And Company Scene Thirty: Fazee Cakes Part III. California Redux Scene Thirty-One: The Best Kept Secret in Town Scene Thirty-Two: A Leader at Sixty-Five Scene Thirty-Three: Pacific Grove Scene Thirty-Four: Octogenarian Postscript Notes Discography Inde.
• (source: Nielsen Book Data)

Dottie Dodgion is a jazz drummer who played with the best. A survivor, she lived an entire lifetime before she was seventeen. Undeterred by hardships she defied the odds and earned a seat as a woman in the exclusive men's club of jazz. Her dues-paying path as a musician took her from early work with Charles Mingus to being hired by Benny Goodman at Basin Street East on her first day in New York. From there she broke new ground as a woman who played a "man's instrument" in first-string, all-male New York City jazz bands. Her inspiring memoir talks frankly about her music and the challenges she faced, and shines a light into the jazz world of the 1960s and 1970s. Vivid and always entertaining, The Lady Swings tells Dottie Dodgion's story with the same verve and straight-ahead honesty that powered her playing. A Variety Best Music Book of 2021.
(source: Nielsen Book Data)

• Foreword Acknowledgments
• Prefatory Notes
• Introduction
• Part I. The California Years Scene One: On the Road Scene Two: Spot Behind The Scenes One: The Giaimos Scene Three: Eleanor Powell's Shoes Behind The Scenes Two: The Tiptons Scene Four: The Eight-Day Clock Scene Five: Polio Scene Six: Jail Bait Scene Seven: TD&L Scene Eight: Mingus Scene Nine: Apple Pie, Apple Pie, Apple Pie Scene Ten: A Little Help from My Friends Scene Eleven: The Drummer Was Always Late Scene Twelve: Monty Scene Thirteen: Jerry Scene Fourteen: 176 Steps Behind The Scenes Three: Eugene's Lessons Scene Fifteen: First Time in Vegas Scene Sixteen: Followed by Myself in the Moonlight Scene Seventeen: The IT Club Scene Eighteen: Thunderbird Part II. The New York and East Coast Years Scene Nineteen: 14 Drummers Scene Twenty: Mount Airy Lodge Scene Twenty-One: Strollers Scene Twenty-Two: The Village Stompers Scene Twenty-Three: Eddie Condon's Behind The Scenes Four: Pearls to Swine Scene Twenty-Four: Park Ridge Scene Twenty-Five: Piano Party Behind The Scenes Five: Ruby Scene Twenty-Six: Suburban Housewife Scene Twenty-Seven: In the Middle of the Brook Scene Twenty-Eight: Harold's Rogue and Jar Scene Twenty-Nine: Melba Liston And Company Scene Thirty: Fazee Cakes Part III. California Redux Scene Thirty-One: The Best Kept Secret in Town Scene Thirty-Two: A Leader at Sixty-Five Scene Thirty-Three: Pacific Grove Scene Thirty-Four: Octogenarian Postscript Notes Discography Inde.
• (source: Nielsen Book Data)

Dottie Dodgion is a jazz drummer who played with the best. A survivor, she lived an entire lifetime before she was seventeen. Undeterred by hardships she defied the odds and earned a seat as a woman in the exclusive men's club of jazz. Her dues-paying path as a musician took her from early work with Charles Mingus to being hired by Benny Goodman at Basin Street East on her first day in New York. From there she broke new ground as a woman who played a "man's instrument" in first-string, all-male New York City jazz bands. Her inspiring memoir talks frankly about her music and the challenges she faced, and shines a light into the jazz world of the 1960s and 1970s. Vivid and always entertaining, The Lady Swings tells Dottie Dodgion's story with the same verve and straight-ahead honesty that powered her playing. A Variety Best Music Book of 2021.
(source: Nielsen Book Data)

• Not by Words Alone
• Folksinger, Bluesman, Rocker, Crooner : The Many Voices of Bob Dylan
• His Other Voice : Bob Dylan's Essential Harmonica
• Bob Dylan as Composer, I : Melody, Harmony, and Rhythm
• Bob Dylan as Composer, II : Musical Form
• Accompanying Bob Dylan : Instruments, Instrumentalists, Singers
• Arranging an Album
• Bob Dylan in Live Performance : Documenting a Musical Shape-Shifter
• Bringing It All Back Home (Pulling It All Together)

