Throughout the long nineteenth-century the sounds of liberty resonated across the Anglophone world. Focusing on radicals and reformers committed to the struggle for a better future, this book explores the role of music in the transmission of political culture over time and distance. Following in the footsteps of relentlessly travelling activists - women and men - it brings to light the importance of music making in the lived experience of politics. It shows how music encouraged, unified, divided, consoled, reminded, inspired and, at times, oppressed. The book examines iconic songs; the sound of music as radicals and reformers were marching, electioneering, celebrating, commemorating as well as striking, rioting and rebelling; and it listens within the walls of a range of associations where it was a part of a way of life, inspiring, nurturing, though at times restrictive. It provides an opportunity to hear history as it happened.

Crossley argues that music is a form of social interaction, interwoven in the fabric of society and in constant interplay with its other threads. Musical interactions are often also economic interactions, for example, and sometimes political interactions. They can be forms of identity work, for both individuals and collectives, contributing to the reproduction or bridging of social divisions. Successive chapters of the book track and explore these interplays, in each case combining a critical consideration of existing literature with the development of an original, 'relational' approach to music sociology.

Focusing on the task allows the developer to create music on the spot without having to read sheet music, using chords, harmony rules, and basic music theory to support the activity. Having a solid grasp of this musical structure is the key to being able to perform the task automatically.

The Jazz Rhythm Section introduces the basics of this very important part of the jazz ensemble. They are the foundation of any jazz group, so improving the rhythm section will result in a stronger sounding band. This book is intended to be a practical guide with chapters on each of the primary instruments in the rhythm section: bass, drums, piano and guitar.

The book looks at jazz both as a music and as a culture within the wider American context, and aims to open up the subject to the non-specialist. It examines the social and institutional structures that have underpinned the music at particular stages in its history, from the 1930s through to the present, and considers its place as a component of the entertainment industry. Among the musicians introduced are Charlie Parker, Louis Armstrong, Miles Davis, Duke Ellington, Billie Holliday and Lester Young.