Need assistance? Contact us during our operating hours!
Our normal operating hours are:
Please check the RCBC Library homepage for closings and extended hours.
Welcome to the Music Research Guide! This guide is designed to assist you in your research.
Here at RCBC we believe in guaranteeing easily accessible, affordable content to benefit the learning experience of our students, enriching them academically, and professionally, in their chosen career path.
Think of a Lib Guide as a digital filing cabinet, full of tools that can do everything from enhance supplementary instruction to provide relevant, topical resources that will benefit a student’s prospective job hunt and professional development well beyond the classroom.
Lib Guides are part of a grant-funded RCBC initiative pertaining to freely available Open Educational Resources (OERs), which aim to change higher education into a comprehensive and diverse experience that works to serve students and ensure success is always within their reach.
Some of the OERs that RCBC welcomes you to peruse are subject-related study guides, the contact information of a number of national professional organizations and associations, links to such relevant institutions as the U.S. Department of the Treasury and the Internal Revenue Service, as well as a multitude of free, digital textbooks on topics such as economics, investing, banking, and more.
In the late '90s, third-wave ska broke across the American alternative music scene like a tsunami. In sweaty clubs across the nation, kids danced themselves dehydrated to the peppy rhythms and punchy horns of bands like The Mighty Mighty Bosstones and Reel Big Fish. As ska caught fire, a swing revival brought even more sharp-dressed, brass-packing bands to national attention. Hell of a Hat dives deep into this unique musical moment. Prior to invading the Billboard charts and MTV, ska thrived from Orange County, California, to NYC, where Moon Ska Records had eager rude girls and boys snapping up every release. On the swing tip, retro pioneers like Royal Crown Revue had fans doing the jump, jive, and wail long before The Brian Setzer Orchestra resurrected the Louis Prima joint. Drawing on interviews with heavyweights like the Bosstones, Sublime, Less Than Jake, and Cherry Poppin' Daddies--as well as underground heroes like Mustard Plug, The Slackers, Hepcat, and The New Morty Show--Kenneth Partridge argues that the relative economic prosperity and general optimism of the late '90s created the perfect environment for fast, danceable music that--with some notable exceptions--tended to avoid political commentary. An homage to a time when plaids and skankin' were king and doing the jitterbug in your best suit was so money, Hell of a Hat is an inside look at '90s ska, swing, and the loud noises of an era when America was dreaming and didn't even know it.
When he emerged from the nightclubs of Greenwich Village, Bob Dylan was often identified as a "protest" singer. As early as 1962, however, Dylan was already protesting the label: "I don't write no protest songs," he told his audience on the night he debuted "Blowin' in the Wind." "Protest" music is largely perceived as an unsubtle art form, a topical brand of songwriting that preaches to the converted. But popular music of all types has long given listeners food for thought. Fifty years before Vietnam, before the United States entered World War I, some of the most popular sheet music in the country featured anti-war tunes. The labor movement of the early decades of the century was fueled by its communal "songbook." The Civil Rights movement was soundtracked not just by the gorgeous melodies of "Strange Fruit" and "A Change Is Gonna Come," but hundreds of other gospel-tinged ballads and blues. In Which Side Are You On?, author James Sullivan delivers a lively anecdotal history of the progressive movements that have shaped the growth of the United States, and the songs that have accompanied and defined them. Covering one hundred years of social conflict and progress across the twentieth century and into the early years of the twenty-first, this book reveals how protest songs have given voice to the needs and challenges of a nation and asked its citizens to take a stand--asking the question "Which side are you on?"
A NEW YORKER BEST BOOK OF THE YEAR A love letter to the verbal artistry of hip-hop, What's Good is a work of passionate lyrical analysis "What's Good is, among a great many other things, a byproduct of joyful obsession and immersion into both language and sound, an intersection that offers a rich and expansive land upon which to play." --Hanif Abdurraqib, author of A Little Devil in America: Notes in Praise of Black Performance " . . . an often hilarious, surprisingly moving and always joyful paean to rap's relationship to words."--Jayson Greene, The New York Times "Rap, he is not afraid to say, is as close to a universal tongue as we have."--Adam Gopnik, The New Yorker What's Good is a work of passionate lyrical analysis, a set of freewheeling liner notes, and a love letter to the most vital American art form of the last half century. Over a series of short chapters, each centered on a different lyric, Daniel Levin Becker considers how rap's use of language operates and evolves at levels ranging from the local (slang, rhyme) to the analytical (quotation, transcription) to the philosophical (morality, criticism, irony), celebrating the pleasures and perils of any attempt to decipher its meaning-making technologies. Ranging from Sugarhill Gang to UGK to Young M.A, Rakim to Rick Ross to Rae Sremmurd, Jay-Z to Drake to Snoop Dogg, What's Good reads with the momentum of a deftly curated mixtape, drawing you into the conversation and teaching you to read it as it goes. A book for committed hip-hop heads, curious neophytes, armchair linguists, and everyone in between. "For those of us who love rap, What's Good is a gift. The book offers a new set of eyes and ears through which to see and to hear the language of rap. Its brief and brilliant chapters are like the best kinds of freestyles: spontaneous and structured, startling and profound. A remarkable achievement." --Adam Bradley, author of Book of Rhymes: The Poetics of Hip Hop "Could this be the rap equivalent of Lewis Hyde's The Gift or Marina Warner's Once Upon A Time? Anyhow, it's an electrifying book, full of wild epiphanies and provocations, an exhibition of a critical mind in full and open contact with their subject at the highest level, with a winning streak of confessional intimacy as well." --Jonathan Lethem, author of The Arrest: A Novel "What's Good is a feat of critical precision and personal obsession: Daniel Levin Becker's deep appreciation for rap is rangy and illuminating, and his delight in language is infectious. What a thrill to swing so gracefully from Lil Wayne to Mary Ruefle to the lyrical evolution of 'tilapia'; pure pleasure. A generous, joyful exegesis."--Anna Wiener, author of Uncanny Valley: A Memoir
The MIDI Manual: A Practical Guide to MIDI within Modern Music Production, Fourth Edition, is a complete reference on MIDI. Written by David Miles Huber (a 4x Grammy-nominated musician, producer and author), this best-selling guide provides clear explanations of what MIDI 1.0 and 2.0 are, acting as a guide for electronic instruments, the DAW, MIDI sequencing and how to make best use of them. You will learn how to set up an efficient MIDI system and how to get the most out of your production room and ultimately ... your music. Packed full of useful tips and practical examples on sequencing and mixing techniques, The MIDI Manual also covers in-depth information on system interconnections, controllers, groove tools, the DAW, synchronization and more. For the first time, the MIDI 2.0 spec is explained in light of the latest developments and is accompanied with helpful guidelines for the long-established MIDI 1.0 spec and its implementation chart. Illustrated throughout with helpful photos and screenshots, this is the most readable and clearly explained book on MIDI available.
Research assistance - help finding sources, evaluating sources
Online workshops for citing and plagiarism are held throughout the semester. To request a citing workshop, please email library@rcbc.edu