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In a career that spanned 60 years, Paul Whiteman changed the landscape of American music, beginning with his million-selling recordings in the early 1920s of “Whispering,” “Japanese Sandman,” and “Three O’Clock in the Morning.” Whiteman would then introduce “symphonic jazz,” a powerful blend of the classical and jazz idioms that represented a whole new approach to modern American music, influencing generations of bandleaders and composers.

While some hold that at the close of the Roaring Twenties Whiteman’s musical hegemony quickly waned, Don Rayno illustrates in this second volume of Paul Whiteman: Pioneer in American Music how much of a dominant figure Whiteman remained. A major figure on the American music scene for decades to come, he would continue to lead critically-acclaimed orchestras, filling theaters and concert halls alike and diligently seeking out and nurturing musical talent on the largest scale of any orchestra leader in the 20th century.

In this second volume of Rayno’s magisterial treatment of the life and music of this remarkable maestro, Whiteman’s career during the second half of his life is explored in the fullest detail, as Whiteman conquers the worlds of theater and vaudeville, the concert hall, radio, motion pictures, and television, winning accolades in all of them. Through hundreds of interviews, extensive documentation, and exhaustive research of over nearly three decades, a portrait emerges of one of American music’s most important musical figures during the last century. Rayno paints a stunning portrait of Whiteman’s considerable accomplishments and far-reaching influence.

• Sales Rank: #2526417 in Books
• Published on: 2012-12-19
• Released on: 2012-12-28
• Original language: English
• Number of items: 1
• Dimensions: 10.40" h x 2.30" w x 7.38" l, 4.20 pounds
• Binding: Hardcover
• 824 pages

Review
[P]rint resources on Whiteman’s career have concurrently lagged behind; Don Rayno’s work in both this book and it predecessor, Paul Whiteman: Pioneer in American Music, 1890-1930, helps in a big way to bring Whiteman’s life and output into crisper focus. ... Rayno pulls all of the elements that made up Whiteman’s career together in a scrupulous and comprehensive way. ... Rayno does include a day by day Chronology of Whiteman’s activities which include all of the individual airdates of Whiteman’s radio programs, and this should serve as a “bible” for those who are out seeking transcriptions and home recorded discs of Whiteman’s radio work. (ARSC Journal)

This is more than just a biography or a discography. There are 346 pages of test, followed by 110 pages of “notes” and nearly half the book is the “Appendix”, which not only has a complete discography for the years covered, but 36 pages of bios of the musicians who played in Whiteman’s orchestra. Owners of Volume 1 will certainly want this one, and it belongs in every research library. (In The Groove)

I predict that this present volume and the first will be the definitive work on the life of Paul Whiteman. What more could be done except a socio-psychological analysis of Whiteman’s personality? (Jazz Society of Pensacola)

Don Rayno’s account is exhaustive, long, well written, should be the last word on Whiteman and, more importantly, should help to right some of the critical wrongs perpetrated in the past. (Jazz Journal)

Rayno’s work is admirably thorough, the official record of one of the 20th century’s key musical figures. (Raleigh News and Observer)

Very readable and remarkably detailed. (L.A. Jazz Scene)

Picking up the Whiteman story from the early years of the Great Depression, Don Rayno carries it through the decades to the great orchestra leader’s death at seventy-seven in 1967…. Paul Whiteman: Pioneer in American Music, 1930-1967 Volume 2 (and its earlier volume 1) is a major work of scholarship and a grand and spectacular contribution to American biographical letters. (W. Royal Stokes)

About the Author
For nearly 30 years, Don Rayno has actively researched the life and music of Paul Whiteman, a study that has culminated in the publication of the two-volume definitive biography of this key musical figure of the 20th century, Paul Whiteman: Pioneer in American Music. Rayno serves as the director of Raleigh-Area Concerts of Prayer, a regional ministry in North Carolina that brings together Christian pastors and laypeople for united prayer activities.

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1 of 1 people found the following review helpful.
Top biography of top musician
By Ate van Delden
Part 2 of Don Rayno's Whiteman bio/discography is as excellent as part 1. Whiteman could not have a better book and deserves this high quality. His importance in American music cannot be overestimated.

0 of 0 people found the following review helpful.
A Work of Love!
By A. G Provencal
Great job by Mr. Rayno. This book is a very detailed biography, chronology, list of Pops' musicians and singers and a very good discography of Pops' commercial recordings. The only problem I have is that the discography does not include broadcast recordings. I have grown to expect these in a discography. Since Pops and his orchestra had several sponsored radio and television shows from 1930-1967 the discography would probably have been as long as the whole book! I will have to dig around for this information. Of course, a discography of broadcast recordings would only include those that were preserved and are extant in some type of media somewheres on planet earth. Not everything that Pops performed on the air.

