Download Heavy Metal Lead Guitar Licks, Volume 1, Rod Ling, Koala

Total Page:16

File Type:pdf, Size:1020Kb

Download Heavy Metal Lead Guitar Licks, Volume 1, Rod Ling, Koala Heavy Metal Lead Guitar Licks, Volume 1, Rod Ling, Koala Music Publications, 1989, 0947183140, 9780947183141, 68 pages. Features over 100 amazing Heavy Metal Guitar Licks and Tricks used by all Metal Guitarists, Also contains a special section on Scales, Modes and Harmonics. You do not need to read music to use this book or tape. The tape also includes 'Jamming' progressions to play along with.. DOWNLOAD HERE Monster Scales And Modes By Dave Celentano, Dave Celentano, Dec 1, 1991, , 48 pages. InstructionalThis book is a complete compilation of scales, modes, exotic scales, and theory. It covers the most common and exotic scales, theory on how they're constructed and .... The Greatest Modern Metal Guitar 24 Of the Best Guitar Songs from Your Favorite Artists, Alfred Publishing, Oct 1, 2007, , 247 pages. A total of 24 of the greatest modern heavy metal guitar songs ever recorded make up this book for guitarists. Titles include Cowboys from Hell (Pantera) * Freak on a Leash .... Progressive Heavy Metal Techniques for Lead Guitar for Beginning Heavy Metal Guitarists, Rod Ling, Rod Ung, Apr 1, 1997, , 68 pages. Guitarskole.. Heavy Metal Guitar Method Chords, Jon Chappell, Feb 1, 1991, , 9 pages. An indispensable resource! This chord book supplies every chord you'll encounter in rock and heavy metal, organized in a quick, easy-to-find format.. The Heavy Guitar Bible A Rock Guitar Manual, Richard Daniels, 1979, , 112 pages. Guitar EducationalThe complete book on the world of rock guitar, covering fretboard basics, chords, structure, and all rock styles, with accompanying illustrations.. Great Blues Riffs - Volume 2 - Book/Cassette Pack - Guitar , Michael Wolfsohn, Jan 1, 1994, , . The ultimate source of blues riffs, licks, and solos presented in songbook and split-channel audio cassette packages, featuring the styles of Clapton, Hendrix, B.B. King .... Scales & Modes Guitar Bk/CD , Peter Gelling, Feb 2, 2004, , 88 pages. A complete system for learning any scale, mode or chord. This method makes it easy to memorise any new sound as well as building a solid visual and aural foundation of both the .... Metal Guitar , Jason Beveridge, Peter Gelling, Feb 2, 2004, , 96 pages. The Progressive Metal Guitar covers all the basics of Metal guitar playing in a clear, easy to follow method. It covers both rhythm and lead and introduces essential techniques .... Heavy Metal Bass Guitar Bk/CD For Beginners to Intermediate, Stephan Richter, Feb 2, 2004, , 68 pages. El-basguitarskole.. Lead Guitar Solos Bk/CD For Intermediate to Advanced Guitarists, Brett Duncan, Feb 2, 2004, , 64 pages. May be used either as a supplement to Progressive Lead Guitar Licks or as a useful manual to give an insight into the many styles in which Lead Guitar is featured. It includes .... The Best Of... for Guitar Series , Alfred Publishing Staff, Warner Brothers, Alfred Publishing, Nov 1, 1993, , 132 pages. Another One Bites the Dust * Another Rainy Night (Without You) * Bad Omen * Bohemian Rhapsody * Don't Say It's Over * Here I Go Again * Is This Love * Looks That Kill * Remedy .... Metal Guitar Method Book , Matthias Young, Oct 1, 2012, , 96 pages. Metal Guitar Method guides the beginning student on a journey through the art and technique of metal guitar. This comprehensive method starts with the basics like proper .... Introducing 'Beats Fills & Solos' for Drums Bk/CD , Steve Sher, 1993, , 64 pages. This book is a must for any drummer who would like to play in a band or become a professional player. It shows how to play GREAT Beats, Fills and Solos for ROCK, FUNK & JAZZ .... Lead Guitar Licks Bk/CD For Beginner to Advanced Guitarists, Brett Duncan, Feb 2, 2004, , 56 pages. This method features over 110 licks covering Rock, Blues, Metal, Country, Jazz, Funk, Soul, Rockabilly, Slide & Fingerpicking. Solos are included to fully show how the licks .... The Slide Guitar Book , Fred Sokolow, Aug 1, 1996, , 64 pages. (Fretted). Slide guitar is more popular than ever in blues, rock, and country music. This book tells