From the bestselling author of The Man Who Mistook His Wife for a Hat • Fascinating portraits of neurological disorder in which men, women, and one extraordinary child emerge as brilliantly adaptive personalities, whose conditions have not so much debilitated them as ushered them into another reality. Here are seven detailed narratives of neurological patients, including a surgeon consumed by the compulsive tics of Tourette's syndrome unless he is operating; an artist who loses all sense of color in a car accident, but finds a new sensibility and creative power in black and white; and an autistic professor who cannot decipher the simplest social exchange between humans, but has built a career out of her intuitive understanding of animal behavior. Sacks combines the well honed mind of an academician with the verve of a true storyteller.
This book is an excellent study of the history and unique musical stylings of the Hawaiian guitar. Stacy Phillips successfully pinpoints the characteristics of Hawaiian guitar solos. A special feature is the inclusion of a superb historical survey of Hawaiian music. Written in tablature only, G tuning. DeWitt Scott comments: There are two types of Hawaiian music, the 'authentic' style and the 'tourist' style. Stacy is presenting the 'authentic' style and this is much needed to keep the Hawaiian music alive. Includes access to online audio.
Outsider musicians can be the product of damaged DNA, alien abduction, drug fry, demonic possession, or simply sheer obliviousness. This book profiles dozens of outsider musicians, both prominent and obscure—figures such as The Shaggs, Syd Barrett, Tiny Tim, Jandek, Captain Beefheart, Daniel Johnston, Harry Partch, and The Legendary Stardust Cowboy—and presents their strange life stories along with photographs, interviews, cartoons, and discographies. About the only things these self-taught artists have in common are an utter lack of conventional tunefulness and an overabundance of earnestness and passion. But, believe it or not, they're worth listening to, often outmatching all contenders for inventiveness and originality. A CD featuring songs by artists profiled in the book is also available.
This text examines the neural basis of musicianship and forms a comprehensive account of the motor skills and associated cognitive processes which are behind musical talent. It covers a range of instruments and performance situations, and examines motor problems in musicians in later life.
Mr. Lipton’s book is the first complete and unbiased survey of the beat generation and its role in our society. Here are the intimate facts about these people and their attitudes toward sex, dope, jazz, art, religion, parents, landlords, employers, politicians, draft boards, the law and, most important, toward the “square”. The author presents a picture of their way of life, their individual backgrounds, the language they have appropriated, in terms made clear for the first time to those of us who have been confused and puzzled about them. He also provides a balanced discussion of their literature, art and music, of what they produce and fail to produce in the arts they practice.—Print Ed.
"When bebop was new," writes Thomas Owens, "many jazz musicians and most of the jazz audience heard it as radical, chaotic, bewildering music." For a nation swinging to the smoothly orchestrated sounds of the big bands, this revolutionary movement of the 1940s must have seemed destined for a short life on the musical fringe. But today, Owens writes, bebop is nothing less than "the lingua franca of jazz, serving as the principal musical language of thousands of jazz musicians." In Bebop, Owens conducts us on an insightful, loving tour through the music, players, and recordings that changed American culture. Combining vivid portraits of bebop's gigantic personalities with deft musical analysis, he ranges from the early classics of modern jazz (starting with the 1943 Onyx Club performances of Dizzy Gillespie, Max Roach, Oscar Pettiford, Don Byas, and George Wallington) through the central role of Charlie Parker, to an instrument-by-instrument look at the key players and their innovations. Illustrating his discussion with numerous musical excerpts, Owens skillfully demonstrates why bebop was so revolutionary, with fascinating glimpses of the tempestuous jazz world: Thelonious Monk, for example, did "everything 'wrong' in the sense of traditional piano technique....Because his right elbow fanned outward away from his body, he often hit the keys at an angle rather than in parallel. Sometimes he hit a single key with more than one finger, and divided single-line melodies between two hands." In addition to his discussions of individual instruments and players, Owens examines ensembles, with their sometimes volatile collaborations: in the Jazz Messengers, Benny Golson told of how his own mellow saxophone playing would get lost under Art Blakey's furious drumming: "He would do one of those famous four-bar drum rolls going into the next chorus, and I would completely disappear. He would holler over at me, 'Get up out of that hole!'" In this marvelous account, Owens comes right to the present day, with accounts of new musicians ranging from the Marsalis brothers to lesser-known masters like pianist Michel Petrucciani. Bebop is a jazz-lover's dream--a serious yet highly personal look at America's most distinctive music.
The Philippines series of the PALI Language Texts, under the general editorship of Howard P. McKaughan, consists of lesson textbooks, grammars, and dictionaries for seven major Filipino languages. Ilokano is an Austronesian language. It ranks third among the major languages of the Philippines, being spoken by just over 12 percent of the population. Widely spoken throughout the Philippines, Ilokano is the dominant language of most of the provinces of Northern Luzon and is used as a lingua franca by non-Ilokano speakers in this area. Settlers have also carried the language to Mindoro and to several areas in Mindanao. The Ilokano dictionary was developed under the auspices of the Pacific and Asian Linguistics Institute (PALI) of the University of Hawaii, and accompanies the Ilokano reference grammar by the same author as well as Ilokano Lessons by Bernabe, Lapid, and Sibayan. The dictionary contains some 7,000 Ilokano entries. Many of the entries are illustrated by Ilokano sentences to clarify usage.
The career of Norton and Margot, a ballroom dance team whose work was thwarted by the racial tenets of the era, serves as the barometer of the times and acts as the tour guide on this excursion through the worlds of African American vaudeville, black and white America during the swing era, the European touring circuit, and pre-Civil Rights era racial etiquette.
