(Book). This is the right-hand man for players who live and breathe bass, or for beginners who want an all-in-one guide to the instrument that "shakes the low end" of rock, pop, jazz and more. This handbook details the ins and outs of buying basses and equipment; provides set-up and electronics tips; and explores unique characteristics of landmark bass models. Chapters on technique cover bass basics, theory, fretless playing, acoustic bass, the essentials of various music styles, recording, gigging, and more. Seminal interviews with great bassists include Jeff Berlin, Stanley Clarke, John Pattitucci, Bill Wyman, and many others.
In Segregating Sound, Karl Hagstrom Miller argues that the categories that we have inherited to think and talk about southern music bear little relation to the ways that southerners long played and heard music. Focusing on the late nineteenth century and the early twentieth, Miller chronicles how southern music—a fluid complex of sounds and styles in practice—was reduced to a series of distinct genres linked to particular racial and ethnic identities. The blues were African American. Rural white southerners played country music. By the 1920s, these depictions were touted in folk song collections and the catalogs of “race” and “hillbilly” records produced by the phonograph industry. Such links among race, region, and music were new. Black and white artists alike had played not only blues, ballads, ragtime, and string band music, but also nationally popular sentimental ballads, minstrel songs, Tin Pan Alley tunes, and Broadway hits. In a cultural history filled with musicians, listeners, scholars, and business people, Miller describes how folklore studies and the music industry helped to create a “musical color line,” a cultural parallel to the physical color line that came to define the Jim Crow South. Segregated sound emerged slowly through the interactions of southern and northern musicians, record companies that sought to penetrate new markets across the South and the globe, and academic folklorists who attempted to tap southern music for evidence about the history of human civilization. Contending that people’s musical worlds were defined less by who they were than by the music that they heard, Miller challenges assumptions about the relation of race, music, and the market.
This book serves as a practical, well-illustrated guide for the neuropathologist, general practitioner, and neurologist attempting to interpret nervous system lesions in patients infected with HIV. It is also of value to pathologists, neuroradiologists, neurosurgeons, and investigators studying the basic science aspects of the central nervous system. This publication provides a springboard for the understanding of mechanisms of neurologic disease in AIDS patients overall.
Traditional Country & Western Music presents historical photographs, memorabilia, and stories about an enduring music genre that took root in America from the late 1920s through the mid-1930s. Although many of our early folk songs originated from the British Isles, Jimmie Rodgers (the "Father of Country Music") and Gene Autry ("America's Favorite Singing Cowboy") became the foundation of modern country and western music. Many regional styles and variations of country and western music developed during the first half of the 20th century, including hillbilly, bluegrass, honky-tonk, rockabilly, southern gospel, Cajun, and Texas swing. Local artists, live radio shows, and regional barn dance programs provided entertainment throughout the Great Depression, World War II, and into America's postwar years. During the 1950s, country and western music became homogenized with the Nashville sound and the Bakersfield sound. By the end of the 1960s, country music completed its move to Nashville, and "western" was dropped from the equation. This book recalls the golden age of country and western music from the late 1920s through the 1960s. Each of the featured artists and programs in this book were once household names. We celebrate these early legends, live radio and television shows, unsung heroes, and local performers from Maine to California.
The book exhaustively covers the various polymers that are used for sensors and actuators from the perspective of organic chemistry. The field of polymeric sensors and actuators is developing very rapidly as newly derived polymer materials are suitable for sensor technology. This book uniquely and comprehensively covers the various polymers that are used for sensors and actuators. The author has researched both scientific papers and patents to include all the recent discoveries and applications. Since many chemists may not be very familiar with the physical background as well as how sensors operate, Polymeric Sensors and Actuators includes a general chapter dealing with the overall physics and basic principles of sensors. Complementary chapters on their methods of fabrication as well as the processing of data are included. The actuators sections examine the fields of applications, special designs, and materials. The final chapter is dedicated to liquid crystal displays. The book concludes with four extensive indices including one special one on analytes to allow the practitioner to easily use the text. This comprehensive text examines the following sensor types: Humidity Sensors Biosensors Mechanical Sensors Optical Sensors Surface Plasmon Resonance Test Strips Microelectromechanical (MEMS) Sensors Piezoelectric Sensors Acoustic Wave Sensors Electronic Nose Switchable Polymers
This title is part of UC Press's Voices Revived program, which commemorates University of California Press’s mission to seek out and cultivate the brightest minds and give them voice, reach, and impact. Drawing on a backlist dating to 1893, Voices Revived makes high-quality, peer-reviewed scholarship accessible once again using print-on-demand technology. This title was originally published in 1980.
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