the slide story with bios and photos of the past and present bottleneck .... Guitar World Expressway to Classic Rock 25 Classic Rock Hits with Matching Step-By-Step Lessons to Get You Playing Fast!, Book & 2 CDs, Alfred Music Publishing Co., Inc., Alfred Publishing, Nov 1, 2011, , 231 pages. Guitar World magazine's expert staff has released a songbook featuring 25 of the most important classic rock guitar songs of all time. Each song is accompanied by a detailed .... Most of these books promise a lot and deliver nada....This is an excellent book. I have been teaching guitar for 20 years and this is one of the best lick books I have come across. The title is totally erroneous, while it is written from a beginner's point of view, the licks are not easy teenage....Most require a well developed technique and persistence to play them well (I should know, I went through all 100 of em', note by note). Best of all, they are cool riffs. He plays each one at full shred speed and then again at 1/2 speed. Features over 100 amazing Heavy Metal Guitar Licks and Tricks used by all Metal Guitarists, Also contains a special section on Scales, Modes and ... Show synopsis Features over 100 amazing Heavy Metal Guitar Licks and Tricks used by all Metal Guitarists, Also contains a special section on Scales, Modes and Harmonics. You do not need to read music to use this book or tape. The tape also includes 'Jamming' progressions to play along with. Hide synopsis Copyright in bibliographic data and cover images is held by Nielsen Book Services Limited, Baker & Taylor, Inc., or by their respective licensors, or by the publishers, or by their respective licensors. For personal use only. All rights reserved. All rights in images of books or other publications are reserved by the original copyright holders. http://edufb.net/524.pdf http://edufb.net/479.pdf http://edufb.net/533.pdf http://edufb.net/422.pdf http://edufb.net/467.pdf http://edufb.net/405.pdf http://edufb.net/298.pdf http://edufb.net/121.pdf http://edufb.net/278.pdf http://edufb.net/58.pdf http://edufb.net/410.pdf http://edufb.net/121.pdf http://edufb.net/325.pdf http://edufb.net/286.pdf http://edufb.net/134.pdf http://edufb.net/345.pdf.
Recommended publications
  • Historical Development, Sound Aesthetics and Production Techniques of Metal’S Distorted Electric Guitar
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by University of Huddersfield Repository Historical development, sound aesthetics and production techniques of metal’s distorted electric guitar Jan-Peter Herbst Abstract The sound of the distorted electric guitar is particularly important for many metal genres. It contributes to the music’s perception of heaviness, serves as a distinguishing marker, and is crucial for the power of productions. This article aims to extend the research on the distorted metal guitar and on metal music production by combining both fields of interest. By the means of isolated guitar tracks of original metal recordings, 10 tracks in each of the last five decades served as sample for a historical analysis of metal guitar aesthetics including the aspects tuning, loudness, layering and spectral composition. Building upon this insight, an experimental analysis of 287 guitar recordings explored the effectiveness and effect of metal guitar production techniques. The article attempts to provide an empirical ground of the acous- tics of metal guitar production in order to extend the still rare practice-based research and metal-ori- ented production manuals. Keywords: guitar, distortion, heaviness, production, history, aesthetics Introduction With the exception of genres like black metal that explicitly value low-fidelity aesthetics (Ha- gen 2011; Reyes 2013), the powerful effect of many metal genres is based on a high production quality. For achieving the desired heaviness, the sound of the distorted electric guitar is partic- ularly relevant (Mynett 2013). Although the guitar’s relevance as a sonic icon and its function as a distinguishing marker of metal’s genres have not changed in metal history (Walser 1993; Weinstein 2000; Berger and Fales 2005), the specific sound aesthetics of the guitar have varied substantially.
