Christopher Johnson – författare

Musicians’ Migratory Patterns: The African Drum as Symbol in Early America questions the ban that was placed on the African drum in early America. It shows the functional use of the drum for celebrations, weddings, funerals, religious ceremonies, and nonviolent communication. The assumption that "drums and horns" were used to communicate in slave revolts is undone in this study. Rather, this volume seeks to consider the "social place" of the drum for both blacks and whites of the time, using the writings of Europeans and colonial-era Americans, the accounts of African American free persons and slaves, the period instruments, and numerous illustrations of paintings and sculpture.

The image of the drum was effectively appropriated by Europeans and Americans who wrote about African American culture, particularly in the nineteenth century, and re-appropriated by African American poets and painters in the early twentieth century who recreated a positive nationalist view of their African past. Throughout human history, cultural objects have been banned by one group to be used another, objects that include books, religious artifacts, and ways of dress. This study unlocks a metaphor that is at the root of racial bias—the idea of what is primitive—while offering a fresh approach by promoting the construct of multiple-points-of-view for this social-historical presentation.

Musicians’ Migratory Patterns: The African Drum as Symbol in Early America questions the ban that was placed on the African drum in early America. It shows the functional use of the drum for celebrations, weddings, funerals, religious ceremonies, and nonviolent communication. The assumption that "drums and horns" were used to communicate in slave revolts is undone in this study. Rather, this volume seeks to consider the "social place" of the drum for both blacks and whites of the time, using the writings of Europeans and colonial-era Americans, the accounts of African American free persons and slaves, the period instruments, and numerous illustrations of paintings and sculpture.

The image of the drum was effectively appropriated by Europeans and Americans who wrote about African American culture, particularly in the nineteenth century, and re-appropriated by African American poets and painters in the early twentieth century who recreated a positive nationalist view of their African past. Throughout human history, cultural objects have been banned by one group to be used another, objects that include books, religious artifacts, and ways of dress. This study unlocks a metaphor that is at the root of racial bias—the idea of what is primitive—while offering a fresh approach by promoting the construct of multiple-points-of-view for this social-historical presentation.

First published in 1991. In this volume, the author states that is not an economic history or ''an economic analysis, although it draws upon both disciplines. However, it is an attempt at political economy. It surveys the economic policies of the Thatcher Conservatives, from their intellectual origins in Opposition to their formulation in government papers and their implementation through three terms of office. It seeks to judge the appropriateness of the policies, the competence of their execution and the degree of their success in achieving the desired effects. Johnson confirms that possible alternative policies are not discussed in detail, and we can now never know how they would have turned out. Appraisal of the Thatcher Government''s policies, however, inevitably implies something about what the alternatives might have been, particularly those alternatives that members of the Government themselves seriously contemplated.

First published in 1991. In this volume, the author states that is not an economic history or ''an economic analysis, although it draws upon both disciplines. However, it is an attempt at political economy. It surveys the economic policies of the Thatcher Conservatives, from their intellectual origins in Opposition to their formulation in government papers and their implementation through three terms of office. It seeks to judge the appropriateness of the policies, the competence of their execution and the degree of their success in achieving the desired effects. Johnson confirms that possible alternative policies are not discussed in detail, and we can now never know how they would have turned out. Appraisal of the Thatcher Government''s policies, however, inevitably implies something about what the alternatives might have been, particularly those alternatives that members of the Government themselves seriously contemplated.

Coproduction is dedicated specifically to the study of an emerging field in music production musicology. It explores the limits of what this field might be, from the workings of a few individuals producing music together in the studio, to vast contributions of whole societies producing popular music.

Taking a wide-ranging approach to examining the field, Coproduction looks through multiple formats including essays, interviews, and case studies, with analysis and commentary of coproduction experiences at Abbey Road studios. It does so by examining multiple disciplines from social science and coproduction in mental health, to philosophy and mathematics. At its extremes (which is the extreme middle and not the blunt ‘cutting edge’) the authors attempt to produce every song in their development of an all-encompassing pop music concept, peculiarly called Toast theory.

In attempting to unite the pragmatic collaborative patterns of Vera John-Steiner with philosophical postmodernist concepts of connection, Coproduction has something to offer readers interested in the traditional workings of teams of producers, as well as those seeking to understand the wider philosophy of collaboration in music production.

Coproduction is dedicated specifically to the study of an emerging field in music production musicology. It explores the limits of what this field might be, from the workings of a few individuals producing music together in the studio, to vast contributions of whole societies producing popular music.

Taking a wide-ranging approach to examining the field, Coproduction looks through multiple formats including essays, interviews, and case studies, with analysis and commentary of coproduction experiences at Abbey Road studios. It does so by examining multiple disciplines from social science and coproduction in mental health, to philosophy and mathematics. At its extremes (which is the extreme middle and not the blunt ‘cutting edge’) the authors attempt to produce every song in their development of an all-encompassing pop music concept, peculiarly called Toast theory.

In attempting to unite the pragmatic collaborative patterns of Vera John-Steiner with philosophical postmodernist concepts of connection, Coproduction has something to offer readers interested in the traditional workings of teams of producers, as well as those seeking to understand the wider philosophy of collaboration in music production.