Venerated for his lyrics, Bob Dylan in fact is a songwriting musician with a unique mastery of merging his words with music and performance. Larry Starr cuts through pretention and myth to provide a refreshingly holistic appreciation of Dylan's music. Ranging from celebrated classics to less familiar compositions, Starr invites readers to reinvigorate their listening experiences by sharing his own-sometimes approaching a song from a fresh perspective, sometimes reeling in surprise at discoveries found in well-known favorites. Starr breaks down often-overlooked aspects of the works, from Dylan's many vocal styles to his evocative harmonica playing to his choices as a composer. The result is a guide that allows listeners to follow their own passionate love of music into hearing these songs-and personal favorites-in new ways. Reader-friendly and revealing, Listening to Bob Dylan encourages hardcore fans and Dylan-curious seekers alike to rediscover the music legend.
(source: Nielsen Book Data)

• Not by Words Alone
• Folksinger, Bluesman, Rocker, Crooner : The Many Voices of Bob Dylan
• His Other Voice : Bob Dylan's Essential Harmonica
• Bob Dylan as Composer, I : Melody, Harmony, and Rhythm
• Bob Dylan as Composer, II : Musical Form
• Accompanying Bob Dylan : Instruments, Instrumentalists, Singers
• Arranging an Album
• Bob Dylan in Live Performance : Documenting a Musical Shape-Shifter
• Bringing It All Back Home (Pulling It All Together).

"Listening to Bob Dylan seeks to reposition music and musical performance as central, essential aspects of Bob Dylan's art. Countering the tendency on the part of many scholars, journalists, fans, and casual listeners to regard Dylan primarily or even exclusively as a poet, or as a writer of lyrics, Starr presents Dylan's work as a complete package and a personal, unique synthesis of words, music, and performance. Starr aims to provide an unpretentious guide that will help readers enjoy Dylan's music and music performance to the fullest. By way of clarifying Starr's methodology, consider the question "How does it feel?" By itself it's an everyday, unremarkable expression: a salesperson hoping that the new shoes are fitting properly; a doctor or dentist assessing a patient's condition. Now imagine these same words being sung at you intensely by another person: "How does it feeeeel?" This is no longer that everyday question. Shaped by a familiar melody, rhythm, and vocal color, this can be one thing only, an evocation of Bob Dylan performing his iconic "Like a Rolling Stone." The words "How does it feel?" become "Like a Rolling Stone" only when Dylan's characteristic melody, rhythm, and vocal style are synthesized with them, becoming parts of an inseparable whole. The book is organized conceptually, in terms of what might be called listening focus: turning detailed attention first to Bob Dylan's varied vocal styles, then to his harmonica playing, then to the compositional elements of his songs, then to his choices of instrumentation, and so forth. This allows the reader to build a repertoire of listening experiences"-- Provided by publisher.

• Stories Out of Place
• Re-Placing the American Musical
• Fundamentalism, Produced
• Biblically Accurate
• Everything Old Is New Again
• Mezza Voce
• The Afterlives of Truth and Musicals.

The local and regional shows staged throughout America use musical theater's inherent power of deception to cultivate worldviews opposed to mainstream ideas. Jake Johnson reveals how musical theater between the coasts inhabits the middle spaces between professional and amateur, urban and rural, fact and fiction, fantasy and reality, and truth and falsehood. The homegrown musical provides a space to engage belief and religion-imagining a better world while creating opportunities to expand what is possible in the current one. Whether it is the Oklahoma Senior Follies or a Mormon splinter group's production of The Sound of Music, such productions give people a chance to jolt themselves out of today's post-truth malaise and move toward a world more in line with their desires for justice, reconciliation, and community. Vibrant and strikingly original, Lying in the Middle discovers some of the most potent musical theater taking place in the hoping, beating hearts of Americans.
(source: Nielsen Book Data)