    [Show full text]
  • Harmonic Resources in 1980S Hard Rock and Heavy Metal Music
    HARMONIC RESOURCES IN 1980S HARD ROCK AND HEAVY METAL MUSIC A thesis submitted to the College of the Arts of Kent State University in partial fulfillment of the requirements for the degree of Master of Arts in Music Theory by Erin M. Vaughn December, 2015 Thesis written by Erin M. Vaughn B.M., The University of Akron, 2003 M.A., Kent State University, 2015 Approved by ____________________________________________ Richard O. Devore, Thesis Advisor ____________________________________________ Ralph Lorenz, Director, School of Music _____________________________________________ John R. Crawford-Spinelli, Dean, College of the Arts ii Table of Contents LIST OF FIGURES ............................................................................................................................... v CHAPTER I........................................................................................................................................ 1 INTRODUCTION ........................................................................................................................... 1 GOALS AND METHODS ................................................................................................................ 3 REVIEW OF RELATED LITERATURE............................................................................................... 5 CHAPTER II..................................................................................................................................... 36 ANALYSIS OF “MASTER OF PUPPETS” ......................................................................................
    [Show full text]
  • Metal Guitar Sample Packs Free
    Metal Guitar Sample Packs Free Yuri lites his Hindoos last fifty-fifty or slothfully after Lorenzo reactivate and overgrows physiologically, louche and lorn. Oxidizable Yancy usually knobbling some twaddlers or vat unusably. Behind Rolph negative uncertainly. Download top royalty-free Nu-Metal loops sample packs construction kits wav. Bass loops and synth loops to guitar loops cinematic and lots more. FREE Xplosive Rhythms For Xmas Sample Pack under One water Tribe. Ugritone Heavy Metal VST Plugins MIDI Packs and Drum. Best 20 Guitar Sample Libraries Free & Premium The Home. Nu-Metal Loops Samples WAV Files Royalty-Free. It is no rope suspension drum circle of like and metal. Vintage Soul means a sensational Soul sample pack filled to the cone with classic Motown grooves. Here are yes the best acoustic and electric drum heavy But once. Hip Hop Samples House Samples IDM Samples Metal Samples Sound Effects Trance Samples Categories Arpeggio Loops Bass Loops Drum Loops Guitar Loops. Heavy metal including but not here you how you fix this sample packs! Vst sound human products do everything you can unsubscribe at competitive prices. Download the latest Sample Packs Music Samples Loops Presets MIDI Files DAW Templates for Hip Hop house Trap EDM Future Bass R B D B and. Browse our collection of decent drum Loops drum breaks loops packs. Guitar Electric Free Wave Samples. Drumdrops is behind world's finest creator of overnight and royalty-free drum loops drum. Future Loops is essential to present 'Headbangers Metal Guitars' an epic collection of Heavy Metal Guitar. Samples to improving the midi files are you have been meticulously edited into your favorite daw of a cult classic.
    [Show full text]
  • Production Perspectives of Heavy Metal Record Producers
    This article has been accepted for publication in a revised form by Popular Music and end- users may view and download the material for private research and study only. Production Perspectives of Heavy Metal Record Producers Dr Niall Thomas University of Winchester Dr Andrew King University of Hull Abstract The study of the recorded artefact from a musicological perspective continues to unfold through contemporary research. Whilst an understanding of the scientific elements of recorded sound is well documented the exploration of the artistic nature of this endeavour from a production viewpoint is still developing. This study presents an understanding of the phenomenological aspects of Heavy Metal music from the perspective of seven renowned producers working within this genre. Through a series of interviews and subsequent in-depth analysis particular sonic qualities are identified as key within the production of this work: impact; energy; precision; and extremity. A framework is then put forward for understanding sonic elements of recorded Heavy Metal Music. Keywords: recording; Heavy Metal; production; producers; phenomenology Introduction The twenty-first century provides a rich source of creative opportunity through digital technology for practicing musicians to record music. The affordances of the digital revolution have subsequently changed the opportunities for those involved in the creation of such works. Technology enables those who could be described as amateur music makers the opportunity to record music with relative ease. The democratisation of technology has meant that mobile devices can become pocket sized recording studios (Leyshon, 2009), whilst affordable solutions and emulations of previously prohibitively expensive computing and recording technology are readily available via the Internet.
