Books: 'Changes (Musical group)'

1

group), Changes (Musical, ed. The Times they are The Changes. [Zurich, Switzerland]: Nieves, 2008.

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Neil, Ancil Anthony. Voices from the hills: Despers & Laventille : the steelband and its effects on poverty, stigma & violence in a community : a classic study of the social, political and economic changes in a community. [Trinidad]: [s.n.], 1987.

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Neil, Ancil Anthony. Voices from the hills: Despers & Laventille : the steelband and its effects on poverty, stigma & violence in a community : a classic study of the social, political, and economic changes in a community. [New York?]: A.A. Neil, 1987.

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Kölbl, Marko, and Fritz Trümpi, eds. Music and Democracy. Vienna, Austria / Bielefeld, Germany: mdwPress / transcript Verlag, 2021. http://dx.doi.org/10.14361/9783839456576.

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Music and Democracy explores music as a resource for societal transformation processes. This book provides recent insights into how individuals and groups used and still use music to achieve social, cultural, and political participation and bring about social change. The contributors present outstanding perspectives on the topic: From the promise and myth of democratization through music technology to the use of music in imposing authoritarian, neoliberal or even fascist political ideas in the past and present up to music's impact on political systems, governmental representation, and socio-political realities. The volume further features approaches in the fields of gender, migration, disability, and digitalization.

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Dovrat, Ran. Ḥazaḳim be-Rusyah: Big in Russia. Tel Aviv: Aḥuzat bayit, 2016.

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Andy, Schwartz, ed. Icons of rock: An encyclopedia of the legends who changed music forever. Westport, Conn: Greenwood Press, 2008.

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7

Neate, Patrick. Culture is our weapon: Making music and changing lives in Rio de Janeiro. New York: Penguin Books, 2010.

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Neate, Patrick. Culture is our weapon: AfroReggae in the favelas of Rio. London: Latin America Bureau, 2006.

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Damian, Platt, ed. Culture is our weapon: Making music and changing lives in Rio de Janeiro. New York: Penguin Books, 2010.

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10

Watkinson, David. Yes: Perpetual Change. Plexus Publishing, 2001.

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11

Kartomi, Margaret. Sumatra’s Performing Arts, Groups, and Subgroups. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252036712.003.0001.

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This book examines the traditional musical arts of Sumatra, with particular emphasis on the ethnographic, cultural, and historical contexts of the performing arts that contain music as well as some of the changes in their style, content, and reception from 1971 when the author began her field travels. The musical arts, or performing arts containing music, include the vocal, instrumental, and body percussive music, the dance and other body movement, the art of self-defense, the bardic arts, and the musical theater performed at domestic ceremonies. The book considers the musico-lingual groups and subgroups of Sumatra—population groups and subgroups that are primarily distinguished from one another on the basis of the lingual attributes of their vocal-musical genres (including songs, ritual/religious chanting, song-dances, and intoned theatrical monologues or exchanges). This chapter provides an overview of some of the major themes that recur throughout the book—identity, rituals and ceremonies, religion, the impact of foreign contact on the performing arts, the musical instruments and pitch variability, the dances and music-dance relationships, social class, gender issues, and arts education.

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12

Robertson, Robbie, Jim Guerinot, Sebastian Robertson, and Jared Levine. Legends, Icons & Rebels: Music That Changed the World. Tundra Books, 2016.

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13

Rose, Phil. Radiohead and the Global Movement for Change: Pragmatism Not Idealism. Rowman & Littlefield Publishers, Incorporated, 2019.

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14

Radiohead and the Global Movement for Change: "Pragmatism Not Idealism". Fairleigh Dickinson University Press, 2015.

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15

Neufeld, Timothy D. U2: Rock 'N' Roll to Change the World. Rowman & Littlefield Publishers, Incorporated, 2017.

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16

Neufeld, Timothy D. U2: Rock 'n' Roll to Change the World. Rowman & Littlefield Publishers, Incorporated, 2018.

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17

All You Need Is Love to Dismantle an Atomic Bomb: How the Beatles and U2 Changed the World. Continuum International Publishing Group, 2007.