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Despite a recent resurgence in studies of death and disease in native peoples of the Western Hemisphere, little work has been done on death and disease in Native Americans during the reservation period of the late 19th and early 20th centuries. Forgotten Voices: Death Records of the Yakama, 1888-1964 begins a discussion of the health of the people on the Yakama Reservation in Washington using statistical data. This is the first detailed work that focuses on the causes of death on American Indian reservations. It contains an extensive introduction to Yakama history and lifestyle, and tables that present statistical information on the major causes of death. Each chapter highlights a different cause of death on the Yakama Reservation, including

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• Sales Rank: #4975555 in Books
• Published on: 2009-03-20
• Original language: English
• Number of items: 1
• Dimensions: 9.40" h x .77" w x 6.37" l, .95 pounds
• Binding: Hardcover
• 206 pages

Review
This book is an open-eyed discussion of the genocide of American Indian peoples through an analysis of the dimensions of death for the tribes that were removed to the Yakama Reservation in the 1850s.....The book will be of great interest to all scholars of Northwest histories and cultures. In addition, historians will enjoy the inclusion of data gathered from original National Archives records of the Yakama Reservation. (Western Historical Quarterly 2011-09-01)

About the Author
Clifford E. Trafzer is the Rupert Costo Chair in American Indian Affairs and professor of History at the University of California, Riverside.

Robert R. McCoy is assistant professor in the History Department at Washington State University.

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The indigenous populations of North America created impressive societies, engaged in trade, and had varied economic, social, and religious cultures. Over the past century, archaeological and ethnological research throughout all regions of North America has revealed much about the indigenous peoples of the continent. This book examines the long and complex history of human occupation in North America, covering its distinct culture as well as areas of the Arctic, California, Eastern Woodlands, Great Basin, Great Plains, Northwest Coast, Plateau, Southwest, and Subarctic. Complete with maps, a chronology that spans the history from 11,000 B.C. to A.D. 1850, an introductory essay, more than 700 dictionary entries, and a comprehensive bibliography, this reference is a valuable tool for scholars and students. An appendix of museums that have North American collections and a listing of archaeological sites that allow tours by the public also make this an accessible guide to the interested lay reader and high school student.

• Sales Rank: #6439767 in Books
• Brand: Brand: Scarecrow Press
• Published on: 2009-08-06
• Released on: 2009-08-06
• Original language: English
• Number of items: 1
• Dimensions: 8.66" h x .74" w x 5.61" l, .95 pounds
• Binding: Paperback
• 312 pages

Features

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About the Author
Cameron B. Wesson is associate professor of Anthropology at the University of Illinois at Chicago. He is the author of numerous articles on the archaeology of southeastern North American and the book Households and Hegemony: Early Creek Prestige Goods, Symbolic Capital, and Social Power.

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• Sales Rank: #4432666 in Books
• Published on: 2009-09-02
• Released on: 2009-09-02
• Original language: English
• Number of items: 1
• Dimensions: 8.62" h x 1.25" w x 5.65" l, 1.65 pounds
• Binding: Paperback
• 538 pages

About the Author
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From his 1952 short story "Roog" to the novels The Divine Invasion and Valis, few authors have had as great of an impact in the latter half of the 20th century as Philip K. Dick. In The Postmodern Humanism of Philip K. Dick, Jason Vest explores the work of this prolific, subversive, and mordantly funny science-fiction writer. He examines how Dick adapted the conventions of science fiction and postmodernism to reflect humanist concerns about the difficulties of maintaining identity, agency, and autonomy in the latter half of the 20th century. In addition to an extensive analysis of the novel Now Wait for Last Year, Vest makes intellectually provocative comparisons between Dick and the works of Franz Kafka, Jorge Luis Borges, and Italo Calvino. He offers a detailed examination of Dick's literary relationship to all three authors, illuminating similarities between Dick and Kafka that have not previously been discussed, as well as similarities between Dick and Borges that scholars frequently note but fail to explore in detail.Like Kafka, Borges, and Calvino, Dick employs fantastic, unreal, and visionary fiction to reflect the disruptions, dislocations, and depressing realities of twentieth-century life. By comparing him to these other writers, Vest demonstrates that Dick's fiction is a fascinating barometer of postmodern American life even as it participates in an international tradition of visionary literature.