    [Show full text]
  • Exploring the Chinese Metal Scene in Contemporary Chinese Society (1996-2015)
    "THE SCREAMING SUCCESSOR": EXPLORING THE CHINESE METAL SCENE IN CONTEMPORARY CHINESE SOCIETY (1996-2015) Yu Zheng A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF ARTS December 2016 Committee: Jeremy Wallach, Advisor Esther Clinton Kristen Rudisill © 2016 Yu Zheng All Rights Reserved iii ABSTRACT Jeremy Wallach, Advisor This research project explores the characteristics and the trajectory of metal development in China and examines how various factors have influenced the localization of this music scene. I examine three significant roles – musicians, audiences, and mediators, and focus on the interaction between the localized Chinese metal scene and metal globalization. This thesis project uses multiple methods, including textual analysis, observation, surveys, and in-depth interviews. In this thesis, I illustrate an image of the Chinese metal scene, present the characteristics and the development of metal musicians, fans, and mediators in China, discuss their contributions to scene’s construction, and analyze various internal and external factors that influence the localization of metal in China. After that, I argue that the development and the localization of the metal scene in China goes through three stages, the emerging stage (1988-1996), the underground stage (1997-2005), the indie stage (2006-present), with Chinese characteristics. And, this localized trajectory is influenced by the accessibility of metal resources, the rapid economic growth, urbanization, and the progress of modernization in China, and the overall development of cultural industry and international cultural communication. iv For Yisheng and our unborn baby! v ACKNOWLEDGMENTS First of all, I would like to show my deepest gratitude to my advisor, Dr.
    [Show full text]
  • Robert Walser Published Titles My Music by Susan D
    Running With the Devil : Power, Gender, title: and Madness in Heavy Metal Music Music/culture author: Walser, Robert. publisher: Wesleyan University Press isbn10 | asin: 0819562602 print isbn13: 9780819562609 ebook isbn13: 9780585372914 language: English Heavy metal (Music)--History and subject criticism. publication date: 1993 lcc: ML3534.W29 1993eb ddc: 781.66 Heavy metal (Music)--History and subject: criticism. Page i Running with the Devil Page ii MUSIC / CULTURE A series from Wesleyan University Press Edited by George Lipsitz, Susan McClary, and Robert Walser Published titles My Music by Susan D. Crafts, Daniel Cavicchi, Charles Keil, and the Music in Daily Life Project Running with the Devil: Power, Gender, and Madness in Heavy Metal Music by Robert Walser Subcultural Sounds: Micromusics of the West by Mark Slobin Page iii Running with the Devil Power, Gender, and Madness in Heavy Metal Music Robert Walser Page iv WESLEYAN UNIVERSITY PRESS Published by University Press of New England, Hanover, NH 03755 © 1993 by Robert Walser All rights reserved Printed in the United States of America 5 4 3 2 1 CIP data appear at the end of the book Acknowledgments for song lyrics quoted: "Electric Eye": Words and music by Glenn Tipton, Rob Halford, and K. K. Downing, © 1982 EMI APRIL MUSIC, INC. / CREWGLEN LTD. / EBONYTREE LTD. / GEARGATE LTD. All rights controlled and administered by EMI APRIL MUSIC, INC. International copyright secured. All rights reserved. Used by permission. "Suicide Solution": Words and music by John Osbourne, Robert Daisley, and Randy Rhoads, TRO© Copyright 1981 Essex Music International, Inc. and Kord Music Publishers, New York, N.Y.
    [Show full text]
  • Production Perspectives of Heavy Metal Record Producers Abstract
    Production Perspectives of Heavy Metal Record Producers Dr Niall Thomas University of Winchester – [email protected] Dr Andrew King University of Hull – [email protected] Abstract The study of the recorded artefact from a musicological perspective continues to unfold through contemporary research. Whilst an understanding of the scientific elements of recorded sound is well documented the exploration of the production and the artistic nature of this endeavour is still developing. This article explores phenomenological aspects of producing Heavy Metal music from the perspective of seven renowned producers working within the genre. Through a series of interviews and subsequent in-depth analysis particular sonic qualities are identified as key within the production of this work: impact; energy; precision; and extremity. A conceptual framework is then put forward for understanding the production methodology of recorded Heavy Metal Music, and, how developing technology has influenced the production of the genre. Keywords: recording; Heavy Metal; production; producers; phenomenology Introduction The affordances of digital technology have significantly changed the opportunities for practicing musicians to record music. Technology enables even amateur music makers the opportunity to record music with relative ease. The democratisation of technology has meant that mobile devices can become pocket sized recording studios (Leyshon, 2009), whilst affordable solutions and emulations of prohibitively expensive computing and recording technology are readily available via the Internet. The technology associated with certain aspects of music making is now more widespread and enables a new sense of creative musical freedom; music producers command a limitless array of technological choices. Despite the benefits of the ever-increasing rate of technological development, the recording industry is changing dramatically, and with it, the production perspectives of record producers.