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18

Abrahams, Frank, Anthony Rafaniello, Jason Vodicka, David Westawski, and John Wilson. Going Green. Edited by Frank Abrahams and Paul D. Head. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199373369.013.4.

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This chapter describes a collaborative project that studied the applications of Lucy Green’s informal music learning curriculum within the context of high school choral ensembles. For a 12-week period, the conductors of four high school choirs charged students in small groups to copy a Christmas carol of their choice from a recording or to create a new arrangement inspired by the recording without intervention from their conductor. They would perform those carols at a public concert during the December holiday season. The overarching research question addressed the efficacy of informal learning as choral pedagogy to nurture the students’ musicianship in choir. Data consisted of interviews, video recordings, and reflective journals. Results showed a positive impact on group cooperation, peer-directed learning, choral rehearsal strategy, leadership, and personal musical identity. It also served as a catalyst to change perceptions of students and teachers relative to musical skill and ability.

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19

Lange, Barbara Rose. Everyday Musical Ethnicity and Roma (Gypsies) in Hungarian Pentecostalism. Edited by Jonathan Dueck and Suzel Ana Reily. Oxford University Press, 2015. http://dx.doi.org/10.1093/oxfordhb/9780199859993.013.17.

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This chapter explores the musical negotiation of the ethnic inequalities between Roma and Magyar that characterize secular life in Hungary among Pentecostal believers from both groups. The ethos of “spiritual brotherhood” within Hungarian Pentecostalism was the theological ground for these negotiations. During the communist period the believers mostly sang gospel hymns and a Christian variant of popular music that was meaningful to local Roma. Both ethnic communities modified their musical performance styles to participate in common “brotherhood,” though the secular inequalities between the ethnicities meant that these changes were not equally made (or equally easily demanded) by both groups. Christian contemporary music, renewed Western missionization, and new inequalities came with the postcommunist era.

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20

Dueck, Jonathan, and Suzel Ana Reily, eds. The Oxford Handbook of Music and World Christianities. Oxford University Press, 2013. http://dx.doi.org/10.1093/oxfordhb/9780199859993.001.0001.

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The Oxford Handbook of Music and World Christianities investigates the role of music in Christian practice and history across contemporary world Christianities (including chapters focused on communities in the Americas, Europe, Africa, Asia, and Australia). Using ethnography, history, and musical analysis, it explores Christian groups as sites of transmission, transformation, and creation of deeply diverse musical traditions. The book traces five themes: music and missions, music and religious utopias, music and conflict, music and transnational flows, and music and everyday life. The volume approaches Christian musical practices as powerful windows into the ways music, religious ideas, capital, and power circulate (and change) among places. It also pays attention to the ways Christian musical practices encompass and negotiate deeply rooted values. The volume reveals the active role music plays in maintaining and changing religious, moral, and cultural practices, narratives, and values in a long history of intercultural and transnational encounters.

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21

Robb, Sheri L., and Debra S. Burns. Randomized Controlled Trials in Music Therapy. Edited by Jane Edwards. Oxford University Press, 2015. http://dx.doi.org/10.1093/oxfordhb/9780199639755.013.14.

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Randomized controlled trials (RCTs) are experiments that compare two or more groups of participants, and participants are assigned to groups based on chance. Groups include an experimental intervention group that is being compared to a treatment as usual, a low dose or attention control condition, and/or a comparative treatment group. The purpose of randomization is to equalize groups on both known and unknown characteristics that may influence the outcome and the effectiveness of the intervention. This chapter describes how music therapists have used RCTs to demonstrate the effectiveness of music therapy interventions and services. Key strategies for implementing RCT designs are presented, and studies in music therapy that have used this design are reviewed.

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22

Popoff, Martin. Wind of Change: The Scorpions Story. Wymer Publishing, 2016.

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23

Nardini, Luisa. In the Quest of Gallican Remnants in Gregorian Manuscripts. Edited by Patricia Hall. Oxford University Press, 2016. http://dx.doi.org/10.1093/oxfordhb/9780199733163.013.11.

