Toby Young - Böcker

Music represents one of humanity's most vivid contemplations on the nature of time itself. The ways that music can modify, intensify, and even dismantle our understanding of time's passing is at the foundation of musical experience, and is common to listeners, composers, and performers alike. The Oxford Handbook of Time in Music provides a range of compelling new scholarship that examines the making of musical time, its effects and structures. Bringing together philosophical, psychological, and socio-cultural understandings of time in music, the chapters highlight the act of 'making' not just as cultural construction but also in terms of the perceptual, cognitive underpinnings that allow us to 'make' sense of time in music. Thus, the Handbook is a unique synthesis of divergent perspectives on the nature of time in music. With its focus on contemporary music (while paying attention to some of the generative temporalities of the nineteenth century), the volume establishes the richness and complexity of so much current music-making and in the process overcomes historic demarcations between art and popular musics.

When even his friends refer to him as 'a balding, bug-eyed opportunist with the looks of a beach ball, the charisma of a glove-puppet and an ego the size of a Hercules supply plane,' the odds of Toby Young scoring - in any sense - appear to be slim. But then HOW TO LOSE FRIENDS, his memoir about failing to take Manhattan, becomes an international bestseller. Now Tinseltown beckons. After receiving a once-in-a-lifetime opportunity from a Hollywood producer, Toby sets his sights anew on a high-flying career, this time on the West Coast. But it doesn't take long for Toby's self-sabotaging instincts to reassert themselves. On the home front, though, things are looking up: Toby persuades his girlfriend to marry him and move to Los Angeles - but then she decides to abandon her promising legal career in order to become a full-time housewife . . . and mother.Toby's hapless attempts to pursue a glamorous showbiz career while buried in nappies will strike a chord with all modern fathers struggling to find the right work/life balance . . . and with their exasperated wives. Failure - and fatherhood - have never been funnier.

In 1995, high-flying British journalist Toby Young left London for New York to become a contributing editor at Vanity Fair. Other Brits had taken Manhattan - Alistair Cooke, Tina Brown, Anna Wintour - so why couldn't he? Surely, it would only be a matter of time before the Big Apple was in the palm of his hand.But things did not go according to plan. Within the space of two years he was fired from Vanity Fair, banned from the most fashionable bar in the city and couldn't get a date for love or money. Even the local AA group wanted nothing to do with him.How To Lose Friends & Alienate People is Toby Young's hilarious account of the five years he spent steadily working his way down the New York food chain, from glossy magazine editor to crash-test dummy for interactive sex toys. But it's not just a collection of self-deprecating anecdotes. It's also a seditious attack on the culture of celebrity from inside the belly of the beast. Not since Bonfire of the Vanities has the New York A-list been so mercilessly lampooned - and it all really happened!

Electronic dance music is increasingly the focus of a multitude of academic research projects around the world but has been drastically under-represented in accessible core published material. This innovative scholarly collection provides an important 'first stop' for researchers and students wishing to work in this area. It examines the key features of numerous electronic dance music scenes and (sub)genres alongside discussions of the musical, social and aesthetic experiences of participants to consider how these musical practices create purpose and cultural significance for millions around the world. At the same time, it introduces diverse theoretical approaches to the understanding of electronic dance music cultures and addresses the issues and debates in electronic dance music culture studies. Adopting an interdisciplinary approach drawn from both music and cultural studies - including music aesthetics, technologies, venues, and performativity - from a broad geographical perspective, the volume sheds fresh light on electronic dance music cultures.

Electronic dance music is increasingly the focus of a multitude of academic research projects around the world but has been drastically under-represented in accessible core published material. This innovative scholarly collection provides an important 'first stop' for researchers and students wishing to work in this area. It examines the key features of numerous electronic dance music scenes and (sub)genres alongside discussions of the musical, social and aesthetic experiences of participants to consider how these musical practices create purpose and cultural significance for millions around the world. At the same time, it introduces diverse theoretical approaches to the understanding of electronic dance music cultures and addresses the issues and debates in electronic dance music culture studies. Adopting an interdisciplinary approach drawn from both music and cultural studies - including music aesthetics, technologies, venues, and performativity - from a broad geographical perspective, the volume sheds fresh light on electronic dance music cultures.

Opera Remixed critically examines operatic hybridity and considers the opportunities and challenges of disrupting traditional paradigms of classical singing. Accounts of crossover forms like 'popera' and musical theatre explore alternative approaches to operatic vocality, examining how entrenched genre ideologies are challenged by creative agents, practices, and technologies at work near opera's borders. To illustrate these dynamics, the second half of the Element presents a case study of operatic arias reimagined for TikTok as one possible blueprint for how opera might embrace innovation and 'remix' itself for a contemporary audience. Opera Remixed concludes with a critique of the elitist traditions that hinder opera's capacity for renewal, arguing that the art form will only be able to embrace a truly inclusive future by relinquishing constraints of canonical purity.

Opera Remixed critically examines operatic hybridity and considers the opportunities and challenges of disrupting traditional paradigms of classical singing. Accounts of crossover forms like 'popera' and musical theatre explore alternative approaches to operatic vocality, examining how entrenched genre ideologies are challenged by creative agents, practices, and technologies at work near opera's borders. To illustrate these dynamics, the second half of the Element presents a case study of operatic arias reimagined for TikTok as one possible blueprint for how opera might embrace innovation and 'remix' itself for a contemporary audience. Opera Remixed concludes with a critique of the elitist traditions that hinder opera's capacity for renewal, arguing that the art form will only be able to embrace a truly inclusive future by relinquishing constraints of canonical purity.

There are as many ways of creating music as there are composers in the world, with a vast array of possible methods and practices. This book provides essential critical and practical tools for composers as they try to navigate this complex landscape, whilst also offering provocations for practitioners discovering their own voices and solidifying their place in their musical communities. Designed to be a companion in the truest sense, the book offers practical support throughout the creative process and thought-provoking insights on technical questions for a range of compositional approaches.