Winner of the Society for Ethnmusicology's Klaus Wachsmann Award (2006) Wired for Sound is the first anthology to address the role of sound engineering technologies in the shaping of contemporary global music. Wired sound is at the basis of digital audio editing, multi-track recording, and other studio practices that have powerfully impacted the world's music. Distinctions between musicians and engineers increasingly blur, making it possible for people around the globe to imagine new sounds and construct new musical aesthetics. This collection of 11 essays employs primarily ethnographical, but also historical and psychological, approaches to examine a range of new, technology-intensive musics and musical practices such as: fusions of Indian film-song rhythms, heavy metal, and gamelan in Jakarta; urban Nepali pop which juxtaposes heavy metal, Tibetan Buddhist ritual chant, rap, and Himalayan folksongs; collaborations between Australian aboriginals and sound engineers; the production of "heaviness" in heavy metal music; and the production of the "Austin sound." This anthology is must reading for anyone interested in the global character of contemporary music technology. CONTRIBUTORS: Harris M. Berger, Beverley Diamond, Cornelia Fales, Ingemar Grandin, Louise Meintjes, Frederick J. Moehn, Karl Neunfeldt, Timothy D. Taylor, Jeremy Wallach.

The eighties was a golden era for British pop: Radio One served as the soundtrack of the nation; the chart run-down on Sunday evenings was compulsory listening - ditto watching Top of the Popsand reading Smash Hits. It also saw the launch of the Now That's What I Call Music series. In the States, the arrival of MTV helped usher in what became known as the 'Second British Invasion', echoing the success of the Beatles twenty years earlier. Wired For Soundtells the remarkable story of the great eighties British bands (and Kajagoogoo) and how their music captured the nation's imagination: the more radical beginnings in the early eighties (the new romanticisms of Duran and Spandau, the 'protest pop' of early Wham!); the full pomp of their mid-eighties success (the worldwide tours, the glamorous video shoots, the ubiquitous 'Choose Life' and 'Relax' T-shirts); and their fall from the top of pop's pedestal (the splitting up of Wham!, Boy George's drug problems). Wired for Soundwill describe the subsequent descent to Band Aid II (Bros, Wet Wet Wet, Stock, Aitken and Waterman), which bookended the low point of the pop music that followed. Wired For Sound will be the affectionate celebration of both a musical youth and the era when young guns went for it. This is a book for anyone who grew up reading Smash Hits, soundtracked their teenage years on C90 cassettes and remembers a time when it really mattered who was number one.

It's 1988 and Bushmaster is about to become history in the worst way possible when the front man is electrocuted during sound check. Someone had enough. All the band members had a motive. MacGrough: I didnae ken what tha lament tried tae tell me. Vince is dead, and tha band's done for. I understand more than tha polis, someone killed tha arse. But who and why now? If they look too close at Lori, I'm worried about what they may find. Someone burned my wife before we met. It's all circumstantial, she lived in Brighton and Vince had ah woman there. It couldn't have been her. But, she's never said, and I canae get that out of my head. Lori: We must get back to Glasgow. If Hamish doesn't get the album done in time, he will lose the backers. The cops have us trapped here. Hamish is acting strange. Yes, I understand it's a murder investigation but we should stay out of it. This is Hamish's family, when they find the killer, it will hurt him.

Part of a 24-book series that covers the four main branches of sciencephysical science, life science, earth and space science, and science and technology, and covers essential content standards. Students will build their scientific knowledge, increase their content vocabulary, and sharpen critical nonfiction comprehension skills. Books are 6 5/8" x 9 1/8"

“Beautifully written... a riveting account of how melodies and rhythms connect us, and help us deal with alienation and anxiety.”—Dr. Bessel van der Kolk, author of The Body Keeps the Score In this captivating blend of science and memoir, a health journalist and former cellist explores music as a source of health, resilience, connection, and joy. Music isn’t just background noise or a series of torturous exercises we remember from piano lessons. In the right doses, it can double as a mild antidepressant, painkiller, sleeping pill, memory aid—and enhance athletic performance while supporting healthy aging. Though music has been used as a healing strategy since ancient times, neuroscientists have only recently discovered how melody and rhythm stimulate core memory, motor, and emotion centers in the brain. But here’s the catch: We can tune into music every day and still miss out on some of its potent effects. Adriana Barton learned the hard way. Starting at age five, she studied the cello for nearly two decades, a pursuit that left her with physical injuries and emotional scars. In Wired for Music, she sets out to discover what music is really for, combing through medical studies, discoveries by pioneering neuroscientists, and research from biology and anthropology. Traveling from state-of-the-art science labs to a remote village in Zimbabwe, her investigation gets to the heart of music’s profound effects on the human body and brain. Blending science and story, Wired for Music shows how our species’ age-old connection to melody and rhythm is wired inside us.