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This chapter examines Gallican components in liturgical chants copied in Gregorian manuscripts by focusing on a group of chants for the masses for the Holy Cross. These chants, copied in manuscripts from Aquitaine, bear signs of more remote pre-Gregorian roots that can be recognized in some textual and musical features, in aspects related to their liturgical collocation, and in the theological arguments they contain. Before undertaking an analysis of specific examples, the chapter first considers the extent to which royal decrees influenced chant practices in Carolingian and post-Carolingian Europe by contextualizing the process of standardization of chant within the projects of cultural reform of the Carolingians and the Merovingians. It then discusses issues of persistence and change in the transmission of liturgical repertories as well as the role of music censorship in the practice of liturgical chant.

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24

Clayton, Matthew Daniel. M-Base: Envisioning change for jazz in the 1980s and beyond. 2009.

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25

Rose, Phil. Radiohead and the Global Movement for Change: Pragmatism Not Idealism. Fairleigh Dickinson University Press, 2015.

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26

Walk This Way: Run-DMC, Aerosmith, and the Song that Changed American Music Forever. Blue Rider Press, 2019.

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27

Whitley, Carla Jean. Muscle Shoals Sound Studio: How the Swampers Changed American Music. History Press Library Editions, 2014.

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28

Whitley, Carla Jean. Muscle Shoals Sound Studio: How the Swampers Changed American Music. Arcadia Publishing, 2019.

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29

Fulcher, Jane F. The essential political and institutional background. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190681500.003.0002.

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Vichy was no monolith but was rather (especially at first) composed of fractious groups projecting a variety of different visions. The powers of some declined with time as a result of changes in French political direction as well as German pressures and conditions within France. Given its evolution, and the continuities and disputes that underlay the regime, this chapter examines how Vichy, as different groups within it gained power, conceived and presented itself and its image of French cultural values and national traditions to its own constituents. Within this context it also explores how Vichy’s musical policies evolved along with changes in the regime and its personnel. It also considers the Germans’ cultural structures, tactics, aims, and exigencies in music as the war advanced and the Occupation spread to the southern zone.

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30

Winds Of Change Ii The New Millennium A Chronicle Of The Continuing Evolution Of The Contemporary American Wind Bandensemble. Meredith Music Publications, 2012.

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31

Seeman, Sonia Tamar. Sounding Roman. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780199949243.001.0001.

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Sounding Roman traces the role of music performance in maintaining, shaping, and challenging ascribed social identities of Roman (“Gypsy”) groups, who constitute one of the most socially reviled and yet culturally romanticized minorities in Turkey. Roman communities have been a ubiquitous presence, contributing to social, cultural, and economic life since the Byzantine period in Anatolia up to the present. Alternately exoticized and reviled, Roman communities were valued for their occupational skills and entertainment services. Based on detailed historiographic study and twenty years of ethnographic work, this book examines the issue of cultural and musical representations for creating, maintaining, and contesting social identity practices through philosophical reflections on meaningful symbolic configurations in metaphoricity, iconicity, and mimesis paired with a sociological interrogation of unequal power relationships. Through these lenses, the book investigates the potential of musical performance to configure new social identities and open pathways for political action, while exploring the limits of cultural representation to effect meaningful social change. The book begins with historical representations of çingene as a marked ethnic and social group during the Byzantine to late Ottoman Empire. It then traces how such constructions were revised during the period of the modern Turkish Republic through the creation of a commercial musical genre, the Roman dance tune (Roman oyun havası). The book includes a companion website with illustrative texts, images, and audio examples.

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32

Tan, Sooi Beng. Community Musical Theatre and Interethnic Peace-Building in Malaysia. Edited by Brydie-Leigh Bartleet and Lee Higgins. Oxford University Press, 2018. http://dx.doi.org/10.1093/oxfordhb/9780190219505.013.33.

