This book provides information on some 14,500 recordings of 3,500 old-time folk and country songs recorded between 1921 and 1942. Each performance receives a full citation, including the date and place of recording, original and variant artist, and title credits. Whenever possible, songs are traced back to their original lyricists and composers or to major published and unpublished folksong collections. Entries are grouped into broad subject categories: ballads, popular songs, religious songs, and instrumentals.
Based on 35 years of research in public and private collections of recordings, broadsides, pamphlets, and sheet music, this valuable resource allows a fresh understanding of pre-World War II country music and its intricate connections to the blues, old world folk music, and the broad spectrum of American popular song.
From Dixieland and boogie woogie to swing, blues, jazz, bop, Latin, and rock music, this title offers a variety of styles. Along with music to fifteen songs, downloadable MP3s provide a chance to play with a top Broadway trombonist.
Join a current Broadway musician to practice first or second trumpet with 16 selections of bop, swing, Latin, jazz, rock, Dixieland, and blues arrangements. In addition to the music, this volume includes downloadable MP3s with backup accompaniment for rehearsal routines.
This collection of literature attempts to compile many of the classic, timeless works that have stood the test of time and offer them at a reduced, affordable price, in an attractive volume so that everyone can enjoy them.
In the late 1990s, the MP3 became the de facto standard for digital audio files and the networked computer began to claim a significant place in the lives of more and more listeners. The dovetailing of these two circumstances is the basis of a new mode of musical production and distribution where new practices emerge. This book is not a definitive statement about what the new music industry is. Rather, it is devoted to what this new industry is becoming by examining these practices as experiments, dedicated to negotiating what is replacing an "object based" industry oriented around the production and exchange of physical recordings. In this new economy, constant attention is paid to the production and licensing of intellectual property and the rise of the "social musician" who has been encouraged to become more entrepreneurial. Finally, every element of the industry now must consider a new type of audience, the "end user", and their productive and distributive capacities around which services and musicians must orient their practices and investments.
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