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The Dunces—Josh, Magnolia, Wang and Wilmot—are back, and this time they’re going up against a formidable foe: Principal Hale, who has canceled their school’s drama and music program just when Wilmot needs it most. He has a guitar (given to him by a teen named Headcase), but no teacher and nowhere to practice (his dad hates rock ’n’ roll). The Dunces’ plan to convince Principal Hale to reinstate the program involves Josh’s reluctant participation in a hockey team, Magnolia’s enthusiastic role-playing and Wang’s disillusionment with a suspicious character named Hui Bing (aka Larry). But can the Dunces really rock, even when they rebrand themselves as Cousin Willy and the Wang Dang Doodles?
Winner of the Pulitzer Prize “A masterwork . . . the novel astonishes with its inventiveness . . . it is nothing less than a grand comic fugue.”—The New York Times Book Review A Confederacy of Dunces is an American comic masterpiece. John Kennedy Toole's hero, one Ignatius J. Reilly, is "huge, obese, fractious, fastidious, a latter-day Gargantua, a Don Quixote of the French Quarter. His story bursts with wholly original characters, denizens of New Orleans' lower depths, incredibly true-to-life dialogue, and the zaniest series of high and low comic adventures" (Henry Kisor, Chicago Sun-Times).
This Indian film music book is a collection of eighty essays about the people who made remarkable music in Bollywood cinema, especially during the great era, and the ideas such people brought to the recording studios. When songs had to go without rhythms or when melodies had plenty of Q n A in them. In this music book, we flirt with Rock n Roll and scan songs that speed up at the end, we peep behind the screen to see what the idea was behind chorus songs in our films – even if there was no one to sing that chorus on the screen; it’s a huge list. These pages are a reflection of the time when everyone was fired up in their art, and when no one wanted to finish last in the race. It is about artists who every now and then dreamt ideas, and only after crystallizing things perfectly in their mind’s eye, went out to translate and transform their dreams into unforgettable melodies in Indian movies. Jukebox will interest the layman as well as the academician.
The long-awaited biography of John Kennedy Toole ("A Confederacy of Dunces"), whose fascinating life and tragic death is one of the most amazing publishingstories in American literature.
This collection brings new voices and new perspectives to the study of popular—and particularly rock—music. Focusing on a variety of artists and music forms, Rock Over the Edge asks what happens to rock criticism when rock is no longer a coherent concept. To work toward an answer, contributors investigate previously neglected genres and styles, such as “lo fi,” alternative country, and “rock en español,” while offering a fresh look at such familiar figures as Elvis Presley, the Beatles, and Kurt Cobain. Bridging the disciplines of musicology and cultural studies, the collection has two primary goals: to seek out a language for talking about music culture and to look at the relationship of music to culture in general. The editors’ introduction provides a backward glance at recent rock criticism and also looks to the future of the rapidly expanding discipline of popular music studies. Taking seriously the implications of critical theory for the study of non-literary aesthetic endeavors, the volume also addresses such issues as the affective power of popular music and the psychic construction of fandom. Rock Over the Edge will appeal to scholars and students in popular music studies and American Studies as well as general readers interested in popular music. Contributors. Ian Balfour, Roger Beebe, Michael Coyle, Robert Fink, Denise Fulbrook, Tony Grajeda, Lawrence Grossberg, Trent Hill, Josh Kun, Jason Middleton, Lisa Ann Parks, Ben Saunders, John J. Sheinbaum, Gayle Wald, Warren Zanes
The best, most provocative reviews, interviews, columns, and essays written by the entertaining, idiosyncratic, and influential music writer Chuck Eddy over the past twenty-five years.
This selection of sixteen of Nicholas Cook's essays covers the period from 1987 to 2004 and brings out the development of the author's ideas over these years. In particular the two keywords of the title -Meaning and Performance- represent critical directions that expand to the point that, by the end of the book, they become coextensive: music is seen as social action and meaning as created by that action. Within this overall direction, a wide variety of topics is explored, ranging from Beethoven to Schenker, from Chinese qin music to jazz and rock, from perceptual psychology to sketch studies and analysis of record sleeves. A substantial introduction draws out the links (and differences) between the essays, sometimes critiquing them and always setting them into the developing context of the author's work as a whole.