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Efter 33 år som scenartist debuterar nu Magnus Uggla i bokform. Här exponerar han alla sina nojor, rädslor och irritationsobjekt för allmän beskådan. Uggla skriver initierat om helgalkoholism, offentliga toaletter, försvunna formgivare, intimkirurgi, Carina Bergs dåliga hy och det dagliga livet i villaförorten. Han berättar ömsint men förskräckt om frun Lolos motionsryck och sonen Rubens buktalarkarriär och vi får lära känna alla de andra speciella personerna i hans liv som Pirken, Skalle-Per, Skitbolags-Leffe och Moment 23-Sofia. Resultatet är 440 sidor offentlig självanalys. Och den roligaste bok det här landet skådat sedan En dramatikers dagbok.MAGNUS UGGLA, född på Östermalm i Stockholm, är en av Sveriges största artister genom tiderna. Hans genombrott kom 1977 med skivan Va ska man ta livet av sig för när man ändå inte får höra snacket efteråt, som Uggla skrev efter att ha sett en konsert med The Clash. Magnus Uggla har släppt 15 studioalbum och gjorde 2008 succé med TV-serien Var fan är mitt band? I dag är Magnus en stadgad familjefar som bor bland de andra vackra människorna i Danderyd.Pressröster»Med jämna mellanrum skrattar man högt och tvingas beundra Ugglas förmåga att balansera mellan ironiserande självinsikt och total brist på självdistans.«Frida Johansson, Östersunds-Posten»Ingen eller inget undgår Ugglas vassa penna. Särskilt inte vedertagna sanningar.«Andreas Westergren, Smålandsposten

Following hard on the explosion of British punk, in 1979 Gang of Four produced post-punk’s smartest record, Entertainment! For the first time, a band wedded punk’s angry energy to funk’s propulsive beats—and used that music to put across lyrics that brought a heady mixture of Marxist theory and situationism to exposing the cultural politics of everyday life.But for an American college student from the suburbs—and, one expects, for many, many others, including British youth—Jon King’s and Andy Gill’s mumbled lyrics were often all but unintelligible. Political rock ‘n’ roll is always something of an oxymoron: rock audiences by and large don’t tune in to be lectured to. But what can it mean that a band that made pop songs as political theory actively resisted making that theory legible?Coming to terms with the impact of Entertainment! requires us to take the mondegreen—the misunderstood lyric—seriously. The old joke has it that the title of R.E.M.’s debut album should have been not Murmur, but Mumble: true, so far as it goes. But that’s the title, too, of rock ‘n’ roll’s Greatest Hits compilation—and that strategic inarticulateness itself, which creates such an important role for the listener, has an important politics.

I Det var en gång en ... kompositör presenteras på lättfattligt och annorlunda sätt ett antal kompositörer, av vilka många är mycket betydelsefulla för Suzuki-metoden. Kompositörsporträtten är inga ”torra” biografier utan medryckande berättelser ur kompositörernas liv. Böckerna är skrivna på ett enkelt språk och satta med stor stil, vilket gör dem användbara och lättlästa även för unga läsare. I del 1 presenteras 30 kompositörer ur Suzukilitteraturen för violin: Bach, Baily, Becker, Beethoven, Boccherini, Brahms, Corelli, von Dittersdorf, Dvorak, Eccles, Fiocco, Gossec, Grétry, Händel, Lully, Martini, Mozart, Paganini, Pergolesi, Pugnani, Rameau, Schubert, Schumann, Seitz, Suzuki, Telemann, Thomas, Veracini, Vivaldi och von Weber. Innehåller också en förteckning över verk av de olika kompositörerna.

Få konstnärer är lika mytomspunna som Wolfgang Amadeus Mozart. Redan som tre-åring skrev han sitt första verk och vid sju-års ålder kunde han utan några problem spela vilket stycke som helst direkt från notbladet. Det är den bild som för det mesta förmedlas av det musikaliska geniet. Men en annan värld öppnas upp i hans brev. En vanligare, mer jordnära person får här träda fram. En själ fylld av tvivel, sorg, glädje och kärlek. -

