Encyclopedia of Great Popular Song Recordings by From John Philip Sousa to Green Day, from Scott Joplin to Kanye West, from Stephen Foster to Coldplay, The Encyclopedia of Great Popular Song Recordings, Volumes 1 and 2 covers the vast scope of its subject with virtually unprecedented breadth and depth. Approximately 1,000 key song recordings from 1889 to the present are explored in full, unveiling the stories behind the songs, the recordings, the performers, and the songwriters. Beginning the journey in the era of Victorian parlor balladry, brass bands, and ragtime with the advent of the record industry, readers witness the birth of the blues and the dawn of jazz in the 1910s and the emergence of country music on record and the shift from acoustic to electrical recording in the 1920s. The odyssey continues through the Swing Era of the 1930s; rhythm & blues, bluegrass, and bebop in the 1940s; the rock & roll revolution of the 1950s; modern soul, the British invasion, and the folk-rock movement of the 1960s; and finally into the modern era through the musical streams of disco, punk, grunge, hip-hop, and contemporary dance-pop. Sullivan, however, also takes critical detours by extending the coverage to genres neglected in pop music histories, from ethnic and world music, the gospel recording of both black and white artists, and lesser-known traditional folk tunes that reach back hundreds of years. This book is ideal for anyone who truly loves popular music in all of its glorious variety, and anyone wishing to learn more about the roots of virtually all the music we hear today. Popular music fans, as well as scholars of recording history and technology and students of the intersections between music and cultural history will all find this book to be informative and interesting.
Music and Politics by It is common to hear talk of how music can inspire crowds, move individuals and mobilise movements. We know too of how governments can live in fear of its effects, censor its sounds and imprison its creators. At the same time, there are other governments that use music for propaganda or for torture. All of these examples speak to the idea of music's political importance. But while we may share these assumptions about music's power, we rarely stop to analyse what it is about organised sound - about notes and rhythms - that has the effects attributed to it. This is the first book to examine systematically music's political power. It shows how music has been at the heart of accounts of political order, at how musicians from Bono to Lily Allen have claimed to speak for peoples and political causes. It looks too at the emergence of music as an object of public policy, whether in the classroom or in the copyright courts, whether as focus of national pride or employment opportunities. The book brings together a vast array of ideas about music's political significance (from Aristotle to Rousseau, from Adorno to Deleuze) and new empirical data to tell a story of the extraordinary potency of music across time and space. At the heart of the book lies the argument that music and politics are inseparably linked, and that each animates the other.
