A photographic look into the world of vinyl record collectors—including Questlove—in the most intimate of environments—their record rooms. Compelling photographic essays from photographer Eilon Paz are paired with in-depth and insightful interviews to illustrate what motivates these collectors to keep digging for more records. The reader gets an up close and personal look at a variety of well-known vinyl champions, including Gilles Peterson and King Britt, as well as a glimpse into the collections of known and unknown DJs, producers, record dealers, and everyday enthusiasts. Driven by his love for vinyl records, Paz takes us on a five-year journey unearthing the very soul of the vinyl community.
Since it was first published in 1993, the Sourcebook for Research in Music has become an invaluable resource in musical scholarship. The balance between depth of content and brevity of format makes it ideal for use as a textbook for students, a reference work for faculty and professional musicians, and as an aid for librarians. The introductory chapter includes a comprehensive list of bibliographical terms with definitions; bibliographic terms in German, French, and Italian; and the plan of the Library of Congress and the Dewey Decimal music classification systems. Integrating helpful commentary to instruct the reader on the scope and usefulness of specific items, this updated and expanded edition accounts for the rapid growth in new editions of standard works, in fields such as ethnomusicology, performance practice, women in music, popular music, education, business, and music technology. These enhancements to its already extensive bibliographies ensures that the Sourcebook will continue to be an indispensable reference for years to come.
Future and current independent private music educators will find this book an invaluable resources for establishing and maintaining a private music studio. Private music instructors will learn what they should expect professionaly, personally, and financially from their independent music instruction business. Until now, no single resource has existed that fully explains how to run this type of business successfully. This book presents all aspects of private music instruction through an easy-to-read, concise, and engaging instructional format. Following the sound advice presented will help to greatly alleviate the problems that all beginning independent instructors face by specifically mapping out chronological steps for establishing and maintaining a private instruction music business. The field of private music education has been inundated by less-than-professional individuals who have made it difficult for legitimate, qualified instructors. The Private Music Instruction Manual shares years of information and experiences in the hope of legitimizing the field of private music instruction. In a world where there is decreasing priority and structure in public music education, private music instructors become increasingly important to prepare the next generation of musicians. No matter the size of your private music instruction business, the advice presented in The Private Music Instruction Manual will help to improve any private music business. From the Midwest Book Review: With The Private Music Instruction Manual; A Guide For The Independent Music Educator, author Rebecca Osborn draws upon her many years of experience and expertise as an adjunct college music professor and owner of three private music studies to write an informed and informative guidebook specifically for musicians and music instructors who want to teach students in a profitable private practice but are not familiar with or knowledgeable about setting up a music instruction business enterprise. Rebecca Osborne provides a wealth of invaluable, professional, effectively organized and presented instructions on establishing and maintaining a music teaching business and shows what to expect professional, personally, and financially from independent music instruction. If you want to make money teaching other how to play any kind of music instrument, then you need to give a careful (and profitable!) reading to Rebecca Osborn's The Private Music Instruction Manual!
Not too far away from the flea markets, dusty attics, cluttered used record stores and Ebay is the world of the vinyl junkies. Brett Milano dives deep into the piles of old vinyl to uncover the subculture of record collecting. A vinyl junkie is not the person who has a few old 45s shoved in the cuboard from their days in high school. Vinyl Junkies are the people who will travel over 3,000 miles to hear a rare b-side by a German band that has only recorded two songs since 1962, vinyl junkies are the people who own every copy of every record produced by the favorite artist from every pressing and printing in existance, vinyl junkies are the people who may just love that black plastic more than anything else in their lives. Brett Milano traveled the U.S. seeking out the most die-hard and fanatical collectors to capture all that it means to be a vinyl junkie. Includes interviews with Thurston Moore of Sonic Youth, Peter Buck from R.E.M and Robert Crumb, creator of Fritz the cat and many more underground comics.
This book constitutes the proceedings of the 14th International Conference on Information in Contemporary Society, iConference 2019, held in Washington, DC, USA, in March/April 2019. The 44 full papers and 33 short papers presented in this volume were carefully reviewed and selected from 133 submitted full papers and 88 submitted short papers. The papers are organized in the following topical sections: Scientific work and data practices; methodological concerns in (big) data research; concerns about “smart” interactions and privacy; identity questions in online communities; measuring and tracking scientific literature; limits and affordances of automation; collecting data about vulnerable populations; supporting communities through public libraries and infrastructure; information behaviors in academic environments; data-driven storytelling and modeling; online activism; digital libraries, curation and preservation; social-media text mining and sentiment analysis; data and information in the public sphere; engaging with multi-media content; understanding online behaviors and experiences; algorithms at work; innovation and professionalization in technology communities; information behaviors on Twitter; data mining and NLP; informing technology design through offline experiences; digital tools for health management; environmental and visual literacy; and addressing social problems in iSchool research.
This title was first published in 2002: Burghley House, Stamford, was built between 1555 and 1587 for William Cecil, Lord Burghley, the Lord High Treasurer to Queen Elizabeth I. The library there contains an extensive collection of manuscript and printed music dating from about 1650 to 1850, substantially formed during the latter part of the 18th century by the Ninth Earl of Exeter. The collection is given particular significance by the inclusion of several rare and in some cases apparently unique volumes. This catalogue examines the Burghley House music collection in the light of contemporary documentary evidence. The opening section describes the people who added to the collection and their musical enthusiasms. This approach brings the collection to life and also enables us to appreciate emergent trends in British music history of the period. With each entry fully described and the printed music referenced to RISM or CPM, this catalogue should form a valuable reference source for all scholars of British music from the 17th to the 19th century.
The literature of American music librarianship has been around since the 19th century when public libraries began to keep records of player-piano concerts, significant donations of books and music, and suggestions for housing music. As the 20th century began, American periodicals printed more and more articles on increasingly specialized topics within music studies. Eventually books were developed to aid the music librarian; their publication has continued over the course of nearly a century. This book reflects the great diversity of the literature of music librarianship. The main resources included are items of historical interest, descriptions of individual collections, catalogues of collections, articles describing specific library functions, record-related subjects, bibliographies designed for music library use, literature from Canada and Britain when relevant to U.S. library practices, key discographies, and information on specialized music research. The material is ordered by topic and indexed by author, subject, and library name.