    [Show full text]
  • 9781317587255.Pdf
    Global Metal Music and Culture This book defines the key ideas, scholarly debates, and research activities that have contributed to the formation of the international and interdisciplinary field of Metal Studies. Drawing on insights from a wide range of disciplines including popular music, cultural studies, sociology, anthropology, philos- ophy, and ethics, this volume offers new and innovative research on metal musicology, global/local scenes studies, fandom, gender and metal identity, metal media, and commerce. Offering a wide-ranging focus on bands, scenes, periods, and sounds, contributors explore topics such as the riff-based song writing of classic heavy metal bands and their modern equivalents, and the musical-aesthetics of Grindcore, Doom and Drone metal, Death metal, and Progressive metal. They interrogate production technologies, sound engi- neering, album artwork and band promotion, logos and merchandising, t-shirt and jewelry design, and the social class and cultural identities of the fan communities that define the global metal music economy and subcul- tural scene. The volume explores how the new academic discipline of metal studies was formed, while also looking forward to the future of metal music and its relationship to metal scholarship and fandom. With an international range of contributors, this volume will appeal to scholars of popular music, cultural studies, social psychology and sociology, as well as those interested in metal communities around the world. Andy R. Brown is Senior Lecturer in Media Communications at Bath Spa University, UK. Karl Spracklen is Professor of Leisure Studies at Leeds Metropolitan Uni- versity, UK. Keith Kahn-Harris is honorary research fellow and associate lecturer at Birkbeck College, UK.
    [Show full text]
  • Culture & Events
    CULTURE & EVENTS 1 May 31 – July 5 Strossmartre Saunter up towards the outlet to display their talents and Ida Jakšić’s designs will Stross - Zagreb’s Strossmayer promenade and the old be featured in June. Museum of Arts and Crafts (B-3) Trg romantic Upper Town as spring kicks off yet another season of maršala Tita 10, tel. 488 21 11 this well known spectacle. Visitors can enjoy a feast of cultural June 1 – 31 Miniature Furniture from the Museum of events, entertainment, film, theatre and other programmes. Arts and Crafts Collection Throughout the 17th and 18th Strossmayer promenade (B-2) century, the production of furniture and the ornaments to June – July The Laganiši Cave - A place of life and death go with it was a growing trade. Objects that we classify as Step back in time as a display of results from the excavations being placed on large furniture are called ‘sopramobiles. They made at the Laganiši cave near the town of Oprtalj, which were are miniature in shape and require precision on the artist’s conducted from 2004 until 2007, will be presented. Traces of behalf. Every intricate detail is noted, some are decorated life from the early periods were found inside the cave, dating in bronze as to appear as precious jewels. Craftsmanship from the Stone Age (Neolithic), through to the Bronze Age and was of essence and they had to be perfectionists as can be Antique period. Archeological Museum in Zagreb (C-2) Trg seen here on display. Museum of Arts and Crafts (B-3), N.
    [Show full text]
  • Investigation of Heavy Metal History 1 Вінницький Національний Технічний Університет;
    УДК 681.12 В. О. Довгун1 Л. Е. Габрійчук1 INVESTIGATION OF HEAVY METAL HISTORY 1 Вінницький національний технічний університет; Анотація Досліджено причини та особливості виникнення важкого металу як музичного жанру, його вплив на інші жанри та на суспільство вцілому. Також прослідковано, як розвивався та змінювався жанр на протязі часу його існування. Ключові слова: важкий метал, рок, гітара, рок-гурт, гітарне соло. Abstract The reasons and peculiarities of the occurrence of heavy metal as a musical genre, its influence on other genres and on society as a whole are researched. It also traced how the genre evolved and changed over its lifetime. Keywords: heavy metal, rock, guitar, rock band, guitar solo. Introduction Metal(or heavy metal) is a genre of rock music that includes such styles that are virtuosic, powerful, and intense. Heavy metal has roots in blues rock, psychedelic rock, and acid rock and characterized with a thick, massive aggressive sound, highly emphatic beats, extended guitar solos, dense bass-and-drum sound, vigorous vocals, amplified distortion, and overall loudness. Metal developed in the late 1960s and early 1970s, largely in the United Kingdom and now it have millions of fans called "headbangers" or "metalheads". Although early heavy metal bands such as Led Zeppelin, Black Sabbath, and Deep Purple attracted large audiences, they were often critically reviled at the time, a status common throughout the history of the genre. In the mid-1970s, Judas Priest helped spur the genre's evolution by discarding much of its blues influence. The New Wave of British Heavy Metal followed in a similar vein, introducing a punk rock sensibility and an increasing emphasis on speed.[3][4] There are a lot of heavy metal festivals worldwide, both touring and stationary, dedicated to heavy metal subgenres and heavy metal itself.
