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"Musicians Fiction."
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The final revival of Opal & Nev : a novel
\"Opal is a fiercely independent young woman pushing against the grain in her style and attitude, Afro-punk before that term existed. Coming of age in Detroit, she can't imagine settling for a 9-to-5 job--despite her unusual looks, Opal believes she can be a star. So when the aspiring British singer/songwriter Neville Charles discovers her at a bar's amateur night, she takes him up on his offer to make rock music together for the fledgling Rivington Records. In early seventies New York City, just as she's finding her niche as part of a flamboyant and funky creative scene, a rival band signed to her label brandishes a Confederate flag at a promotional concert. Opal's bold protest and the violence that ensues set off a chain of events that will not only change the lives of those she loves, but also be a deadly reminder that repercussions are always harsher for women, especially black women, who dare to speak their truth. Decades later, as Opal considers a 2016 reunion with Nev, music journalist S. Sunny Shelton seizes the chance to curate an oral history about her idols. Sunny thought she knew most of the stories leading up to the cult duo's most politicized chapter. But as her interviews dig deeper, a nasty new allegation from an unexpected source threatens to blow up everything.\"-- Provided by publisher.
Book
Victory
Although Joseph Conrad is now regarded by many critics as one of the most important twentieth-century writers, popular acclaim proved hard for the Polish-born writer to achieve during his lifetime. It was
eBook
The night train : a novel
In 1963, Dwayne Hallston discovers James Brown and wants to perform just like him. Meanwhile, Dwayne's forbidden black friend Larry, aspiring to play piano like Thelonius Monk, apprentices to a jazz musician called the Bleeder. A mutual passion for music helps Dwayne and Larry as they try to achieve their dreams.--Source other than Library of Congress.
Book
Long-term music instruction is partially associated with the development of socioemotional skills
This study aims to investigate the development of pitch-matching, rhythmic entrainment, and socioemotional skills in children who received formal music instruction and other non-music based after school programs. Eighty-three children, averaging 6.81 years old at baseline, were enrolled in either a music, sports, or no after-school program and followed over four years. The music program involved formal and systematic instruction in music theory, instrumental technique, and performance. Most control participants had no music education; however, in some instances, participants received minimal music education at school or at church. Musical development was measured using a pitch-matching and drumming-based rhythmic entrainment task. Sharing behavior was measured using a variation of the dictator game, and empathy was assessed using three different assessments: the Index of Empathy for Children and Adolescence (trait empathy), the Reading the Mind in the Eyes Test (theory of mind), and a Fiction Emotion-Matching task (state empathy). Results revealed no time-related associations in pitch-matching ability; however, formal music instruction improved pitch-matching relative to controls. On the contrary, improvements in rhythmic entrainment were best explained by age-related changes rather than music instruction. This study also found limited support for a positive association between formal music instruction and socioemotional skills. That is, individuals with formal music instruction exhibited improved emotion-matching relative to those with sports training. In terms of general socioemotional development, children’s trait-level affective empathy did not improve over time, while sharing, theory of mind, and state empathy did. Additionally, pitch-matching and rhythmic entrainment did not reliably predict any socioemotional measures, with associations being trivial to small. While formal music instruction benefitted pitch-matching ability and emotion-matching to an audiovisual stimulus, it was not a significant predictor of rhythmic entrainment or broader socioemotional development. These findings suggest that the transfer of music training may be most evident in near or similar domains.
Journal Article
Play
\"Mal Ericson, drummer for the world famous rock band Stage Dive, needs to clean up his image fast--at least for a little while. Having a good girl on his arm should do the job just fine. Mal doesn't plan on this temporary fix becoming permanent, but he didn't count on finding the one right girl. Anne Rollins never thought she'd ever meet the rock god who plastered her teenage bedroom walls--especially not under these circumstances. Anne has money problems. Big ones. But being paid to play the pretend girlfriend to a wild life-of-the-party drummer couldn't end well\"-- Provided by publisher.
Book
Pretty Good for a Girl
The first book devoted entirely to women in bluegrass, Pretty Good for a Girl documents the lives of more than seventy women whose vibrant contributions to the development of bluegrass have been, for the most part, overlooked. Accessibly written and organized by decade, the book begins with Sally Ann Forrester, who played accordion and sang with Bill Monroe's Blue Grass Boys from 1943 to 1946, and continues into the present with artists such as Alison Krauss, Rhonda Vincent, and the Dixie Chicks. Drawing from extensive interviews, well-known banjoist Murphy Hicks Henry gives voice to women performers and innovators throughout bluegrass's history, including such pioneers as Bessie Lee Mauldin, Wilma Lee Cooper, and Roni and Donna Stoneman; family bands including the Lewises, Whites, and McLains; and later pathbreaking performers such as the Buffalo Gals and other all-girl bands, Laurie Lewis, Lynn Morris, Missy Raines, and many others.
eBook
Adapting The Mysteries of Udolpho’s Musicality into Real Music: An Impossible Task?
The Mysteries of Udolpho was published at a time when poetry and music were being redefined, along with the notions of imitation and expression. From a precedence of word over music, theorists, musicians and composers started reconsidering the hierarchy of arts, which led to a new appreciation of both sung music and instrumental music. Ann Radcliffe’s novel is replete with pleasing sounds and mysterious melodies, working both as part of her décor and general soundscape and as a key element of the narrative. Given the novel’s musical profusion and versatility, one may wonder how to adapt its musicality into actual music. This paper, therefore, endeavors to define the balance of imitation and expression in The Mysteries of Udolpho and questions the ability of other media, especially those relying on sounds, to adapt its musical richness. It first focuses on the novel’s inscription in the larger context of musical theory, before delving into the limits of language’s sound mimesis and its counteracting expressivity. The final part is a case study of three artworks inspired by Radcliffe’s novel: John Bray’s song “Soft as yon’s silver ray that sleeps”, Catherine Czerkawska’s radio dramatization The Mysteries of Udolpho, and Marc Morvan and Benjamin Jarry’s album Udolpho.
Journal Article
Poetic Injustice
When J.R. Cash (Johnny Cash) sings that he shot a man in Reno just to watch him die, audiences impressed by the singer's skillful creation and depiction of a nihilistic lyrical subject clap and cheer. When Terrell Doyley (Skengdo) and Joshua Malinga (A.M.) sang broadly similar lyrics at a concert in 2018, London's Metropolitan Police and the Crown Prosecution Service took them to be describing violent acts they had participated in and violent intentions they harbored, and the lyrics were used as the basis for legal proceedings against the singers that resulted in convictions. In this paper, I will argue that Doyley and Malinga's case illustrates a distinctive and important form that epistemic injustice can take. By failing to see their lyrics as speech that involves the exercise of their capacity for imagination, the police and prosecutors treat them as an impoverished sort of epistemic agent. I will call the wrong involved in cases like this one poetic injustice.
Journal Article