• Sales Rank: #4216128 in Books
• Published on: 2009-02-17
• Original language: English
• Number of items: 1
• Dimensions: 9.03" h x .74" w x 6.17" l, .85 pounds
• Binding: Paperback
• 248 pages

Review
The Postmodern Humanism of Philip K. Dick is an interesting and well-researched project with a good deal of deft close reading and thoughtful comparison. ... the detailed analyses themselves clearly demonstrate some serious thinking and reading. ... Consequently, I think that the volume's real value lies not in the overall premise, but precisely in the extended analyses of Dick's resonances with extra sf acceptance and recognition. From this perspective, the study may realistically appeal not only to sf scholars, but also to researchers of postmodernism as well as Kafkans, Borgesians, and Calvinoists. As such, is a much-needed bridge-builder not between two worlds so much as territories, one of which has had a particular tendency to treat the other with condescension. (Science Fiction Studies)

Admirable and worthwhile....The book is useful for Dick scholars and literary scholars alike because Vest offers compelling readings of Dick’s work and provokes interesting ways to think about Dick’s corpus. (The Journal of the Fantastic in the Arts)

About the Author
Jason P. Vest is assistant professor in the University of Guam's Division of English & Applied Linguistics. He is the author of Future Imperfect: Philip K. Dick at the Movies (2007).

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^ PDF Download What Makes Music European: Looking beyond Sound (Europea: Ethnomusicologies and Modernities), by Marcello Sorce Keller

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We seldom consider how much we mistakenly presume in hewing to definitions of music that differ dramatically from the standpoint of other cultures. In What Makes Music European, Marcello Sorce Keller examines the limitations of accepted wisdom about the concept of music in Euro-Western culture. His investigations of the conclusions reached by music researchers of the past several decades considerably upsets the concepts relied upon by the concert-going public. Sorce Keller insightfully asks: Who makes the music? Should music be original, and how much can it be? Why do people identify with songs, pieces, styles, and repertoire? Why is music so ideological? Why do we misunderstand the music of different times and places, and why do we enjoy doing so? He also explores the juxtaposition of economy, society, and music making, as well as the concept of "illegal harmonies."

In What Makes Music European, Sorce Keller addresses the little-discussed matters that are essential to an understanding of how music intersects with the life of so many people. Readers are offered an approach for thinking about music that depends as much on its history as on the concepts and attitudes of the social sciences. What Makes Music European concisely demonstrates, to those familiar with Western music, how peculiar Euro-Western concepts of music appear from a cross-cultural perspective. At the same time, it encourages ethnomusicologists to apply their knowledge to Western music and explain to its public how much of what listeners take for granted is, at the very least, highly debatable.

• Sales Rank: #5062282 in Books
• Published on: 2011-11-17
• Original language: English
• Number of items: 1
• Dimensions: 9.47" h x .98" w x 6.36" l, 1.32 pounds
• Binding: Hardcover
• 332 pages

Review
Sorce Keller's express intention is to examine the European art-music tradition with the same tools and from the same perspectives that an ethnomusicologist would employ to examine music of a non-Western culture. The working out of this agenda does not go as one might expect. This is a fascinating, personal, broadly provocative book that can be approached by readers far beyond the discipline of ethnomusicology. The current notion of European art music, or the very idea of "music" in Europe, seems to have been constructed in the 19th century; it was tied strongly to social and economic change, among other things. Fundamental European assumptions about music (e.g., that there are musical "works" and that there are "composers" of those works), then, do not emerge inevitably from the stuff of music itself. Sorce Keller raises these issues and many more within a purview that comprehends European music's relationships with other musics and with its own history. This book is particularly appropriate for libraries with holdings in musicology, especially other volumes in the "Europea" series. Summing Up: Recommended. Upper-division undergraduates through faculty. (CHOICE)

This book is a “fun read.” Sorce Keller quotes everyone from Monteverdi, Voltaire, GarcíaMárquez, Stravinsky, and David Hume, to Clifford Geertz, Max Weber, and Groucho Marx. Looking at everything with sophistication, showing constantly the close relationship of music to the other arts and to literature, he provides frequent bits of humour and always avoids a sense of self-importance. . . Altogether, however, this is a significant contribution to the literature of music research which will also show readers from other disciplines and interests what ethnomusicology is all about.
(Yearbook for Traditional Music)

In this book the author addresses several core questions about how we define music, which he then narrows down into how European music is defined: Who makes music? Should music be original? What makes people identify with specific songs? And, why do we misunderstand music from different regions or time periods? In general, the author of this title has written essays that will help researches explore the definitions of music in Europe, and the limitations that people put on their music experiences. The book combines music with the social sciences, exploring the links between music and the economy, society, and music-making. The work is divided into three parts: 'Who Makes the Music (Why We All Are 'Composers')'; 'Originality, Ideology, and Taste'; and 'The Tangible Aspects of Music Making.' The author ends with a conclusion tying all of his ideas together as well as an appendix of journal and encyclopedia entries that were necessary to write this book, a list of references, and an index. This is a highly theoretical book that will appeal mainly to those researching at the post-graduate level.

