Art music, orchestral and formal music Books

Book SynopsisTrade ReviewWorth a read for Brahms devotees, even those without advanced music theory knowledge. . . . Recommended. * Choice *This is a wonderfully musical book with many valuable insights (and many generously long music examples). It will be useful to Brahms scholars, of course, but also to those who study music from roughly 1780 to the early twentieth century. * Notes *Table of ContentsAcknowledgementsList of Musical Instrument AbbreviationsIntroduction1. The Notion of Allusion as Narrative Premise in Brahms's Instrumental Music2. Lovelorn Lamentation, or Histrionic Historicism?: Re-Examining Allusion and Extramusical Meaning in the B-Major Piano Trio, op. 83. Musical Memory and the D-Major Serenade, op. 114. An Historical Model, an Emerging Soloist, a Young Composer in Turmoil: The Piano Concerto in D Minor, op. 15 5. A Later Example: Tragic Antiquarianism in Brahms's Fourth SymphonyConclusionSelected BibliographyIndex

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Book SynopsisHow can music withstand the death and destruction brought on by war? Global conflicts of the 20th century fundamentally transformed not only national boundaries, power relations, and global economies, but also the arts and culture of every nation involved. An important, unacknowledged aspect of these conflicts is that they have unique musical soundtracks. Music in World War II explores how music and sound took on radically different dimensions in the United States and Europe before, during, and after World War II. Additionally, the collection examines the impact of radio and film as the disseminators of the war's musical soundtrack. Contributors contend that the European and American soundtrack of World War II was largely one of escapism rather than the lofty, solemn, heroic, and celebratory mode of war music in the past. Furthermore, they explore the variety of experiences of populations forced from their homes and interned in civilian and POW camps in Europe and the United States, exTrade ReviewThe newly published Indiana University Press book, Music in World War II: Coping with Wartime in Europe and the United States, has enlarged my understanding of how music became a tool of war for allies and adversaries alike, as opponents became allies and allies became opponents in a shifting landscape of diplomacy. Music as propaganda wasn't on my radar as a child. . . . The editors designed a book to show a broad base of music's power to shape citizens and soldiers in wartime. They chose essayists whose imperative brings us into the moments of real people in a world of divisiveness. In my childhood household I was instructed, "We are fighting for ideals, for 'liberty and justice for all.' When the war is over and we are winners we have work to do to make America a safe place for everyone. Always make something better for everyone." A powerful charge for a little kid. -- Rita Kohn * Nuvo *Music in World War II is a book that is really worth reading not only because it is a true page-turner and the stories are unique and fascinating, but also because it truly adds to our knowledge of World War II events from a perspective that is even wider than just music. -- Alexandros Charkiolakis - The Friends of Music Society * Music Reference Services Quarterly *Table of ContentsDedicationPreface / Roberta Montemorra MarvinIntroduction: Music and Global War in the Short Twentieth Century / Pamela M. PotterPart I: On the Airwaves and the Screen1. Sandy Calling: Forging an Intimate Wartime Public at the BBC Theater Organ / Christina L. Baade2. "Alien" Classical Musicians and the BBC, 1939 – 1945 / Tony Stoller3. Musical "Diplomacy" in American and Soviet World War II Films of the 1940s / Peter KupferPart II: Opera, Theater Stage, and Concerts4. The Metropolitan Opera House and the "War of Ideologies": The Politics of Opera Publicity in Wartime / Christopher Lynch5. Broadway Goes to War / Tim Carter6. Throwing Some Light on the Dunkelkonzerte: Towards a New Image of Concert Life in Vienna, 1939-1944 / Nicholas Attfield7. Before the End of Time: General Huntziger's Centre Musical et Théâtral / Christopher Brent MurrayPart III: National Imaginaries8. Swing in the Protectorate: Czech Popular Music under the Nazi Occupation, 1938-1945 / Brian S. Locke9. A Musical Reedeucation: Music-making in America's German POW Camps and the Intellectual Diversion Program / Kelsey Kramer McGinnis10. Bunkers, Cellars, and Acoustic Memory: Sonic Experiences of War and Surrender in Nazi Germany / Abby AndertonAfterword: Trans/national Soundscapes in World War II / Annegret FauserSelected Works

