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From the joyous communal connections fostered through shared auditory experience to the devastating impact of noise pollution in the deep sea, musician and author Damon Krukowski urges readers to reconsider the significance of sound and its role in both our personal and collective well-being. He looks despairingly at how the multipronged efforts of urban dwellers to mitigate city noise have led to increased isolation, loss of community, and a sense of physical detachment from one’s surroundings.

Critiquing avant-garde rock bands from the 1960s to 2000, Bill Martin examines how social upheaval gave rise to this new form of musical expression. He covers early experimentation by artists such as James Brown; initiation into the mainstream and the resulting adaptations by the Beatles and the Who; and continues into the next era looking at how groups like Stereolab, Sonic Youth, Jim O’Rourke, and others continued to innovate.

Since the late '70s, histories of rock music have either ignored or marginalized the progressive rock era. In part, this has occurred because rock music criticism has taken an almost completely sociological turn, with little or no interest in musical form itself. In Listening to the Future, Bill Martin argues that it is a musical and political mistake to ignore this period of tremendous creativity, a period that still finds resonance in rock music today.

Why Jazz Happened is the first comprehensive social history of jazz. It provides an intimate and compelling look at the many forces that shaped this most American of art forms and the many influences that gave rise to jazz’s post-war styles. Rich with the voices of musicians, producers, promoters, and others on the scene during the decades following World War II, this book views jazz’s evolution through the prism of technological advances, social transformations, changes in the law, economic trends, and much more.

New York City Blues: Postwar Portraits from Harlem to the Village and Beyond offers a deep dive into the blues venues and performers in the city from the 1940s through the 1990s. Interviews in this volume bring the listener behind the scenes of the daily and performing lives of working musicians, songwriters, and producers. The interviewers capture their voices—many sadly deceased—and reveal the changes in styles, the connections between performers, and the evolution of New York blues.

Quincy Jones (b. 1933) is one of the most prolific composers, arrangers, bandleaders, producers, and humanitarians in American music history and the recording and film industries. Clarence Bernard Henry focuses on the life, music, career, and legacy of Jones within the social, cultural, historical, and artistic context of American, African American, popular, and world music traditions.

Guthrie kept moving throughout his life, making friends, soaking up influences, and writing about his experiences. Along the way, he produced more than 3,000 songs, as well as fiction, journalism, poetry, and visual art, that gave voice to the distressed and dispossessed. In this insightful audiobook, Will Kaufman examines the artist’s career through a unique perspective: the role of time and place in Guthrie’s artistic evolution.

Bob Dylan is many things to many people. Each Bob Dylan joins a collective cast that has made up his persona for more than 50 years. No version of Dylan turns out uncomplicated, but the postmillennial manifestation seems peculiarly contrary - a tireless and enterprising antiquarian; a creator of singular texts and sounds through promiscuous poaching; an artist of innovation and uncanny renewal. The collection of essays does justice to this difficult Bob Dylan by examining his method and effects through a disparate set of viewpoints.

Throughout his career, Johnny Cash was depicted - and depicted himself - as a walking contradiction: social protestor and establishment patriot, drugged wildman and devout Christian crusader, rebel outlaw hillbilly thug and elder statesman. Leigh H. Edwards explores the allure of this paradoxical image and its cultural significance. She argues that Cash embodied irresolvable contradictions of American identity that reflect foundational issues in the American experience.

Memphis Boys chronicles the story of the rhythm section at Chips Moman's American Studios from 1964, when the group began working together, until 1972, when Moman shut down the studio and moved the entire operation to Atlanta. Utilizing extensive interviews with Moman and the group, as well as additional comments from the songwriters, sound engineers, and office staff, author Roben Jones creates a collective biography combined with a business history and a critical analysis of important recordings.

A delightful biography of a celebrated Stradivarius cello and an inviting overview of cello music and musicians by world-famous concert cellist Carlos Prieto.

Before The Beatles landed on American shores in February 1964, only two British acts had topped the Billboard singles chart. In the first quarter of 1964, however, the Beatles alone accounted for 60% of all recorded music sold in the United States; in 1964 and 1965 British acts occupied the number one position for 52 of the 104 weeks; and from 1964 through to 1970, the Rolling Stones, Herman's Hermits, the Dave Clark Five, the Animals, and more placed more than 130 songs on the American Top Forty.

Born into poverty in Mississippi at the close of the 19th century, Charley Patton and Jimmie Rodgers established themselves among the most influential musicians of their era. In Tune tells the story of the parallel careers of these two pioneering recording artists - one white, one black - who moved beyond their humble origins to change the face of American music.

Derided for its conformity and consumerism, 1950s America paid a price in anxiety. Prosperity existed under the shadow of a mushroom cloud. Optimism wore a Bucky Beaver smile that masked worry over threats at home and abroad. But even dread could not quell the revolutionary changes taking place in virtually every form of mainstream music. Music historian James Wierzbicki sheds light on how the Fifties' pervasive moods affected its sounds.

This is the first study to explore fully the myth of America as reflected in the nation's popular music. Beginning with the songs of the Pilgrims and continuing through more than two centuries of history and music, Born in the U.S.A. shows the emerging American myth and gives a close reading of the compositions of songwriters as diverse as William Billings, Henry Clay Work, Irving Berlin, Woody Guthrie, Bob Dylan, and Bruce Springsteen.

Listen to This stands out as the first book exclusively dedicated to Davis' watershed 1969 album, Bitches Brew. Victor Svorinich traces its incarnations and inspirations for 10-plus years before its release. The album arrived as the jazz scene waned beneath the rise of rock and roll and as Davis faced large changes in social conditions affecting the African-American consciousness.

An American institution, Sun Records has a history with many chapters: its Memphis origins with visionary Sam Phillips, the breakthrough recordings of Elvis Presley, and the studio's immense influence on the sound of popular music. But behind the company's chart toppers and legendary musicians there exists another story, told by Barbara Barnes Sims. In the male-dominated workforce of the 1950s, 24-year-old Sims found herself thriving in the demanding roles of publicist and sales promotion coordinator at Sun Records.

At once the most lucrative, popular, and culturally oppositional musical force in the United States, hip-hop demands the kind of interpretation Imani Perry provides here: criticism engaged with this vibrant musical form on its own terms. A scholar and a fan, Perry considers the art, politics, and culture of hip-hop through an analysis of song lyrics, the words of the prophets of the hood.

Exploring American Folk Music: Ethnic, Grassroots, and Regional Traditions in the United States reflects the fascinating diversity of regional and grassroots music in the United States. The book covers the diverse strains of American folk music - Latin, Native American, African, French-Canadian, British, and Cajun - and offers a chronology of the development of folk music in the United States. A chapter includes detailed information about the roots of hip hop.

This volume opens a new chapter on the guitar in America, considering its cultivated past and documenting how banjoists and mandolinists aligned their instruments to it in an effort to raise social and cultural standing. At the same time, the audiobook considers the BMG community within America's larger musical scene, examining its efforts as manifestations of this country's uneasy coupling of musical art and commerce.