Choose an application

• Reference Manager
• EndNote
• RefWorks (Direct export to RefWorks)

Composers --- Songwriters --- Musicians --- Meyerbeer, Giacomo, --- Beer, Jakob Liebmann Meyer --- Operas --- Compositeurs --- Opéras --- Discography --- Discography. --- Discographie

Choose an application

• Reference Manager
• EndNote
• RefWorks (Direct export to RefWorks)

In 1991, Snezana Zabic lost her homeland and most of her family's book and record collection during the Yugoslav Wars that had been sparked by Slobodan Milosevic's relentless pursuit of power. She became a teenage refugee, forced to flee Croatia and the atrocities of war that had leveled her hometown of Vukovar. She and her family remained refugees in Serbia until NATO bombed Belgrade in 1999. After witnessing the first nights of NATO's bombing, Zabic took flight again. She moved from country to country, city to city, finally settling in Chicago. She realized -- reluctantly, because she didn't want to relive the past -- that she had to write about what had happened, what she had left behind, and what she had lost. Broken Records is the story of this loss, told with unflinching honesty, free of sentimentality or sensationalism. For the very first time, we learn how it felt to be first a regular teenager during the breakup of Yugoslavia and the ensuing wars, and then a 30-something adult, perennially troubled by one's uprooted existence. Broken Records is not a neat narrative but a bit of everything -- part bildungsroman, part memoir, part political poetry, part personal pop culture compendium. And while Zabic represents a Yugoslav diasporan subject, her book also belongs to an international generation whose formative years straddle the Cold War and the global reconfiguration of wealth and power, whose lives were spent shifting from the vinyl/analog era to the cyber/digital era. This generation knows that when they were told about history ending, they were told a lie.

Yugoslavs --- Popular culture --- Refugees --- Teenage refugees --- Yugoslav War, 1991-1995 --- Youth. --- Žabić, Snežana, --- memoir --- fiction --- discography --- Yugoslav Wars

Choose an application

• Reference Manager
• EndNote
• RefWorks (Direct export to RefWorks)

During the years before World War II, hundreds of traditional musicians were sought out by commercial record companies, brought to New York or into local -- often makeshift -- studios, to cut recordings that would be marketed as ""race"" and ""hillbilly"" music. Virginia was home to scores of these performers, several of whom were to become internationally known. Among them were the Carter Family, the Golden Gate Quartet, Charlie Poole, and the Stoneman Family, whose music has touched millions of listeners far beyond the confines of the Old Dominion.It is this historically important body of re

Gospel music --- Country music --- Blues (Music) --- Blues (Songs, etc.) --- Jive (Music) --- African Americans --- Folk music --- Popular music --- Rhythm and blues music --- Washboard band music --- Country and western music --- Hillbilly music --- Western and country music --- Old-time music --- Sacred songs --- Discography.

Choose an application

• Reference Manager
• EndNote
• RefWorks (Direct export to RefWorks)

A guide to native North American music and oral data holdings at the Indiana University Archives of Traditional Music.

Indians of North America --- Indiens d'Amerique --- Music. --- Discographie --- Catalogues. --- Discography --- Music --- Indiana University, Bloomington. --- American aborigines --- American Indians --- First Nations (North America) --- Indians of the United States --- Indigenous peoples --- Native Americans --- North American Indians --- Culture --- Ethnology --- Archives of Traditional Music --- Indiana University. --- Traditional & folk music

Choose an application

• Reference Manager
• EndNote
• RefWorks (Direct export to RefWorks)

Since the days of silent films, music has been integral to the cinematic experience, serving, variously, to allay audiences' fears of the dark and to heighten a film's emotional impact. Yet viewers are often unaware of its presence. In this bold, insightful book, film and music scholar and critic Royal S. Brown invites readers not only to "hear" the film score, but to understand it in relation to what they "see." Unlike earlier books, which offered historical, technical, and sociopolitical analyses, Overtones and Undertones draws on film, music, and narrative theory to provide the first comprehensive aesthetics of film music. Focusing on how the film/score interaction influences our response to cinematic situations, Brown traces the history of film music from its beginnings, covering both American and European cinema. At the heart of his book are close readings of several of the best film/score interactions, including Psycho, Laura, The Sea Hawk, Double Indemnity, and Pierrot le Fou. In revealing interviews with Bernard Herrmann, Miklós Rósza, Henry Mancini, and others, Brown also allows the composers to speak for themselves. A complete discography and bibliography conclude the volume.

Motion picture music --- Music History & Criticism, Vocal --- Music --- Music, Dance, Drama & Film --- History and criticism --- History and criticism. --- allay audiences fears of dark. --- american and european cinema. --- bold. --- complete discography and bibliography. --- comprehensive aesthetics of film music. --- film and music theory. --- film and score interaction. --- heighten films emotional impact. --- history of film music. --- insightful. --- interviews with composers. --- narrative theory. --- response to cinematic situations. --- understanding film scores.