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Book SynopsisIn this expanded and updated edition, The Piano in Chamber Ensemble: An Annotated Guide features over 3200 compositions, from duos to octets, by more than 1600 composers. Maurice Hinson and Wesley Roberts catalog published works for piano with two or more instruments with information on performance level, length, individual movements, overall style, and publisher. Divided into sections according to the number and types of instruments involved, The Piano in Chamber Ensemble then subdivides entries according to the actual scoring. Keyboard, string, woodwind, brass, and percussion players and teachers will find a wealth of chamber works from all periods in this invaluable guide.Trade ReviewEnthusiastic aficionados of piano chamber music will applaud this superb compendium. Hours of informative browsing awaits. * AUSTA National Journal *Veteran piano pedagogues Hinson and Roberts have collaborated again for the third edition of the volume, which has been expanded and updated to include over 3,200 compositions by more than 1,600 composers. What Bennet Ludden noted in his review of the first edition still rings true for this edition: the volume continues to serve as "the major compendium of information about chamber music that involves piano as an equal partner." . . . The volume serves as a comprehensive reference resource for researching chamber music repertoire featuring the piano and will serve as a valuable resource for pianists, pedagogues, and libraries for years to come. -- Treshani Perera * Music Reference Services Quarterly *Table of ContentsPrefaceUsing the GuideAbbreviationsAgents or Parent Companies of Music Publishers in the United StatesMusic PublishersPart I: Music for Two InstrumentsDuos for Piano and ViolinDuos for Piano and ViolaDuos for Piano and CelloDuos for Piano and Double BassDuos for Piano and FluteDuos for Piano and OboeDuos for Piano and English HornDuos for Piano and ClarinetDuos for Piano and Bass ClarinetDuos for Piano and BassoonDuos for Piano and SaxophoneDuos for Piano and HornDuos for Piano and Trumpet (Cornet)Duos for Piano and TromboneDuos for Piano and TubaDuos for Piano(s) and Miscellaneous InstrumentsPart II: Music for Three InstrumentsTrios for Piano, Violin, and CelloTrios for Piano, Violin, and ViolaTrios for Piano and Two Violins (including Trio Sonatas)Trios for Piano(s) and Miscellaneous StringsTrios for Piano, One Stringed Instrument, and One Wind InstrumentTrios for Piano and Two Flutes (including Trio Sonatas)Trios for Piano and Two WoodwindsTrios for Piano and Two Brass InstrumentsTrios for Piano, One Brass Instrument, and One WoodwindTrios for Piano(s), Percussion, and Another InstrumentPart III: Music for Four InstrumentsQuartets for Piano(s) and StringsQuartets for Piano(s), Strings, and WindsQuartets for Piano(s) and WoodwindsQuartets for Piano and BrassQuartets for Piano, Woodwind(s), and BrassQuartets for Piano(s), Percussion, and Other InstrumentsPart IV: Music for Five InstrumentsQuintets for Piano and StringsQuintets for Piano(s), Strings, and WindsQuintets for Piano and WindsQuintets for Piano(s), Percussion, and Other InstrumentsPart V: Music for Six InstrumentsSextets for Piano and StringsSextets for Piano(s) and Miscellaneous InstrumentsPart VI: Music for Seven InstrumentsSeptets for Piano(s) and Miscellaneous InstrumentsPart VII: Music for Eight InstrumentsOctets for Piano(s) and Miscellaneous InstrumentsAnthologies and CollectionsAnnotated BibliographyIndex of Works for Two or More Pianos and Other InstrumentsIndex of Works for Piano, Four Hands, and Piano, Left HandIndex of Works by Female ComposersIndex of Composers