(American Reference Books Annual)

About the Author
Marcello Sorce Keller is Board Member of the Mediterranean Institute at the University of Malta. He is the author and producer of "Note in libertà," a radio program on Swiss Italian Radio.

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> Download Ebook The Beatles' Abbey Road Medley: Extended Forms in Popular Music, by Thomas MacFarlane PhD Music Education Administrative Coordinator Dep

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In September 1969, the Beatles released their final recorded work, Abbey Road, using a variety of progressive musical ideas that expressed the group's approach to multi-track recording and offering songs that constituted a highpoint in the Beatles' musical corpus. Of particular interest is the concluding sequence of songs (tracks 8-17): seemingly unrelated fragments woven together into a musical form that has thus far defied attempts at categorization. The Beatles' Abbey Road Medley: Extended Forms in Popular Music offers an analysis of these fragments, commonly known as the Abbey Road Medley, in order to understand and explain the emergent musical form and to clarify the relationships between music recording and music composition.

Thomas MacFarlane provides an overview of the Beatles―their history and their music―within the context of popular music and culture between 1962 and 1970, paying particular attention to the production of the album Abbey Road and the pivotal role of producer George Martin on the Abbey Road Medley. After explaining his method of analysis, MacFarlane applies it to the recording and transcription of the Abbey Road Medley, examining the implications of the work's structure and demonstrating how the Beatles expanded the parameters of the popular music form by incorporating recording technology directly into the compositional process. Drawing conclusions about musical form and practice in the recording process of the 1970s and beyond, MacFarlane also suggests other examples of rock music that were influenced by Abbey Road. An appendix transcribing the author's interview with the Beatles' de facto manager Peter Brown, a selected discography, a bibliography, and a selection of photos conclude the book, which will be of particular interest to musicians and Beatles fans alike.

• Sales Rank: #2706854 in Books
• Brand: Brand: Scarecrow Press
• Published on: 2007-11-16
• Released on: 2007-11-16
• Original language: English
• Number of items: 1
• Dimensions: 10.09" h x .57" w x 7.12" l, .99 pounds
• Binding: Paperback
• 218 pages

Features

• Used Book in Good Condition

Review
Through his analysis of the music, MacFarlane demonstrates the strong interaction between the music itself, the technology available for creating and recording music, and the personal relationships of the musicians. The well-documented tension between Paul McCartney and John Lennon about the medley approach, in particular, rises to the surface in his discussion, but MacFarlane also presents intriguing musical arguments for a greater level of cooperation and sympathy between the two on this project than is often described elsewhere…. This information will most likely appeal to an audience of music specialists rather than to the idly curious, though much of MacFarlane’s textual and onto-historical analysis will find a welcome audience with nonmusicians. In the long run, the value of this source will be in its careful documentation of the medley as a whole in an age when album tracks are splintered and shuffled into nonserial playlists, often with no respect for the compositional intent behind their original creation and arrangement. By looking at the medley as an extended popular form, MacFarlane makes a case for respecting the album and the compositional process that extends beyond the track level and by doing so encourages closer and more careful listening to Abbey Road. (Music Reference Services Quarterly)

About the Author
Thomas MacFarlane teaches courses in Music Theory and Composition at New York University while also working as a composer and a writer.

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0 of 0 people found the following review helpful.
a bit on the technical side, but a great read for a rabid beatles fan
By Karl Johnson
this was not a perfect read and would have been a little more enlightening if had studied music, but i still loved it. it was a very interesting read and helped me appreciate the medley even more. nothing like be a fan and learning new things. when i finally realized that the guitar solo in "the end" was actually a rotation between paul, george, and john, it made me love the already great little song even more and i love sharing that knowledge with new listeners! if you love the beatles or want to start loving them, this is a great read.

0 of 1 people found the following review helpful.
Don't bother
By Christine Clark
The author was reaching..

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