The Stanford Song Book
Author | : |
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Total Pages | : 52 |
Release | : 1913 |
Genre | : Students' songs |
ISBN | : |
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Author | : |
Publisher | : |
Total Pages | : 52 |
Release | : 1913 |
Genre | : Students' songs |
ISBN | : |
Author | : Merle Harold Thorpe |
Publisher | : |
Total Pages | : 192 |
Release | : 1905 |
Genre | : Students' songs |
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Author | : Andrew J. Nelson |
Publisher | : MIT Press |
Total Pages | : 250 |
Release | : 2015-03-06 |
Genre | : Education |
ISBN | : 026202876X |
How a team of musicians, engineers, computer scientists, and psychologists developed computer music as an academic field and ushered in the era of digital music. In the 1960s, a team of Stanford musicians, engineers, computer scientists, and psychologists used computing in an entirely novel way: to produce and manipulate sound and create the sonic basis of new musical compositions. This group of interdisciplinary researchers at the nascent Center for Computer Research in Music and Acoustics (CCRMA, pronounced “karma”) helped to develop computer music as an academic field, invent the technologies that underlie it, and usher in the age of digital music. In The Sound of Innovation, Andrew Nelson chronicles the history of CCRMA, tracing its origins in Stanford's Artificial Intelligence Laboratory through its present-day influence on Silicon Valley and digital music groups worldwide. Nelson emphasizes CCRMA's interdisciplinarity, which stimulates creativity at the intersections of fields; its commitment to open sharing and users; and its pioneering commercial engagement. He shows that Stanford's outsized influence on the emergence of digital music came from the intertwining of these three modes, which brought together diverse supporters with different aims around a field of shared interest. Nelson thus challenges long-standing assumptions about the divisions between art and science, between the humanities and technology, and between academic research and commercial applications, showing how the story of a small group of musicians reveals substantial insights about innovation. Nelson draws on extensive archival research and dozens of interviews with digital music pioneers; the book's website provides access to original historic documents and other material.
Author | : Stanford University |
Publisher | : |
Total Pages | : 43 |
Release | : 1919 |
Genre | : Students' songs |
ISBN | : |
Author | : Charles Villiers Stanford |
Publisher | : Franklin Classics |
Total Pages | : 262 |
Release | : 2018-10-12 |
Genre | : |
ISBN | : 9780342693771 |
This work has been selected by scholars as being culturally important and is part of the knowledge base of civilization as we know it. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. To ensure a quality reading experience, this work has been proofread and republished using a format that seamlessly blends the original graphical elements with text in an easy-to-read typeface. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.
Author | : Charles villiers Stanford |
Publisher | : |
Total Pages | : |
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Author | : |
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Total Pages | : 48 |
Release | : 1945 |
Genre | : Students' songs |
ISBN | : |
Author | : M. H. Thorpe |
Publisher | : |
Total Pages | : 174 |
Release | : 1905 |
Genre | : Students' songs |
ISBN | : |
Author | : Jeremy Dibble |
Publisher | : Oxford University Press, USA |
Total Pages | : 584 |
Release | : 2002 |
Genre | : Biography & Autobiography |
ISBN | : 9780198163831 |
'Jeremy Dibble has written a book which adds substantially to Stanford's reputation and which greatly enriches both British and Irish musical scholarship. It is brilliantly done.' -Irish TimesJeremy Dibble presents the first authoritative, comprehensive study of the life and works of Charles Villiers Stanford (1852-1924), one of the most gifted and influential composers. Dibble reveals how, although perhaps best known for his church music, Stanford was also an eminent symphonist, songwriter, and author of many fine choral works. Cosmopolitan, ambitious, and pragmatic, he was untiring in his efforts to advance the cause of British music during its renaissance at the end of the nineteenth century, promoting the music of his contemporaries, and the many pupils he taught at Cambridge and the Royal College of Music, including Vaughan Williams, Ireland, Howells, Bliss, Holst, and Gurney.
Author | : Adrian Daub |
Publisher | : Oxford University Press |
Total Pages | : 257 |
Release | : 2015-08-31 |
Genre | : Music |
ISBN | : 0190234547 |
Starting with 1964's Goldfinger, every James Bond film has followed the same ritual, and so has its audience: after an exciting action sequence the screen goes black and the viewer spends three long minutes absorbing abstract opening credits and a song that sounds like it wants to return to 1964. In The James Bond Songs authors Adrian Daub and Charles Kronengold use the genre to trace not only a changing cultural landscape, but also evolving conceptions of what a pop song is. They argue that the story of the Bond song is the story of the pop song more generally, and perhaps even the story of its end. Each chapter discusses a particular segment of the Bond canon and contextualizes it in its era's music and culture. But the book also asks how Bond and his music reflected and influenced our feelings about such topics as masculinity, race, money, and aging. Through these individual pieces the book presents the Bond song as the perfect anthem of late capitalism. The Bond songs want to talk about the fulfillment that comes from fast cars, shaken Martinis and mindless sex, but their unstable speakers, subjects, and addressees actually undercut the logic of the lifestyle James Bond is sworn to defend. The book is an invitation to think critically about pop music, about genre, and about the political aspects of popular culture in the twentieth century and beyond.