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Community musical theatre projects have played important roles in engaging young people of diverse ethnicities in multicultural and religious Malaysia to cross borders, deconstruct stereotypes, appreciate differences, and build interethnic peace. This essay provides insights into the strategies and dialogic approaches employed in two such community musical theatre projects that promote peace-building in Penang. The emphasis is on the making of musical theatre through participatory research, collaboration, ensemble work, and group discussions about alternative history, social relationships and cultural change. The projects also stress partnerships with the multiethnic stakeholders, communities, traditional artists, university students, and school teachers who are involved in the projects. Equally important is the creation of a safe space for intercultural dialogue, skill training, research, and assessments to take place; this a working space that allows for free and open participation, communication, play, and creative expressions for all participants.

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33

Waldron, Janice L., Stephanie Horsley, and Kari K. Veblen, eds. The Oxford Handbook of Social Media and Music Learning. Oxford University Press, 2020. http://dx.doi.org/10.1093/oxfordhb/9780190660772.001.0001.

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The rapid pace of technological change over the last decade, particularly in relation to social media and network connectivity, has deeply affected the ways in which individuals, groups, and institutions interact socially: This includes how music is made, learned, and taught globally in all manner of diverse contexts. The multiple ways in which social media and social networking intersect with the everyday life of the musical learner are at the heart of this book. The Oxford Handbook of Social Media and Music Learning opens up an international discussion of what it means to be a music learner, teacher, producer, consumer, individual, and community member in an age of technologically-mediated relationships that continue to break down the limits of geographical, cultural, political, and economic place. This book is aimed at those who teach and train music educators as well as current and future music educators. Its primary goal is to draw attention to the ways in which social media, musical participation, and musical learning are increasingly entwined by examining questions, issues, concerns, and potentials this raises for formal, informal, and non-formal musical learning and engagement in a networked society. It provides an international perspective on a variety of related issues from scholars who are leaders in the field of music education, new media, communications, and sociology in the emerging field of social media.

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34

Nolan, David. I swear I was there: Sex Pistols, Manchester and the gig that changed the world. 2016.

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35

MC5 and Social Change: A Study in Rock and Revolution. McFarland & Company, Incorporated Publishers, 2009.

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36

Ingalls, Monique M., and Monique M. Ingalls. Worship Music on National and Global Stages. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190499631.003.0007.

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The book’s conclusion draws together the book’s themes by returning to a performance of the contemporary worship song discussed in the introduction. It highlights a source of continued conflict within evangelicalism: the tension between the worship music “mainstream” and its alternatives. It shows the mainstream to be an influential matrix that combines a specific understanding of music, worship, and congregating and sets itself forward as a model for the way these three activities should relate across geographical and cultural space. Understanding how evangelical congregations are sung into being matters for understanding how other religious social formations throughout the world constitute and understand themselves. Thus, remodeling and reinvigorating the analytic categories of “congregation” and “congregational music” may enhance their usefulness for scholars working on religious musical practices among religious groups facing similar social changes and pressures.

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37

Lapidus, Benjamin. New York and the International Sound of Latin Music, 1940-1990. University Press of Mississippi, 2020. http://dx.doi.org/10.14325/mississippi/9781496831286.001.0001.

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New York City has long been a generative nexus for the transnational Latin music scene. Currently, there is no other place in the Americas where such large numbers of people from throughout the Caribbean come together to make music. This book seeks to recognize all of those musicians under one mighty musical sound, especially those who have historically gone unnoticed. Based on archival research, oral histories, interviews, and musicological analysis, the book examines how interethnic collaboration among musicians, composers, dancers, instrument builders, and music teachers in New York City set a standard for the study, creation, performance, and innovation of Latin music. Musicians specializing in Spanish Caribbean music in New York cultivated a sound that was grounded in tradition, including classical, jazz, and Spanish Caribbean folkloric music. The book studies this sound in detail and in its context. It offers a fresh understanding of how musicians made and formally transmitted Spanish Caribbean popular music in New York City from 1940 to 1990. Without diminishing the historical facts of segregation and racism the musicians experienced, the book treats music as a unifying force. By giving recognition to those musicians who helped bridge the gap between cultural and musical backgrounds, it recognizes the impact of entire ethnic groups who helped change music in New York. The study of these individual musicians through interviews and musical transcriptions helps to characterize the specific and identifiable New York City Latin music aesthetic that has come to be emulated internationally.

