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Designed for the musician who wants to become a professional arranger-composer. Includes a section of dance band harmony and voicing.
Designed for the musician who wants to become a professional arranger-composer. Includes a section of dance band harmony and voicing.
Discusses trends in jazz, pop, and "modern classical" techniques as well as new scales, chords, progressions, free improvisation, vocal effects, using tone rows in practical music, and more. The CD includes many of the 169 examples and a recording of a complete score of an exciting contemporary composition by Garcia.
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Includes the following submitted material. a. American Society of Composers, Authors, and Publishers, monthly record release listing, Jan. 1958 (p. 335-388). b. Broadcast Music, Inc., affiliated music publishers in U.S. and foreign countries, alphabetical list by name and state or country (p. 613-762). c. "Broadcaster-BMI Domination of the Music Industry" by John Schulman for Songwriters Protective Association (p. 1035-1144).
Russ Garcia, a well-known composer, arranger and conductor, and Gina, a singer by profession and freelance lyric writer, against the advice of friends and fellow Baha'is, these "city folk' taught themselves how to sail. This is their galvanizing story as they set off across the broad Pacific Ocean on their 40 foot trimaran, Dawn-Breaker, to visit the far away islands, and to share the message of Baha'u'llah.
Hollywood film scores underwent a supersonic transformation from the 1950s through the 1970s. This genre-by-genre overview of film and television soundtrack music covers a period of tremendous artistic and commercial development in the medium. Film and television composers bypassed the classical tradition favored by earlier screen composers to experiment with jazz, rock, funk and avant-garde styles. This bold approach brought a rich variety to film and television productions that often took on a life of its own through records and CDs. From Bernard Herrmann to Ennio Morricone, the composers of the "Silver Age" changed the way movie music was made, used, and heard. The book contains more than 100 promotional film stills and soundtrack cover art images.
Demonstrates that slapstick film comedies display a canny and sometimes profound understanding of their medium. Slapstick film comedy may be grounded in idiocy and failure, but the genre is far more sophisticated than it initially appears. In this book, Burke Hilsabeck suggests that slapstick is often animated by a philosophical impulse to understand the cinema. He looks closely at movies and gags that represent the conditions and conventions of cinema production and demonstrates that film comedians display a canny and sometimes profound understanding of their medium—from Buster Keaton’s encounter with the film screen in Sherlock Jr. (1924) to Harpo Marx’s lip-sync turn with a phonogra...
When Americans mamboed in the kitchen, waltzed in the living room, polkaed in the pavilion, and tangoed at the club; with glorious, full-color record cover art. In midcentury America, eager dancers mamboed in the kitchen, waltzed in the living room, Watusied at the nightclub, and polkaed in the pavilion, instructed (and inspired) by dance records. Glorious, full-color record covers encouraged them: Let’s Cha Cha Cha, Dance and Stay Young, Dancing in the Street!, Limbo Party, High Society Twist. In Designed for Dancing, vinyl record aficionados and collectors Janet Borgerson and Jonathan Schroeder examine dance records of the 1950s and 1960s as expressions of midcentury culture, identity, f...