How music has influenced mathematics, physics, and astronomy from ancient Greece to the twentieth century.

The music industries are fuelled by statistics: sales targets, breakeven points, success ratios, royalty splits, website hits, ticket revenues, listener figures, piracy abuses and big data. Statistics are of consequence. They influence the music that consumers get to hear, they determine the revenues of music makers, and they shape the policies of governments and legislators. Yet many of these statistics are generated by the music industries themselves, and their accuracy can be questioned. This original new book sets out to explore this shadowy terrain. While there are books that offer guidelines about how the music industries work, as well as critiques from academics about the policies of music companies, this is the first book that takes a sustained look at these subjects from a statistical angle. This is particularly significant as statistics have not just been used to explain the music industries, they are also essential to the ways that the industries work: they drive signing policy, contractual policy, copyright policy, economic policy and understandings of consumer behaviour. This edited collection provides the first in-depth examination of the use and abuse of statistics in the music industries. The international group of contributors are noted music business scholars and practitioners in the field. The book addresses five key areas in which numbers are employed: sales and awards; royalties and distribution; music piracy; music policy; and audiences and their uses of music. The authors address these subjects from a range of perspectives. Some of them test the veracity of this data and explore its tactical use by music businesses. Others are helping to generate these numbers: they are developing surveys and online projects and offer candid self-observations in this volume. There are also authors who have been subject to statistics; they deliver first-hand accounts of music industry reporting. The digital age is inherently numerical. Within the music industries this has prompted new ways of tracking the usage and recompense of music. In addition, it has generated new means of monitoring and engaging audience behaviour. It has also led to increased documentation of the trade. There is more reporting of the overall revenues of music industry sectors. There is also more engagement between industry and academia when it comes to conducting analyses and offering numerical recommendations to politicians. The aim of this collection is to expose the culture and politics of data. Music industry statistics are all-pervasive, yet because of this ubiquity they have been under-explored. This book provides new ways by which to learn music by numbers. A timely examination of how data and statistics are key to the music industries. Widely held industry assumptions are challenged with data from a variety of sources and in an engaging, lucid manner. Highly recommended for anyone with an interest in how the music business uses and manipulates the data that digital technologies have made available. Primary readership will be among popular music academics, undergraduate and postgraduate students working in the fields of popular music studies, music business, media studies, cultural studies, sociology and creative industries. The book will also be of interest to people working within the music industries and to those whose work encounters industry statistics.

Emerging from the mid-1960s R&B mod scene with furious teenage anthems like 'My Generation', The Who were the wildest, angriest and loudest kids on the block. And in spite of Townshend's most famous line - 'hope I die before I get old' - and unlike so many of their rivals, The Who lived to forge more mature works in the late 1960s and the 1970s with the phenomenal success of their pioneering rock opera, Tommy, their revered song collection Who's Next and Townshend's mod masterpiece Quadrophenia.

The easiest way to start playing piano. Kids love it. Put the numbered stickers on your keys and you're ready to play.

NEW YORK TIMES BESTSELLER • Count your way to sweet dreams with help from The Wonder Years/Great American Family star, math whiz, and author Danica McKellar! This New York Times bestselling bedtime book with a math twist is perfect both for getting ready for bed and learning at home. This deceptively simple bedtime book sneaks in secret counting concepts to help make your 2-5 year old smarter . . . and by the end, sleepier! The first in the McKellar Math line, Goodnight, Numbers gives your child the building blocks for math success. As children say goodnight to the objects all around them—three wheels on a tricycle, four legs on a cat—they will connect with the real numbers in their world while creating cuddly memories, night after night. Loving numbers is as easy as 1, 2, 3! "A winner for bedtimes or storytimes focusing on counting." —School Library Journal "The joys of counting combine with pretty art and homage to Goodnight Moon." —Kirkus

Offers a fresh, inclusive, at times provocative way of listening to country music--one that champions innovation and tradition even as it challenges many of the genre's prevailing assumptions.

"Think of the heart-racing chase of The Hunger Games, but a giant mall is your arena."--Seventeen.com A suspenseful survival story and modern day Lord of the Flies set in a mall that looks just like yours. A biological bomb has just been discovered in the air ducts of a busy suburban mall. At first nobody knows if it's even life threatening, but then the entire complex is quarantined, people start getting sick, supplies start running low, and there's no way out. Among the hundreds of trapped shoppers are four teens. These four different narrators, each with their own stories, must cope in unique, surprising manners, changing in ways they wouldn't have predicted, trying to find solace, safety, and escape at a time when the adults are behaving badly. This is a gripping look at people and how they can—and must—change under the most dire of circumstances. And not always for the better.