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38

The MC5 and social change: A study in rock and revolution. Jefferson, N.C: McFarland, 2009.

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39

Murphy, Clifford R., ed. Home on the Grange. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252038679.003.0006.

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This chapter traces how the rules that governed New England working-class sociability changed dramatically at country and western events. The cowboy names, the clothing, the decor, and the music worked in concert to suspend everyday rules—sociologists would call this phenomenon “alternation.” Normally used to explain how groups of people construct alternate symbolic universes, alternation relies on the use of name change, different dress, and different music in order to radically change individuals' worldview. Alternation describes the constructed frontier space of the country and western event and helps to explain how New England country and western fans of different ethnic backgrounds came to share the same space and work across difference to create a new community.

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40

The New Winds of Change: The Evolution of the Contemporary American Wind Band/Ensemble and Its Music. Meredith Music, 2018.

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41

U2: Rock 'n' roll to change the world. Rowman & Littlefield, 2017.

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42

Odell-Miller, Helen. Music Therapy for People with a Diagnosis of Personality Disorder. Edited by Jane Edwards. Oxford University Press, 2015. http://dx.doi.org/10.1093/oxfordhb/9780199639755.013.46.

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Towards the end of the twentieth century focus upon the diagnosis of personality disorder began to change. Previously, people with personality disorders experienced marginalization within mental health services. People with a diagnosis of personality disorder may feel distressed, frightened, and in psychic pain on a daily basis, as well as having emotional and relationship difficulties. They may also engage in self-harm which is difficult to alleviate and often hidden. Music therapists can engage musically with patients, and listen to the music they create in order to better understand their emotions and how they interact with others. These experiences and emotions can then be made more meaningful through subsequent discussions. Through group work processes members can take care of themselves and develop concern for others. In music therapy feelings can be explored that may be difficult to discuss, and a focus away from preoccupation with self-harm can be provided.

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43

Ndege, George. Culture and Customs of Mozambique. Greenwood, 2006. http://dx.doi.org/10.5040/9798400635601.

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The decades-long civil war ended in 1992 in Mozambique, a southeastern African nation once ruled by the Portuguese The country now attracts foreign investment and has one of the fastest-growing economies in Africa. Culture and Customs of Mozambique is a timely overview of an important nation as it rebuilds. The thorough narrative is the most-up-date and authoritative source on Mozambique's society. Ndege covers the land and history and especially clarifies the multiethnic society, which comprises sixteen ethnic groups, most of which are of Bantu origin. Each group speaks its own language, and some clans within each group speak different dialects of the same language. He discusses the migration of these groups into Mozambique from southern Africa and their absorption of disparate and small communities, as well as their diverse cultural customs and practices. Most important, the Zambezi valley, which has for centuries been a meeting place of many different societies, is significant in understanding the nature and pattern of settlement of various ethnic communities in modern-day Mozambique. Readers will learn about the young population and the migration to cities today. The importance of the family and the changes to the family and gender roles brought on by education, urbanization, migration, and religion are discussed. Other coverage includes the role of Islam and Christianity; the importance of art; indigenous, oral, and modern literature and media; a wide range of celebrations and leisure activities; ceremonies and cuisine; unique music and dance; and more.

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44

Rogovoy, Seth. Within You Without You. Oxford University PressNew York, 2024. http://dx.doi.org/10.1093/oso/9780197627822.001.0001.

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Abstract Within You Without You: Listening to George Harrison is a highly personal exploration of George Harrison’s essential contributions to the Beatles. It also gives full consideration to his solo career and his significant role as a Western proponent of Indian music and beliefs. Through close examination of his guitar playing in the Fab Four and his songwriting in and out of the Beatles, the book attempts to demystify the enigma of this most reluctant of rock stars. Drawing upon the insights of the author—a rock critic and music historian of over forty years’ standing, whose previous books include Bob Dylan: Prophet Mystic Poet—as well as those of expert observers, including English rock singer-songwriters Robyn Hitchcock and John Wesley Harding and Beatles filmmaker Michael Lindsay-Hogg, Within You Without You will forever change the way readers hear the music of the Beatles and view Harrison’s role in the group. It will also enhance appreciation of Harrison as a cultural figure above and beyond his work as a musician.