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Book SynopsisTrade ReviewSkinner's survey of Beethoven reception in Russia from the 1790s through 2010 is constructed from an astonishing compendium of details compiled over decades of research and reflection. The adoption of the heroic Beethoven for revolutionary and communist purposes—an adoption the West believes to be a perversion—makes sense not as abuse but as a logical outgrowth of the Romantic idealization of the composer. Ultimately, Skinner provokes us into re-examining our own 'Beethovens.' -- William Meredith, emeritus director of the Ira F. Brilliant Center for Beethoven Studies, San José State UniversityTable of ContentsYouTube PlaylistPrefaceAcknowledgmentsPrelude: Music in the Tsar's GulagPart I: RUSSIA BEFORE 19171. Encountering Beethoven: Salon and Concert Hall2. Engaging Beethoven: Writer and Critic3. Evaluating Beethoven: From Freude to Freiheit4. Embracing Beethoven: Concert Hall and RiverbankPart II: RUSSIA AFTER 19175. Beethoven as Revolutionary: Red Star Rising6. Beethoven as Icon: Cult and Canon7. Beethoven as Beethoven: The End of IdeologyPostlude: Project Gulag 2010TablesBibliographyIndex

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Book SynopsisTrade ReviewSkinner's survey of Beethoven reception in Russia from the 1790s through 2010 is constructed from an astonishing compendium of details compiled over decades of research and reflection. The adoption of the heroic Beethoven for revolutionary and communist purposes—an adoption the West believes to be a perversion—makes sense not as abuse but as a logical outgrowth of the Romantic idealization of the composer. Ultimately, Skinner provokes us into re-examining our own 'Beethovens.' -- William Meredith, emeritus director of the Ira F. Brilliant Center for Beethoven Studies, San José State UniversityTable of ContentsYouTube PlaylistPrefaceAcknowledgmentsPrelude: Music in the Tsar's GulagPart I: RUSSIA BEFORE 19171. Encountering Beethoven: Salon and Concert Hall2. Engaging Beethoven: Writer and Critic3. Evaluating Beethoven: From Freude to Freiheit4. Embracing Beethoven: Concert Hall and RiverbankPart II: RUSSIA AFTER 19175. Beethoven as Revolutionary: Red Star Rising6. Beethoven as Icon: Cult and Canon7. Beethoven as Beethoven: The End of IdeologyPostlude: Project Gulag 2010TablesBibliographyIndex

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Book SynopsisTable of ContentsPreface1. Schubert's Musical Reception and Contemporary Schubert Criticism2. Rethinking Conceptions of Unity3. The Value of Diatonic Indeterminacy When Traveling through Tonal Space4. Sonata Forms, Fantasias, and Formal Coherence5. Biography, Music Analysis, and the Narrative Impulse6. Beyond Homage and Critique: Rethinking Musical InfluenceClosing RemarksWorks CitedIndex

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Book SynopsisTable of ContentsPreface1. Schubert's Musical Reception and Contemporary Schubert Criticism2. Rethinking Conceptions of Unity3. The Value of Diatonic Indeterminacy When Traveling through Tonal Space4. Sonata Forms, Fantasias, and Formal Coherence5. Biography, Music Analysis, and the Narrative Impulse6. Beyond Homage and Critique: Rethinking Musical InfluenceClosing RemarksWorks CitedIndex

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Book SynopsisTrade Review"A masterful and elegantly written history of the symphony and symphonic repertory throughout the Americas, from the colonial period to the present, in Spanish-, Portuguese-, and English-speaking countries, including coverage of the symphony in Canada. Volume editor Brian Hart and his group of leading experts give a comprehensive treatment of the genre showing how composers from throughout the western hemisphere have put their own individual stamp on the form over the centuries. The Symphony in the Americas is an outstanding achievement and a magnificent addition to the late A. Peter Brown's multi-volume series The Symphonic Repertoire."—John Koegel, author of Music in German Immigrant Theater