Det var i skiftet mellan 60- och 70-tal proggen föddes. Plötsligt ljöd luften av en halt annan sorts musik. Gunder Hägg spelade in sitt debutalbum Tigerkaka i en sommarstuga i Vaxholm. I juni 1970 hölls en illegal musikfest i Stockholm, senare känd som Gärdesfesten. Två nya skivbolag, MusikNätet Waxholm och Silence, dök up från ingenstans och började ge ut den nya musiken. Fioler blandades med elgitarrer, Contact spelade med Skäggmanslaget, Gudibrallan läxade upp sossarna, popgruppen Mascots förvandlades till NJA-gruppen som slängdes ut från Dramaten, blev Fria Pro, och Stikkan Andersson skällde ut Mikael Wiehe. Proggen är en underhållande berättelse om de skälvande ögonblick då rörelsen föds, tar sina första steg, blir en maktfaktor i svenskt musikliv och sedan kvävs av politiskt bråk. Håkan Lahger var själv en av musikrörelsens aktivister. Han var med när det hände. I den här första samlade boken om svensk progg har han intervjuat ett femtiotal personer; musiker, aktivister och skivbolagsfolk. "Kunnige Lahgers intervjubok om den svenska proggen är festläsning, fylld av viktigt och ovanligt vetande." ? Resumé

As a member of Big in Japan, The Slits and, most famously, Siouxsie and the Banshees and The Creatures, 'Budgie' was an era-defining drummer in the much-mythologised post punk scene of the late 1970s and early 1980s. But before he was Budgie, Peter Clarke was a boy growing up in working class St Helens in the 1960s. The loss of his mum at a young age created the absence that haunts the pages of this book. As a teenager disenchanted with art school in Liverpool, Peter became Budgie and befriended the likes of Jayne Casey, Pete Burns and other luminaries of the legendary Eric's Club before taking off for London and the big city heat of punk. Budgie's unique technique and musical sensitivity endeared him to the all-female group The Slits, who asked him to play on their debut album Cut. Subsequent touring with former members of the Sex Pistols and others from the post punk aristocracy firmly established Budgie's reputation for innovation. But the beating heart of this at times painfully honest account of a life often sabotaged is, of course, his long-term position as Siouxsie and the Banshees' drummer and co-writer alongside his ex-wife Siouxsie Sioux. Their creative partnership produced some of the most seductive and celebrated pop music of the decade. Eventually, their personal relationship started to fall apart, with inevitable consequences for both bands. The Absence is bravely unflinching in its dissection of how and why this happened, and powerfully moving in its account of the angels that emerged to heal both these wounds and those of a mother's lost love. A man and musician whose creativity and singular style came to define the goth-pop 1980s, Budgie's life is both fabulously glamorous and a cautionary tale. For the first time the story of the era's most exalted and mysterious bands has been told by one who survived inside the belly of the beast.

'Intimate. Wounded. Sensational. I didn't just read The Absence. I devoured it' - RUPERT THOMSONAs a member of Big in Japan, The Slits and, most famously, Siouxsie and The Banshees and The Creatures, 'Budgie' was an era-defining drummer in the much-mythologised post punk scene of the late 1970s and early 1980s. But before he was Budgie, Peter Clarke was a boy growing up in working class St Helens in the 1960s. The loss of his mum at a young age created the absence that haunts the pages of this book. As a teenager disenchanted with art school in Liverpool, Peter became Budgie and befriended the likes of Jayne Casey, Pete Burns and other luminaries of the legendary Eric's Club before taking off for London and the big city heat of punk. Budgie's unique technique and musical sensitivity endeared him to the all-female group The Slits, who asked him to play on their debut album Cut. Subsequent touring with former members of the Sex Pistols and others from the post punk aristocracy firmly established Budgie's reputation for innovation. But the beating heart of this at times painfully honest account of a life often sabotaged is, of course, his long-term position as Siouxsie and The Banshees' drummer and co-writer alongside his ex-wife Siouxsie Sioux. Their creative partnership produced some of the most seductive and celebrated pop music of the decade. Eventually, their personal relationship started to fall apart, with inevitable consequences for both bands. The Absence is bravely unflinching in its dissection of how and why this happened, and powerfully moving in its account of the angels that emerged to heal both these wounds and those of a mother's lost love. A man and musician whose creativity and singular style came to define the goth-pop 1980s, Budgie's life is both fabulously glamorous and a cautionary tale. For the first time the story of the era's most exalted and mysterious bands has been told by one who survived inside the belly of the beast.