• Stories Out of Place
• Re-Placing the American Musical
• Fundamentalism, Produced
• Biblically Accurate
• Everything Old Is New Again
• Mezza Voce
• The Afterlives of Truth and Musicals

The local and regional shows staged throughout America use musical theater's inherent power of deception to cultivate worldviews opposed to mainstream ideas. Jake Johnson reveals how musical theater between the coasts inhabits the middle spaces between professional and amateur, urban and rural, fact and fiction, fantasy and reality, and truth and falsehood. The homegrown musical provides a space to engage belief and religion-imagining a better world while creating opportunities to expand what is possible in the current one. Whether it is the Oklahoma Senior Follies or a Mormon splinter group's production of The Sound of Music, such productions give people a chance to jolt themselves out of today's post-truth malaise and move toward a world more in line with their desires for justice, reconciliation, and community. Vibrant and strikingly original, Lying in the Middle discovers some of the most potent musical theater taking place in the hoping, beating hearts of Americans.
(source: Nielsen Book Data)

• CoverTitleCopyrightContentsAcknowledgmentsIntroductio
• n1. The Reverend Lawrence C. Roberts and the First Baptist Church of Nutle
• y2. Gospel Music in Newar
• k3. The Birth of the Angelic Choi
• r4. The Arrival of James Clevelan
• d5. In Search of the Authentic: The Live In-Service Recordin
• g6. This Sunday-In Perso
• n7. Peace Be Stil
• l8. The Performativity of "Peace Be Still
• "9. The Release of Peace Be Stil
• l10. I Stood on the Banks of Jorda
• n11. DoxologyNotesBibliographyIndexBack cover.
• (source: Nielsen Book Data)

In September of 1963, Reverend Lawrence Roberts and the Angelic Choir of the First Baptist Church of Nutley, New Jersey, teamed with rising gospel star James Cleveland to record Peace Be Still. The LP and its haunting title track became a phenomenon. Robert M. Marovich draws on extensive oral interviews and archival research to chart the history of Peace Be Still and the people who created it. Emerging from an established gospel music milieu, Peace Be Still spent several years as the bestselling gospel album of all time. As such, it forged a template for live recordings of services that transformed the gospel music business and Black worship. Marovich also delves into the music's connection to fans and churchgoers, its enormous popularity then and now, and the influence of the Civil Rights Movement on the music's message and reception. The first in-depth history of a foundational recording, Peace Be Still shines a spotlight on the people and times that created a gospel music touchstone.
(source: Nielsen Book Data)

• CoverTitleCopyrightContentsAcknowledgmentsIntroductio
• n1. The Reverend Lawrence C. Roberts and the First Baptist Church of Nutle
• y2. Gospel Music in Newar
• k3. The Birth of the Angelic Choi
• r4. The Arrival of James Clevelan
• d5. In Search of the Authentic: The Live In-Service Recordin
• g6. This Sunday-In Perso
• n7. Peace Be Stil
• l8. The Performativity of "Peace Be Still
• "9. The Release of Peace Be Stil
• l10. I Stood on the Banks of Jorda
• n11. DoxologyNotesBibliographyIndexBack cover.
• (source: Nielsen Book Data)

In September of 1963, Reverend Lawrence Roberts and the Angelic Choir of the First Baptist Church of Nutley, New Jersey, teamed with rising gospel star James Cleveland to record Peace Be Still. The LP and its haunting title track became a phenomenon. Robert M. Marovich draws on extensive oral interviews and archival research to chart the history of Peace Be Still and the people who created it. Emerging from an established gospel music milieu, Peace Be Still spent several years as the bestselling gospel album of all time. As such, it forged a template for live recordings of services that transformed the gospel music business and Black worship. Marovich also delves into the music's connection to fans and churchgoers, its enormous popularity then and now, and the influence of the Civil Rights Movement on the music's message and reception. The first in-depth history of a foundational recording, Peace Be Still shines a spotlight on the people and times that created a gospel music touchstone.
(source: Nielsen Book Data)