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Book SynopsisA volume of essential reading and scholarship in Russian music studies that brings together 25 essays, interviews, newspaper articles, and reviews.Trade Review[A]n engaging and enlightening anthology . . . .64.4 Winter 2005 * SLAVIC REVIEW *Table of ContentsIntroductionPart One1. Shostakovich versus Volkov2. Volkov's Testimony ReconsideredPart Two3. A Side-by-Side Comparison of Texts from Testimony with Their Original Sources4. A Pitiful Fake5. The Bedbug6. The Official Dossier7. Notes from the Soviet Archives on Volkov's Testimony8. An Episode in the Life of a Book9. An Answer to Those Who Still Abuse Shostakovich10. On Solomon Volkov and Testimony11. The Regime and Vulgarity12. Shostakovich's World is Our World13. Shostakovich RememberedPart Three14. A Link in the Chain15. Aperspective on Soviet Musical Culture during the Lifetime of Shostakovich16. The Latest "New Shostakovich"17. Dialogues about ShostakovichPart Four18. Ian MacDonald's The New Shostakovich19. Elizabeth Wilson's Shostakovich20. A Response to Papers by Allan Ho and Dmitri Feofanov21. Whose Shostakovich?22. The Shostakovich Variations23. Shostakovich24. Laurel Fay's Shostakovich25. When Serious Music MatteredSelected BibliographyContributorsIndex

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Book SynopsisA study of the music of the Baroque period, with a focus on the 17th century. It examines composers and genres from Russia, the Ukraine, Slovenia, Croatia, and Latin America. It also includes musical examples from various genres and instrumental combinations.Trade ReviewGiven the availability of numerous sophisticated surveys on Baroque music history, this reviewer was astonished that this tome exceeded expectations regarding scope and focus. In an effort to offer a discussion that goes beyond the standard canon of thought, Buelow (emer., Indiana Univ.) explores the works of Iberian, Eastern European, Latin American, and indeed even Caribbean composers. The book is replete with extensive score excerpts and analysis, and the chapters are subdivided into sections treating genre, composer, and technical development—an arrangement that makes this sizeable volume painless to navigate. Some of the most complex issues confronting the author are the paradigm shifts away from the knotty theoretical and philosophical concerns of the Renaissance establishment. Buelow excels in handling this, offering a chapter about this transition that even the uninitiated will be able to comprehend. His portrayal of the cross—cultural ramifications resulting from the contemporary political condition brings with it needed context for tracing musical developments as they occur across the Continent. Though the seemingly obligatory Bach and Handel chapters are somewhat overextended, this is a solid addition to the literature. Summing Up: Essential. Upper—division undergraduates through faculty and professionals. —J. Rubin, University of Minnesot -- Duluth * 2005jun CHOICE *Table of ContentsPrefaceAcknowledgementsIntroduction: "Baroque" as an historical conceptPart I: The Baroque in the Seventeenth CenturyChapter 1: The Renaissance in Transition-Origins of New Musical conceptsChapter 2: Baroque Innovations in Italy to circa 1640Chapter 3: Claudio Monteverdi (1567=1643)Chapter 4: The Baroque in Italy from c1640 to c1700Chapter 5: Arcangelo Corelli (1653-1713 and Alessandro Scarlatti (1660-1725)George J. BuelowChapter 6: The Baroque in FranceChapter 7: Sacred Music in Northern and Southern Europe and Austria in the Seventeenth CenturyChapter 8: Secular Music in Northern and Southern Europe and Austria in the Seventeenth CenturyChapter 9: Heinrich Schütz (1585-1672)Chapter 10: English Music during the Stuart Reign, the Commonwealth and the RestorationChapter 11: Henry Purcell (1659-1695)Chapter 12: Music in Spain, Portugal, and Latin America By Rui Vieira NeryChapter 13: Music in Eastern Europeby Ennio Stipcevic, Metoda Kokole, and Claudia JensenPart II: The Baroque in TransitionChapter 14: Music in ItalyChapter 15: Opera at Hamburg, Dresden, and ViennaChapter 16: George Frideric Handel (1685-1759)Chapter 17: Johann Sebastian Bach (1685-1750)Chapter 18: Georg Philipp Telemann (1681-1767) BibliographyIndexList of Contributors

