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Popular music --- Social aspects. --- Music, Popular --- Music, Popular (Songs, etc.) --- Pop music --- Popular songs --- Popular vocal music --- Songs, Popular --- Vocal music, Popular --- Music --- Cover versions

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"From Attali's 'cold social silence' to Baudrillard's hallucinatory reality, reproduced music has long been the target of critical attack. In Bytes and Backbeats, however, Steve Savage deploys an innovative combination of designed recording projects, ethnographic studies of contemporary music practice, and critical analysis to challenge many of these traditional attitudes about the creation and reception of music. Savage adopts the notion of 'repurposing' as central to understanding how every aspect of musical activity, from creation to reception, has been transformed, arguing that the tension within production between a naturalizing 'art' and a self-conscious 'artifice' reflects and feeds into our evolving notions of creativity, authenticity, and community. At the core of the book are three original audio projects, drawing from rock & roll, jazz, and traditional African music. Through these projects--and with the aid of newly imagined techniques of computer-based recording--Savage is able to target areas of contemporary practice that are particularly significant in the cultural evolution of the musical experience, from the perspective of composers, musicians, and listeners. Each audio project includes a studio study providing context for the social and cultural analysis that follows. This work stems from Savage's experience as a professional recording engineer and record producer."--Jacket.

Popular music --- Sound recordings --- Production and direction. --- Sound recordings direction --- Sound recordings production --- Music, Popular --- Music, Popular (Songs, etc.) --- Pop music --- Popular songs --- Popular vocal music --- Songs, Popular --- Vocal music, Popular --- Music --- Cover versions --- Direction --- Geschichte 2000-2011.

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This book traces a rebellious spirit in post-civil rights Black music by focusing on a range of offbeat, eccentric, queer, or slippery performances by leading musicians influenced by the cultural changes brought about by the civil rights, Black nationalist, feminist, and LGBTQ movements, who through reinvention created a repertoire of performances that have left a lasting mark on popular music. The book's readings of performers including Michael Jackson, Grace Jones, Stevie Wonder, Eartha Kitt, and Meshell Ndegeocello demonstrate how embodied sound and performance became a means for creativity, transgression, and social critique, a way to reclaim imaginative and corporeal freedom from the social death of slavery and its legacy of racism, to engender new sexualities and desires, to escape the sometimes constrictive codes of respectability and uplift from within the Black community, and to make space for new futures for their listeners. The book's perspective on music as a form of Black corporeality and identity, creativity, and political engagement will appeal to those in African American studies, popular music studies, queer theory, and Black performance studies; general readers will welcome its engaging, accessible, and sometimes playful writing style, including elements of memoir.

Popular music --- Soul music. --- Soul music --- African Americans --- Rhythm and blues music --- Music, Popular --- Music, Popular (Songs, etc.) --- Pop music --- Popular songs --- Popular vocal music --- Songs, Popular --- Vocal music, Popular --- Music --- Cover versions --- Social aspects.

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Trouble Songs is a hybrid serial work that tracks the appearance of the word “trouble” in 20th- and 21st-century American music. It reads (and sings) songs and poems, with reference to cultural events ranging from the death of a pop singer to the growth of popular resistance movements. The trouble singer invokes the word “trouble” in place of actual trouble—the song is a spell that conjures trouble (from bad luck and disaffection to infidelity, impotence, destitution, and the specter of death) in a temporary form that can be dis-spelled, if only for the length of the song. Singer and song also open a critical space for making trouble, for stirring the heart and mind. This space is a disjunction in time (and a superimposition of events) where singer and listener collaborate on meaning (un/)making as they temporarily transform trouble.

Theory of music & musicology --- Popular music --- Poetry. --- Songs. --- Philosophy and aesthetics. --- Poems --- Poetry --- Verses (Poetry) --- Literature --- Music, Popular --- Music, Popular (Songs, etc.) --- Pop music --- Popular songs --- Popular vocal music --- Songs, Popular --- Vocal music, Popular --- Music --- Cover versions --- Aesthetics --- Philosophy --- US musical history --- musicology --- poetics --- bad luck --- trouble

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Realizando uma viagem pelas águas poéticas do Velho Chico, a obra apresenta um estudo sobre as narrativas orais em prosa e verso e as canções do samba ribeirinho, que retratam a experiência cotidiana desse lugar e os sentidos diários que se configuram como as formas que as sambadeiras e sambadores veem o mundo. Sendo assim, o livro foca nas representações e simbologias presentes nas cantigas do grupo de samba de roda “É na pisada ê”, assim como os aspectos estruturais da lírica de sua poética, tais como: estrofe, rima, versificação, musicalidade, dentre outros.

Popular music --- Sambas --- Samba (Dance) --- Poetics. --- History and criticism. --- History. --- Bahia (Brazil : State) --- Social life and customs. --- Poetry --- Dance --- Sambas (Band) --- Dance music --- Music, Popular --- Music, Popular (Songs, etc.) --- Pop music --- Popular songs --- Popular vocal music --- Songs, Popular --- Vocal music, Popular --- Music --- Cover versions --- Technique --- Bahia (Brazil : Captaincy) --- Bahia (Brazil : Province)