A groundbreaking social history of the drum kit, Matt Brennan's Kick It makes a compelling case for the instrument as one of most important and transformative musical inventions of the modern era.
A groundbreaking social history of the drum kit, Matt Brennan's Kick It makes a compelling case for the instrument as one of most important and transformative musical inventions of the modern era.
Marie Brennan is a former anthropologist and folklorist who shamelessly leans on her academic fields for inspiration. She recently misapplied her professors' hard work to The Market of 100 Fortunes and The Waking of Angantyr. She is the Hugo Award-winning and Nebula and World Fantasy-nominated author of the Victorian adventure series The Memoirs of Lady Trent along with several other series, over ninety short stories, several poems, and the New Worlds series of worldbuilding guides; as half of M.A. Carrick, she has written the Rook and Rose epic fantasy trilogy. For more information and social media, visit linktr.ee/swan_tower.
Inhaltsangabe
* Acknowledgments * Introduction: Hanging around with musicians * Chapter 1: Clever drummers, primitivism, entrepreneurialism, and the invention of the trap drummer's outfit * · The transatlantic slave trade * · The snare drum, bass drum, and cymbals come together * · The birth of highbrow and lowbrow music * · Being a drummer in nineteenth century America * · Tinkerers, inventors, and entrepreneurs * · The trap drummer's outfit * Chapter 2: Noisy drummers, ragtime, jazz, and the avant-garde * · Ragged time * · "Instruments of a lower order" * · Trap drummers, sound effects, and moving pictures * · Noisy women, immigrant cultures, and Tin Pan Alley * · The birth of jazz * · Quiet in the studio! * · Drums and noise conquer the classical world * Chapter 3: Studious drummers, selling drum outfits, standardization, and stardom * · Fakers versus readers * · Selling the drum kit * · The drum outfit travels the world * · Cymbal making and the invention of the hi-hat * · Swing bands and star drummers * · Slingerland and the standardization of the drum outfit * Chapter 4: Creative drummers, artistry, virtuosity, and playing time * · Prodigies and showmen * · Bebop and the melody of the drum kit * · Drummers and drum makers in dialogue * · The rise of the backbeat * · The drum kit in Britain and the birth of beat groups * · The recruitment of Ringo * · Theorizing creativity on the drum kit * Chapter 5: Working drummers, musical labour, role playing, and authorship * · The job of a session drummer * · The job of a rock star drummer * · The globalization of drum kit production * · Credit where credit is due * · Song authorship and getting paid * Chapter 6: Indispensable drummers, drum machines, and record production * · The drum kit on record * · The multi-track recording studio * · Diasporic drumming practices and dance records * · Rise of the machines * · From the margins to the centre of the mix * · Drummers as producers * · Augmenting the drum kit and drumming without drummers * Conclusion: The tyranny of the snare drum * Endnotes * References * Index
* Acknowledgments * Introduction: Hanging around with musicians * Chapter 1: Clever drummers, primitivism, entrepreneurialism, and the invention of the trap drummer's outfit * · The transatlantic slave trade * · The snare drum, bass drum, and cymbals come together * · The birth of highbrow and lowbrow music * · Being a drummer in nineteenth century America * · Tinkerers, inventors, and entrepreneurs * · The trap drummer's outfit * Chapter 2: Noisy drummers, ragtime, jazz, and the avant-garde * · Ragged time * · "Instruments of a lower order" * · Trap drummers, sound effects, and moving pictures * · Noisy women, immigrant cultures, and Tin Pan Alley * · The birth of jazz * · Quiet in the studio! * · Drums and noise conquer the classical world * Chapter 3: Studious drummers, selling drum outfits, standardization, and stardom * · Fakers versus readers * · Selling the drum kit * · The drum outfit travels the world * · Cymbal making and the invention of the hi-hat * · Swing bands and star drummers * · Slingerland and the standardization of the drum outfit * Chapter 4: Creative drummers, artistry, virtuosity, and playing time * · Prodigies and showmen * · Bebop and the melody of the drum kit * · Drummers and drum makers in dialogue * · The rise of the backbeat * · The drum kit in Britain and the birth of beat groups * · The recruitment of Ringo * · Theorizing creativity on the drum kit * Chapter 5: Working drummers, musical labour, role playing, and authorship * · The job of a session drummer * · The job of a rock star drummer * · The globalization of drum kit production * · Credit where credit is due * · Song authorship and getting paid * Chapter 6: Indispensable drummers, drum machines, and record production * · The drum kit on record * · The multi-track recording studio * · Diasporic drumming practices and dance records * · Rise of the machines * · From the margins to the centre of the mix * · Drummers as producers * · Augmenting the drum kit and drumming without drummers * Conclusion: The tyranny of the snare drum * Endnotes * References * Index
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