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Book SynopsisLeading international scholars consider the socio-economic history of Classical and Romantic musicians.Trade ReviewWeber is an excellent music historian and the book will please all readers interested in musical sociology . . . July 2005 * Choice *Table of ContentsPrefaceI. Overview of the Subject1. William Weber, "The Musician as Entrepreneur and Opportunist, 1700-1914"2. Richard Leppert, "The Musician of the Imagination"II. Early Musical Entrepreneurs3. Tanya Kevorkian, "Changing Times, Changing Music: 'New Church' Music and Musicians in Leipzig, 1700-1750"4. David Gramit, "Selling the Serious: The Commodification of Music and Resistance to it in Germany, c. 1800"III. Concert Management in the Nineteenth Century5. William Weber, "From the Self-Managing Musician to the Independent Concert Agent"6. Laure Schnapper, "Bernard Ullman-Henri Herz: An Example of Financial and Artistic Partnership, 1846-1849"7. Dana Gooley, "Franz Liszt: The Virtuoso as Strategist"8. Simon McVeigh, "'An Audience for High-Class Music': The Musician as Entrepreneur in late Nineteenth-Century London"IV. Women as Entrepreneurs9. Tia DeNora, "Embodiment and Opportunity: Bodily Capital, Reputation and Social Difference in Beethoven's Vienna Partnership"10. Paula Gillett, "Entrepreneurial Women Musicians in Britain: 1790s to the early 1900s"11. Jann Pasler, "Countess Greffulhe as Entrepreneur: Negotiating Class, Gender, and Nation"IndexContributors

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Book SynopsisSince the celebration of his centennial in 1974, Charles Ives has become an iconic figure in the history of music; his name and compositions are widely recognized, and his influence has been felt throughout the world. This title provides insights into the composer's body of work.Trade Review"An important contribution to Ives scholarship as it offers an updated source presenting the actual music that Ives used in his compositions. -Gayle Sherwood Magee, University of Illinois, Urban" -ChampaignTable of ContentsContentsPrefaceAcknowledgmentsIntroductionPart 11. Hymns2. Patriotic Songs and Military Music3. Popular Songs4. College Music5. Popular Instrumental Tunes6. Classical MusicPart 27. Musical Models8. Newly Identified and Unidentified Tunes9. Compositions with Borrowings10. Possible Borrowings11. Musical Incipits12. Editions of Music UsedNotesSelected BibliographyIndexes Composers, Arrangers, Authors, and Translators First Lines and Refrains Tunes by Name

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Book SynopsisExploring many aspects of Mendelssohn's multi-faceted career as musician and how it intersects with his work as composer, this work discusses practical issues of music making such as: performance space, instruments, tempo markings, dynamics, phrasings, articulations, fingerings, and instrument techniques.Trade ReviewThis book does a superb job of explaining the 19th-century sound environment of Felix Mendelssohn and his audiences. . . . Essential.July 2009 * Choice *Mendelssohn in Performance . . . should be on the shelf of every performer, scholar and devotee of Mendelssohn's music. July 2010, Vol. 7.1 * Nineteenth Century Music Review *[T]his book has something for everyone interested in Felix Mendelssohn: history, culture, reception, orchestras and instruments, editions and texts, Mendelssohn's sense of historicism, his performances of other composers, performances of his music in his time and later, and even modern films that use his music.14.1 2009 * Performance Practice Review *[Reichwald] has produced an exceptionally valuable, eminently useful, and very readable book. Any performer wishing to execute an historically informed performance of Mendelssohn's music—or of any other early-nineteenth-century Austro-German composer for that matter—would be well advised to study it thoroughly.29.1 2010 * Journal of Musicological Research *Table of ContentsContentsForeword Christopher Hogwood1. Mendelssohn's Audience Douglass Seaton2. Mendelssohn and the Piano Kenneth Hamilton3. Mendelssohn and the Organ Peter Ward Jones4. The Performance of Mendelssohn's Chamber and Solo Music for Violin Clive Brown5. Mendelssohn and the Orchestra David Milsom6. Mendelssohn as Composer/Conductor: Early Performances of Paulus Siegwart Reichwald7. From Drawing Room to Theater: Performance Traditions of Mendelssohn's Stage Works Monika Hennemann8. Mendelssohn and the Performance of Handel's Vocal Works Ralf Wehner9. From Notation to Edition to Performance: Issues in Interpretation John Michael Cooper10. Mendelssohn's Tempo Indications Siegwart Reichwald11. "For You See I Am the Eternal Objector": On Performing Mendelssohn's Music in Translation John Michael CooperList of ContributorsIndex

