Download Higher Ground: Stevie Wonder, Aretha Franklin, Curtis by Craig Werner PDF
By Craig Werner
In Higher Ground, one among our such a lot insightful tune writers brilliantly reinterprets the lives of 3 pop geniuses and the soul revolution they launched.
Soul song is one in every of America's maximum cultural achievements, and Stevie ask yourself, Aretha Franklin, and Curtis Mayfield are 3 of its such a lot encouraged practitioners. In midcentury the United States it was once soul music--particularly the astounding circulation of recordings made by means of those 3 stars--that helped convey the gospel imaginative and prescient of the black church into the mainstream, energizing the era’s social activities and defining a brand new American gospel the place the sacred and the secular met. What made this gospel all of the extra remarkable used to be that its so much influential articulators have been the little kids of sharecroppers, storefront preachers, and unmarried mom and dad within the tasks, whose genius gave voice to a brand new imaginative and prescient of yankee possibility.
Higher Ground seamlessly weaves the explicit and very own narratives of Stevie, Aretha, and Curtis’s lives into the historic textile in their instances. the 3 shared many similarities: They have been all teenagers of the good migration and of the black church. however the gospel impulse manifested itself in numerous methods in the dramas in their person lives and musical creations. In Stevie Wonder’s case, it used to be a actually color-blind common feel of spirituality that expressed itself in his lifestyles and song as an urge towards transcendence, fairly within the mid-seventies while albums like Innervisions and Songs within the Key of existence considerably revised what a pop album might be. For Aretha Franklin, the conventional gospel imaginative and prescient of a loved group anchored within the power of ladies comforted her via a lifestyles suffering from tragedy and located expression in propulsive pop songs like "Respect" in addition to in her mythical gospel albums. And for Curtis Mayfield, the gospel concept of awake dwelling encouraged him to create songs that served the needs of the Civil Rights move and the unconventional Black energy flow alike, from the gritty highway drama of Superfly to the transcendent name of "People Get Ready."
Werner doesn't simply offer a story of 3 attention-grabbing lives; he ties them including a provocative thesis approximately American background and tradition that compels us to re-examine either the song and the days. And apart from the personalities and the historical past, he writes superbly approximately song itself, the nuts and bolts of its production and function, in a fashion that brings a brand new knowledge and figuring out to the main ordinary song, forcing readers to hear songs they've heard 1000 instances with clean ears. In Higher Ground, Werner illuminates the lives of 3 extraordinary American artists, reminding us why their track mattered then and nonetheless resonates with us today.
From the Hardcover edition.
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From the Preface :
This booklet illustrates a suite of tune manuscripts which used to be made in recent times to learn the root for modern functionality Arts. the gathering was firm via conditions instead of any strategy of choice. hence it indicates the various instructions within which track notation is now going. The manuscripts are usually not prepared based on forms of song, yet alphabetically in keeping with the composer's identify. No explanatory details is given.
The textual content for the e-book is the results of a method using I-Ching probability operations. those made up our minds what number phrases concerning his paintings have been to be written via or approximately which of 2 hundred and sixty-nine composers. the place those passages (never greater than sixty-four phrases, occasionally just one) were specifically written for this ebook, they're preceded via a paragraph signal and through the author's identify. different comments have been selected or written by way of the editors - John Cage and Alison Knowles. not just the variety of phrases and the writer, however the typography too - letter dimension, depth, and typeface - have been all made up our minds accidentally operations. This procedure was once for you to reduce the adaptation among textual content and illustrations. The composition of the pages is the paintings of Alison Knowles.
A precedent for the textual content is the Questionnaire. (The composers have been requested to put in writing approximately notation or some· factor correct to it. ) A precedent for the absence of data which characterizes this ebook is the modern aquarium (no longer a dismal hallway with every one species in its personal illuminated tank separated from the others and named in Latin): a wide glass apartment with the entire fish in it swimming as in an ocean. the gathering of manuscripts constitutes an archive, the contents of that are indexed on the finish of this ebook. The editors are thankful to the numerous composers and song publishers who've made this presentation of mid-twentieth century tune notation attainable.
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Barker GMW II, 156 also regards this passage as substantially sound. 90 Cf. Aristox. El. harm. 2. 38 (= 48, ll. 11 ff. Da Rios), especially the statement that §k dÊo går dØ toÊtvn ≤ t∞! ik∞! ¤! e≈! yai m¢n går de› tÚ ginÒmenon, mnhmoneÊein d¢ tÚ gegonÒ!. ) within Aristoxenus’ reflection see Rossi 1963, 29 n. 7 and 32 n. 76. 91 As to the increasing disaffection displayed by the Athenian audience towards the choral lyric in general and Pindar in particular, at least from the last quarter of the fifth century BC onwards, see Irigoin 1952, 12–21 (especially 19–21).
M¢n går pezØ l°ji! oÈdenÚ! oÎte ÙnÒmato! oÎte =Æmato! biãzetai toÁ! xrÒnou! in, éllÉ o·a! ei tå! ullabå! tã! te makrå! ka‹ tå! , toiaÊta! fulãttei. in aÈtå! te pollãki! efi! ténant¤a metaxvre›n: oÈ går ta›! ullaba›! i toÁ! , éllå to›! xrÒnoi! tå! ullabã!. The same thing happens also with regard to rhythm. Prose diction does not infringe or change the quantities of a noun or a verb but preserves the syllables, the long as well as the short ones, just as it found them to be by nature. On the contrary the rhythmike and the mousike change the time value of the syllables by shortening or lengthening them so that they are often converted into their opposites: in fact the rhythmike and the mousike do not adapt the time values to the quantity of the syllables but the quantity of the syllables to the time values.
KenÚ! braxÊ!. Yet the concrete surviving examples of leimma trans- 17 Gentili 1988, 11–2: “[. ] dobbiamo presumere che già nel V sec. C. ” In this direction, although at a more embryonic stage, see also Wilamowitz’s final observations in id. 1895, 31–2. More recently Gentili 1998, 146–9 has further developed his reflections on free responsion. 18 Gentili’s remarks, however correct in themselves, need anyway to be circumscribed. The statistically low incidence of free responsion in Greek lyric as a whole limits significantly the extent to which this phenomenon could be measured by the audience during the performance.