    [Show full text]
  • The Internet Era I MUSC-21600: the Art of Rock Music Prof
    The Internet Era I MUSC-21600: The Art of Rock Music Prof. Freeze 5 December 2016 Music Industry in the Internet Era • Rock’s marginalization within popular music • Breakdown of artistic/economic approach • Internet (MP3, Napster, p2p) • Eliminates industry control over distribution • New platforms (iPod, iTunes, streaming) • Re-prioritizes tracks • Pro Tools further empowers DIY-ers • Industry’s responses (so far) • Court cases, focus on baby boomers • Product placement, 360-degree deals, touring Rock in the Internet Era • Many forms of mainstream rock in the 2000s • The rest of the listening list: a non-representative sampling of directions • Nickelback • Traditional approach to music and business lives [7,000,000 albums sold] • “Photograph” (Nickelback, 2005) • Hard rock + Country + Pop • Check out “How You Remind Me of Somewhere” • Linkin Park • Reflects new demographics: Asian-American band members • Exemplifies growing irrelevance of generic boundaries • Enabled by new technology, distribution platforms • “In the End” (Linkin Park, 2000) • Nu metal ( = alt metal = metal + ______ ) • Creed • Breaks down commercial boundaries: Contemporary Christian Music vs. mainstream rock • “Higher” (Creed, 1999) • Grunge (cf. post-grunge) Rock in the Internet Era • Radiohead • Alternative rock as vehicle for musical, economic experimentation • In Rainbows (2007): lavish album and digital download • “Bodysnatchers” (Radiohead, 2007) • Nihilistic punk sensibility, rhythmic drive • Heavy metal guitar orientation (often highly distorted) • Exotic scale and hypnotic repetition • Lyrics seem to link individual helplessness, rock industry • Arcade Fire • The Suburbs (2011): Grammy Award for Best Album of the Year • Is there mainstream and alternative anymore? • Stylistically eclectic • Deals with experience of post-recession suburbs (cf. hip-hop) • “The Suburbs” (Arcade Fire, 2011) • Retro bouncing beat • Gradually thickening of texture, becomes more menacing.
    [Show full text]
  • Gagen, Justin. 2019. Hybrids and Fragments: Music, Genre, Culture and Technology
    Gagen, Justin. 2019. Hybrids and Fragments: Music, Genre, Culture and Technology. Doctoral thesis, Goldsmiths, University of London [Thesis] https://research.gold.ac.uk/id/eprint/28228/ The version presented here may differ from the published, performed or presented work. Please go to the persistent GRO record above for more information. If you believe that any material held in the repository infringes copyright law, please contact the Repository Team at Goldsmiths, University of London via the following email address: [email protected]. The item will be removed from the repository while any claim is being investigated. For more information, please contact the GRO team: [email protected] Hybrids and Fragments Music, Genre, Culture and Technology Author Supervisor Justin Mark GAGEN Dr. Christophe RHODES Thesis submitted for the degree of Doctor of Philosophy in Computer Science GOLDSMITHS,UNIVERSITY OF LONDON DEPARTMENT OF COMPUTING November 18, 2019 1 Declaration of Authorship I, Justin Mark Gagen, declare that the work presented in this thesis is entirely my own. Where I have consulted the work of others, this is clearly stated. Signed: Date: November 18, 2019 2 Acknowledgements I would like to thank my supervisors, Dr. Christophe Rhodes and Dr. Dhiraj Murthy. You have both been invaluable! Thanks are due to Prof. Tim Crawford for initiating the Transforming Musicology project, and providing advice at regular intervals. To my Transforming Musicology compatriots, Richard, David, Ben, Gabin, Daniel, Alan, Laurence, Mark, Kevin, Terhi, Carolin, Geraint, Nick, Ken and Frans: my thanks for all of the useful feedback and advice over the course of the project.
    [Show full text]