Go-go is the conga drum–inflected black popular music that emerged in Washington, D.C., during the 1970s. The guitarist Chuck Brown, the "Godfather of Go-Go," created the music by mixing sounds borrowed from church and the blues with the funk and flavor that he picked up playing for a local Latino band. Born in the inner city, amid the charred ruins of the 1968 race riots, go-go generated a distinct culture and an economy of independent, almost exclusively black-owned businesses that sold tickets to shows and recordings of live go-gos. At the peak of its popularity, in the 1980s, go-go could be heard around the capital every night of the week, on college campuses and in crumbling historic theaters, hole-in-the-wall nightclubs, backyards, and city parks. Go-Go Live is a social history of black Washington told through its go-go music and culture. Encompassing dance moves, nightclubs, and fashion, as well as the voices of artists, fans, business owners, and politicians, Natalie Hopkinson's Washington-based narrative reflects the broader history of race in urban America in the second half of the twentieth century and the early twenty-first. In the 1990s, the middle class that had left the city for the suburbs in the postwar years began to return. Gentrification drove up property values and pushed go-go into D.C.'s suburbs. The Chocolate City is in decline, but its heart, D.C.'s distinctive go-go musical culture, continues to beat. On any given night, there's live go-go in the D.C. metro area.

An illustrated history of America's musical heritage ranges from the earliest examples of Native American traditional song to the innovative sound of contemporary rock and jazz.

Pitts investigates the long term aims, impact and effects of music education in a school setting. Evaluating the extent to which school music provides a foundation for lifelong involvement in music, Pitts integrates empirical data with a review of historical and contemporary debates on the practices of music teaching and learning.

How does coding change the way we think about architecture? This question opens up an important research perspective. In this book, Miro Roman and his AI Alice_ch3n81 develop a playful scenario in which they propose coding as the new literacy of information. They convey knowledge in the form of a project model that links the fields of architecture and information through two interwoven narrative strands in an “infinite flow” of real books. Focusing on the intersection of information technology and architectural formulation, the authors create an evolving intellectual reflection on digital architecture and computer science.

The first standard edition of the writings of Felicia Hemans (1793-1835), this volume marks a revival of interest in, and a new critical appreciation of, one of the most important literary figures of the early nineteenth century. A best-selling poet in England and America, Felicia Hemans was regarded as leading female poet in her day, celebrated as the epitome of national "feminine" values. However, this same narrow perception of her work eventually relegated Hemans to an obscurity lightened occasionally by parody and a sentimental enthusiasm for poems such as "The Landing of the Pilgrim Fathers" and "Casabianca." Only now is Hemans's work being rediscovered and reconsidered--for the complexity of its social and political vision, but also for its sounding of dissonances in nineteenth-century cultural ideals, and for its recasting of the traditional canon of male "Romantics." Offering readers a firsthand acquaintance with the remarkable range of Hemans's writing, this volume includes five major works in their entirety, along with a much-admired aggregate, Records of Woman. Hemans's letters, many published here for the first time, reflect her views of her contemporaries, her work, her negotiations with publishers, and her emerging celebrity, while reviews and letters from others--including Lord Byron, Walter Scott, and the Wordsworths--tell the story of Hemans's reception in her time. An introduction by editor Susan Wolfson puts these writings, as well as Hemans's life and work, into much-needed perspective for the contemporary reader.

Musical Receptions of Greek Antiquity: From the Romantic Era to Modernism is a rich contribution to a topic of increasing scholarly interest, namely, the impact of Greek antiquity on modern culture, with a particular focus on music of the nineteenth and twentieth centuries. This collection of essays offers a more comprehensive interdisciplinary examination of music’s interaction with Greek antiquity since the nineteenth century than has been attempted so far, analysing its connotations and repercussions. The volume sheds light on a number of hitherto underexplored case studies, and revisits and reassesses some well-known instances. Through scrutiny of a wide range of cases that extend from the Romantic era to experimentations of the second half of the twentieth century, the collection illuminates how the engagement with and interpretation of elements of ancient Greek culture in and through music reflect the specific historical, cultural and social contexts in which they took place. In analysing the multiple ways in which Greek antiquity inspired Western art music since the nineteenth century, the volume takes advantage of current interdisciplinary developments in musicology, as well as research on reception across various fields, including musicology, Slavic studies, modern Greek studies, Classics, and film studies. By encompassing a wide variety of case studies on repertories at the margins of the Western European art music tradition, while not excluding some central European ones, this volume broadens the focus of an increasingly rich field of research in significant ways.

Vols. for 1871-76, 1913-14 include an extra number, The Christmas bookseller, separately paged and not included in the consecutive numbering of the regular series.