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Book SynopsisProposes a synthesis of approaches to musical narrative from literary criticism, semiotics, historiography, musicology, and music theory, resulting in an reorientation of the field. This volume includes a survey of traditional approaches to musical narrative, and a delineation of the elements and preconditions of musical narrative organization.Trade ReviewA Theory of Musical Narrative is an impressive and thought-provoking study which includes many fascinating ideas and insights as well as a comprehensive critique of previous literature. * Music Analysis *[N]atural, elegant, and convincing . . . a must for all music theory collections. Summing Up: Essential. Upper-division undergraduates through researchers and faculty. * Choice *Table of ContentsContentsPrefaceAcknowledgmentsPart 1. A Theory of Musical Narrative 1. An Introduction to Narrative Analysis: Chopin's Prelude in G Major, Op. 28, No. 3 2. Perspectives and Critiques 3. A Theory of Musical Narrative: Conceptual Considerations 4. A Theory of Musical Narrative: Analytical Considerations 5. Narrative and TopicPart 2. Archetypal Narratives and Phases 6. Romance Narratives and Micznik's Degrees of Narrativity 7. Tragic Narratives: An Extended Analysis of Schubert, Piano Sonata in B-flat Major, D. 960, First Movement 8. Ironic Narratives: Subtypes and Phases 9. Comic Narratives and Discursive Strategies 10. Summary and ConclusionGlossaryNotesBibliographyIndex

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Book SynopsisIntroduces the symphonists and their major works from the romanticism of Samuel Barber and the 'All-American' Roy Harris through the theatrics of Leonard Bernstein and Marc Blitzstein to the broad-shouldered appeal of Virgil Thompson and Aaron Copland.Trade ReviewA prolific writer, scholar, and advocate for American music, Tawa (emer., Univ. of Massachusetts, Boston) does not argue for a single symphony as the "great American symphony" but instead nominates a dozen symphonic composers prominent from 1930 to 1950 among whose works a "great American symphony" might be found. The author's excellent vignettes on these composers encompass factual and anecdotal material along with his own informed evaluation of the oeuvre of each. A second theme, that of historical evolution, also runs throughout the book: this same dozen, more or less, heeded the call of their country and wrote music accessible to patrons of classical music; the following 20 years (1950-70) were dominated by composers writing serial music, seemingly neglectful of the public. Tawa concludes by tracing the historical stream through minimalism, neo-Romanticism, and the breaking into the many rivulets of today. One finds considerable variety, both in intention and musical style, among the composers he chose from the 1930s and 1940s. Aaron Copland meets the author's standard, both in attitude and accomplishment, but Roger Sessions does not. Tawa also provides brief discussion of approximately 20 other symphonic composers from 1950 until today. Summing Up: Highly recommended. All readers. — W. K. Kearns, emeritus, University of Colorado at Boulder * Choice *A prolific writer, scholar, and advocate for American music, Tawa (emer., Univ. of Massachusetts, Boston) does not argue for a single symphony as the 'great American symphony' but instead nominates a dozen symphonic composers prominent from 1930 to 1950 among whose works a 'great American symphony' might be found. The author's excellent vignettes on these composers encompass factual and anecdotal material along with his own informed evaluation of the oeuvre of each. . . . Highly recommended.October 2009 * Choice *The Great American Symphony is a significant contribution to the history of American art music. February 1, 2010 * Fanfare *Table of ContentsContentsPreface1. Preliminaries Attitudes The Times Symphonism Ascendant The Symphony's Public Role2. Symphonies of the Mid- to Late Thirties The Romantic Symphony: Barber The Spiritual Symphony: Hanson The All-American Symphony: Harris The Muscular Symphony: Schuman The Civil Symphony: Carpenter Afterthought: Thomson and Cowell3. Symphonies of the War YearsWartime Attitudes The Commemorative Symphony: Antheil The Aesthetic Symphony: Diamond The Dramatic Symphony: Bernstein The Masterly Symphony: Piston The Ambivalent Symphony: Barber The Theatrical Symphony: Blitzstein4. Symphonies of the Immediate Postwar Years The Conservatorial Symphony: Moore The Dynamic Symphony: Mennin The Plain-Spoken Symphony: Thompson The August Symphony: Copland The Self-Reliant Symphony: Creston The Knotty Symphony: Sessions5. American Symphonies after 1950 The Symphony in the Leanest Years The Symphony after 1990NotesSelected BibliographyIndex

