A community of audiologists and performers details approaches to music for those with a loss of hearing.
This book offers stories by those who’ve faced the remarkable challenge of playing music while experiencing varying degrees of hearing loss. The first five chapters, written by audiologists, give solid summaries of technical and medical information that will be useful to the hearing-challenged musician. Specifically, they offer a clear overview of the ear’s physiology and function and how current assistive devices work, including specific technical information about cochlear implants. This guidebook also talks about the difficult transition that one faces when losing one’s hearing. “By focusing on how music makes you feel rather than what it sounds like,” writes audiologist Brad Ingrao, “you have the opportunity to build new musical friendships.” But this small volume isn’t just concerned with the affective dimension of music; it also presents real strategies and advice that performers can apply as they follow their own paths to excellence. The 23 personal accounts by musicians with hearing loss, including several by members of the Association of Adult Musicians with Hearing Loss, are the real emotional core of this anthology, effectively relating their bravery and determination. A couple of these essays begin with little jokes that slightly detract from the intensity of the material—and intense it often is. But overall, these accomplished players, singers, and composers can’t help but produce in the reader a sense of admiration and enthusiasm as they tell of overcoming obstacles with technological solutions, amazing determination, and passionate courage.
An exceptionally valuable resource for musicians and other music lovers with hearing challenges.
Privately published by Strunk of Cornell in 1918 and revised by his student E. B. White in 1959, that "little book" is back again with more White updatings.
Stricter than, say, Bergen Evans or W3 ("disinterested" means impartial — period), Strunk is in the last analysis (whoops — "A bankrupt expression") a unique guide (which means "without like or equal").
Noted jazz and pop record producer Thiele offers a chatty autobiography. Aided by record-business colleague Golden, Thiele traces his career from his start as a ``pubescent, novice jazz record producer'' in the 1940s through the '50s, when he headed Coral, Dot, and Roulette Records, and the '60s, when he worked for ABC and ran the famous Impulse! jazz label. At Coral, Thiele championed the work of ``hillbilly'' singer Buddy Holly, although the only sessions he produced with Holly were marred by saccharine strings. The producer specialized in more mainstream popsters like the irrepressibly perky Teresa Brewer (who later became his fourth wife) and the bubble-machine muzak-meister Lawrence Welk. At Dot, Thiele was instrumental in recording Jack Kerouac's famous beat- generation ramblings to jazz accompaniment (recordings that Dot's president found ``pornographic''), while also overseeing a steady stream of pop hits. He then moved to the Mafia-controlled Roulette label, where he observed the ``silk-suited, pinky-ringed'' entourage who frequented the label's offices. Incredibly, however, Thiele remembers the famously hard-nosed Morris Levy, who ran the label and was eventually convicted of extortion, as ``one of the kindest, most warm-hearted, and classiest music men I have ever known.'' At ABC/Impulse!, Thiele oversaw the classic recordings of John Coltrane, although he is the first to admit that Coltrane essentially produced his own sessions. Like many producers of the day, Thiele participated in the ownership of publishing rights to some of the songs he recorded; he makes no apology for this practice, which he calls ``entirely appropriate and without any ethical conflicts.'' A pleasant, if not exactly riveting, memoir that will be of most interest to those with a thirst for cocktail-hour stories of the record biz. (25 halftones, not seen)