This book examines the parallel histories of modern art and modern music and examines why one is embraced and understood and the other ignored, derided or regarded with bewilderment, as noisy, random nonsense perpetrated by, and listened to by the inexplicably crazed. It draws on interviews and often highly amusing anecdotal evidence in order to find answers to the question: Why do people get Rothko and not Stockhausen?

It's the summer of 1979. A 15-year-old boy listens to WNEW on the radio in his bedroom in Brooklyn. A monotone voice (it's the singer's) announces into dead air in between songs "The Talking Heads have a new album, it's called Fear of Music" - and everything spins outward from that one moment. Jonathan Lethem treats Fear of Music (the third album by the Talking Heads, and the first produced by Brian Eno) as a masterpiece - edgy, paranoid, funky, addictive, rhythmic, repetitive, spooky and fun. He scratches obsessively at the album's songs, guitars, rhythms, lyrics, packaging, downtown origins, and legacy, showing how Fear of Music hints at the directions (positive and negative) the band would take in the future. Lethem transports us again to the New York City of another time - tackling one of his great adolescent obsessions and illuminating the ways in which we fall in and out of love with works of art.

A complete how-to guide for "non-singers" or beginning singers who wish they could sing, or fearful singers who long to bring singingback into their lives. Includes Audio Tracks and Videos on Companion Website! Singing is a skill that can be learned, just like any other skill. However, because singing is so primal and meaningful to us as human beings, when we are discouraged, we are discouraged to the core. Our confidence and self-esteem are affected. Most would-be singers stop singing completely, no questions asked. But many who "can't sing," on some level wish they could.... Singing is your birthright. It's never too late to get started! With the Fear of Singing Breakthrough Program You'll: Discover the power of the body-voice connection Learn simple ways to use your breath to support your voice Harness a variety of singing techniques that work with your learning style Demystify basic music theory for singing Start learning how to sing in tune and understand rhythm Learn how to blend in so you can sing with friends and in groups You'll Find: Powerful fear-busting exercises Ice-breakers to get you singing right away Exercises for learning to listen better and match pitch Step-by-step lessons on how to approach any song Real-world suggestions for starting to sing with other people Inspirational ideas about art, courage and self-expression Even if your goals are modest (you're not planning to perform on Broadway or become a professional), feeling comfortable about singing the Happy Birthday Song, or singing around the campfire or at church can make all the difference in the world. In this fun, supportive program you will be guided through techniques to get past your fear, and be taught the foundations of learning how to sing. Tap into the transformative power of singing to experience more confidence, self-expression and joy. Don't let the outdated idea that you are a "non-singer" stop you from joining in one of the healthiest, most expressive and rewarding activities life has to offer. Visit www.FearOfSinging.com What People Are Saying... "For those just beginning to step bravely into the world of singing this book provides a clear, comprehensive and supportive guide toward getting over internal doubt and fear and making the journey into the transformative possibilities of the human voice." - Mary Knysh, Founder of Rhythmic Connections Teacher/Trainer for Music for People "With kindness, playfulness, and heart, Nancy will help you explore your voice and reclaim the joy and courage we all had singing as children." - Shendl Diamond, LikeMinds Press "Salwen's writing is from the heart, and her knowledge is experiential; her range of teaching and singing experience shines through in this approachable and interactive book. Those who love to read a book from cover to cover will find lots of useful information, and those who prefer to jump right in and try things will find handy lists, exercises and tips. Salwen breaks down the skills of singing and helps readers recognize the skills they already have." - Dr. Irene M. Feher, D.Mus. Professor of Voice, Concordia University

Music in Horror Film is a collection of essays that examine the effects of music and its ability to provoke or intensify fear in this particular genre of film. Frightening images and ideas can be made even more intense when accompanied with frightening musical sounds, and music in horror film frequently makes its audience feel threatened and uncomfortable through its sudden stinger chords and other shock effects. The essays in this collection address the presence of music in horror films and their potency within them. With contributions from scholars across the disciplines of music and film studies, these essays delve into blockbusters like The Exorcist, The Shining, and The Sixth Sense together with lesser known but still important films like Carnival of Souls and The Last House on the Left. By leading us with the ear to hear these films in new ways, these essays allow us to see horror films with fresh eyes.

An interdisciplinary and existential exploration of live musical reenactment In this persuasive study, Tracy McMullen draws on philosophy, psychology, musicology, performance studies, and popular music studies in order to analyze the rise of obsessively precise live musical reenactments in the United States at the turn of the millennium. She investigates this practice, what she terms, Replay, in popular music, jazz, and performance art arguing that it is a symptom of deep-seated fears of the fleeting nature of identity. Musical Replay claims a type of authenticity that is grounded in the exact material details of the original (instruments, props, costumes, people, etc.), and attempts to make up for the loss of identity: cloning the past and using it as a replacement. The scholarship is wide-ranging and ties theory and evidence from diverse fields and experiences together seamlessly and convincingly. Haunthenticity: Musical Replay and the Fear of the Real ultimately argues for a new way of conceiving subjectivity and identity within critical and cultural studies, moving beyond Western epistemologies.

Two iconic bands. An unforgettable life. One of the most dynamic groups of the ‘70s and ‘80s, Talking Heads, founded by drummer Chris Frantz, his girlfriend Tina Weymouth, and lead singer David Byrne, burst onto the music scene, playing at CBGBs, touring Europe with the Ramones, and creating hits like “Psycho Killer” and “Burning Down the House” that captured the post-baby boom generation’s intense, affectless style. In Remain in Love, Frantz writes about the beginnings of Talking Heads—their days as art students in Providence, moving to the sparse Chrystie Street loft Frantz, Weymouth, and Byrne shared where the music that defined an era was written. With never-before-seen photos and immersive vivid detail, Frantz describes life on tour, down to the meals eaten and the clothes worn—and reveals the mechanics of a long and complicated working relationship with a mercurial frontman. At the heart of Remain in Love is Frantz’s love for Weymouth: their once-in-a-lifetime connection as lovers, musicians, and bandmates, and how their creativity surged with the creation of their own band Tom Tom Club, bringing a fresh Afro-Caribbean beat to hits like “Genius of Love.” Studded with memorable places and names from the era—Grace Jones, Andy Warhol, Stephen Sprouse, Lou Reed, Brian Eno, and Debbie Harry among them—Remain in Love is a frank and open memoir of an emblematic life in music and in love.

The last time you whistled a tune or hummed a song-why did you choose that one? You may not consider yourself a musical person, but your little act of unintended music may be the key to unlocking within you a wealth of unsuspected creativity-a kind of creativity that goes way beyond music, too. Lane Arye, PhD, a musician himself, focuses on the music that people do not intend to make. Using the highly regarded psychological model called Process Work, developed by Arnold Mindell, PhD, Arye has been teaching students around the world how to awaken their creativity, using music as the starting point, but including all art forms and ways of expression. The unintentional appears at moments when some hidden part of us, something beyond our usual awareness, suddenly tries to express itself. If we start paying attention to what is trying to happen rather than to what we think should happen, we open the door to self-discovery and creativity. Sometimes what we regard as "mistakes" in self-expression are in fact treasures. The book is rich with real-life stories, ideas, and practical techniques for unlocking creativity, which Arye dispenses with humor, insight, and enthusiasm.