This study has been revised to include new finds about the composition dates of several Mozart works. A new bibliography and a collation with the Neue Mozart-Ausgabe edition of letters, edited by O.E.Deutsch, W.A.Bauer and J.H.Eibl: Baerenreiter, 1962-75 is also included.

Wolfgang Flür was a member of Kraftwerk from 1973 to 1987, contributing to albums such as Autobahn (1974), Radioaktivität (1975), Trans-Europa Express (1977), Die Mensch-Maschine (1978), Computerwelt (1981) and Electric Café (1986).He continues to record music with his solo album Eloquence being released in 2015.

This volume is a collection based on the Royal Musical Association's Mozart Conference of 1991, the principal scholarly event in the English-speaking world in commemoration of the bicentenary. It includes essays placing Mozart in the context, in Salzburg and Vienna, in which he worked, explaining aspects of his life and work hitherto obscure; essays interpreting his instrumental music; and a substantial series of studies on different aspects of his operas, from Lucio Silla to La clemenza di Tito, with particular stress on the creative processes in the Da Ponte operas.

The National Barn Dance was the nation's most popular country music radio show during the 1930s and 1940s. The pioneering radio program defined country and western entertainment until the Grand Ole Opry and rock 'n' roll supplanted it in the 1950s. Broadcast for more than three decades from Chicago on WLS's powerful 50,000-watt signal, the show reached listeners throughout the Midwest, the East Coast, and South, delivering popular entertainment to both rural and urban areas while celebrating the fading folk traditions of an increasingly urbanized America. The Hayloft Gang draws on the colorful commentary of performers and former listeners to analyze the National Barn Dance, its audience, and its impact. Contributors trace the history of barn dance radio, explore the paradox of a foundational country music program broadcast from a major city, investigate notions of authenticity in the presentation of country music and entertainment, and delve into provocative issues raised by the barn dance phenomenon. Contributors: Chad Berry, Michael T. Bertrand, Lisa Krissoff Boehm, Don Cusic, Wayne W. Daniel, Loyal Jones, Kristine M. McCusker, Stephen Parry, Susan Smulyan, Paul L. Tyler, and Michael Ann Williams.

Music examples and charts illustrate the analyses, and each essay is fully annotated by the editor. in some cases, the results of the original research by the editor or by others working in the field are published here for the first time. Much of the material has never before appeared in English.A score embodying the best available musical text.Historical background—what is known of the circumstances surrounding the origin of the work, including (where relevant) original source material.A detailed analysis of the music, by the editor of the volume or another well-known scholar.Other significant analytic essays and critical comments, exposing the student to a variety of opinions about the music.

Introducing the first ever grime songbook of the first ever grime album to reach no.1 in the UK charts. Gang Signs & Prayer is the debut album from 3-time MOBO award winner, Stormzy. Released in 2017, the album contains elements of gospel and R&B and includes the massive hits Big For Your Boots, Shut Up and the sublime Blinded By Your Grace. Specially arranged for piano and vocal, with full lyrics and chords, this artist approved book also contains an 8-page colour section as well as separate lyric pages.

Among the many fine examples of film scores by Erich Wolfgang Korngold (1897-1957), the score for The Adventures of Robin Hood (1938) stands out the most. Winner of the Academy Award™ for best dramatic score in 1938, it is seen by many as the archetypal accompaniment to a Warner Brothers swashbuckler, and it established Korngold as one of the leading exponents of film score composition at a formative point in its history. In Erich Wolfgang Korngold's The Adventures of Robin Hood: A Film Score Guide, author Ben Winters uses manuscript and archival research to challenge preconceived notions about the score's composer and its authorship. In the first two chapters, Winters examines Korngold's career on its own and in relation to the film, including his background in composing concert music and opera, his film scoring techniques, and his engagement with the Hollywood studio system. Chapter three focuses on the Robin Hood film while placing Korngold's music in a larger framework. It examines the film's treatment of the Robin Hood legend, its historical and critical contexts, and its place within the swashbuckler genre and the studio's anti-fascist agenda. While looking closely at the composer's work on this score, chapter four shows sources Korngold used, the music's production process, and the changes the score had undergone. The book concludes with a thematic analysis and reading of the score, identifying the various musical 'voices' that the listener weaves together as he or she experiences the film. This detailed consideration of Korngold's masterpiece will be continually turned to by film and music scholars alike.