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45

77 sulphate strip: An eyewitness account of the year that changed everything. 2016.

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46

Schwartz, Andy, and Scott Schinder. Icons of Rock: An Encyclopedia of the Legends Who Changed Music Forever. ABC-CLIO, LLC, 2007.

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47

Siwe, Thomas. Artful Noise. University of Illinois Press, 2020. http://dx.doi.org/10.5622/illinois/9780252043130.001.0001.

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A substantial body of musical literature for solo and ensemble percussion was created in the twentieth century. This book examines percussion literature’s evolution: how it came to be and the styles that composers embraced as they produced a large body of music for percussion instruments alone. The focus is on the music that was created, the various genres that arose, and the composers who contributed seminal works. The question is posed: What world and cultural events brought composers to reject the past and embrace modernism? The twentieth century is notable for its many technological advances as well as for the global conflicts that disrupted the lives of millions. Both had significant impact on the arts. Tape recorders, synthesizers, and computers became useful tools for the avant-garde composer. Artists, exiled from their homelands by the war’s devastation, arrived in the Americas with new ideas to share. On the West Coast of the United States, composers found that percussion music was an ideal accompaniment for a nascent modern dance movement. The end of World War II brought monumental change to higher education and to music education in the States. College-trained percussionists became an important resource for the modern composer, who contributed new solo and ensemble works to the percussion canon. The twentieth century witnessed the rise of the percussive arts to a status equal to that of other instrumental groups.

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48

The Beatles: Six Days That Changed the World, February 1964. Rizzoli, 2014.

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49

Watson, Tessa. The World is Alive! Music Therapy with Adults with Learning Disabilities. Edited by Jane Edwards. Oxford University Press, 2015. http://dx.doi.org/10.1093/oxfordhb/9780199639755.013.22.

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This chapter describes music therapy work with adults with learning disabilities. This group of people have a cognitive disability that will not change, bringing with it challenges to living a fulfilled and satisfying life and sometimes associated health issues. A wide range of issues, from severe communication problems, bereavement, mental health problems, challenging behavior, to end-of-life issues require music therapists to bring a wide range of skills and approaches to their work. This chapter presents the diagnosis and history of this population, and the history of music therapy work in the area. The process of therapy is described, treatment models, and methods considered and clinical examples given.

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50

Garber, Michael G. My Melancholy Baby. University Press of Mississippi, 2021. http://dx.doi.org/10.14325/mississippi/9781496834294.001.0001.

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This book offers a detailed biography of ten influential American popular love ballads, from “Bill Bailey, Won’t You Please Come Home” (1902) to “You Made Me Love You” (1913). These became models for over forty years of great songs. In an innovative combination, they fused jazziness with intimate, personal qualities that were further revealed in the late 1920s with the advent of the torch song genre—and microphone crooning techniques, which linked them to the lullaby. They were a product of collective innovation by both famous figures like Irving Berlin and forgotten songwriters, including women and those from minority groups. Further, the performers, arrangers, and publishers changed the original songs, in a process similar to the oral folk music tradition. All these songs were fit into narratives—movies, plays, histories, scholarly works, and literature—which continually redefined them. The book analyzes the songs and how they were interpreted, featuring full music scores, musical excerpts, and forty illustrations. This study strips away the myths behind the creation of these ten core songs, revealing the even more colorful true stories. The discussion proposes a fresh definition for the torch song, as one making the listener aware of the flame of love within their heart. It includes an introduction to the New York music publishing industry, Tin Pan Alley, and operates as a listening guide and viewing companion for the Great American Songbook. Through the stories of individual songs, this history supplies a panoramic collage of the golden age of American classic pop.

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Books on the topic 'Changes (Musical group)'

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