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Book SynopsisSeeks to understand the composer as he exists in the American imagination and explores how Beethoven became a cultural iconTrade Review[Broyles] serves as an intellectual, hyper-informed but genial tour guide to a potentially sprawling subject. Though the book is dense in research, it is never pompous; it could serve as a model for how serious musicological study can be generously shared with interested parties who don't happen to be in the same profession. * Santa Fe New Mexican *[T]hanks to Broyles' book, we're a little bit closer to understanding Beethoven's lasting impression on American culture. * stereosubversion.com *Broyles pens an engaging and fascinating text, relying on copious amounts of research supplemented with myths and mysteries to rebuild and develop the image of Beethoven. . . . The language of [the] text is accessible and avoids unnecessary scholarly jargon or extensvie musicological terms. * popmatters.com *...[M]akes the case that not only was Beethoven the all-around musical stud of musical studs, he might be the greatest of all musical ingratiators, turning up in our American corner of the universe, again and again, and more than most of us realize. * Washington Post Book World *Beethoven in America remains an engaging and valuable work of cultural history. The breadth of Broyles's knowledge about Beethoven's public presence is astounding, and this is the rare academic book that has thoughtful discussions of Ralph Waldo Emerson, Adrienne Rich, Amiri Baraka, and Yngwie Malmsteen. That people from such diverse circles felt connections to Beethoven is brilliantly demonstrated, and this is ultimately a fascinating analysis of the strange career of Beethoven as a multipurpose icon. * Journal of American History *[Beethoven in America] is packed with Beethoven facts and also takes a unique approach. * CHOICE *[T]his book is as much cultural history as musicology, and this makes it useful across disciplines. Like Beethoven's person and music, it is varied and interesting and suggests many possibilities for future research. * Music Reference Services Quarterly *Table of ContentsAcknowledgmentsIntroductionPart 1. Arrival and Sacralization1. Arrival in America2. Defining Beethoven3. Deification and SpiritualizationPart 2. Science, Scholars, and Critics4. Beethoven, Modernism, and Science5. "The Warm Tropical Summer of Sketch Research": Beethoven and the Cold War6. Reactions to Modernism: Musical Meaning and the Classical CanonPart 3. Beethoven and the Dramatic Arts7. Beethoven on the Silver Screen8. Beethoven's Music in Film9. Beethoven in the TheaterPart 4. Beyond Classicism: Beethoven in American Society and Culture10. "Beethoven Was Black": Why Does It Matter?11. Beethoven in Popular Music12. Beethoven EverywhereNotesBibliographyIndex

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Book SynopsisA comprehensive manual of performance practice for 17th century musicTrade Review[A] welcome update to a highly valuable resource for the study of performance practice, and should be a staple for any collection supporting a curriculum of music history and/or historically informed approaches to performing music of the seventeenth century. * Music Reference Services Quarterly *A Performer's Guide to Seventeenth-Century Music is an invaluable resource for both students and professional musicians: it brings musicians up to date on musical research for the period; it helps performers to see the seventeenth-century as (almost) a separate era within the Baroque. * Mu Phi Epsilon *There's a vast amount of information here, and considerable wisdom. Those exploring 17th-century music should buy a copy. * Early Music Review *Full of interest, this performer's guide sometimes seems aimed at the listener and musical historian as much as the performer. * Classical Music *Table of ContentsList of IllustrationsOctave Designation ChartPreface to the Second Edition \ Jeffery Kite-PowellPreface to the First Edition \ Stewart CarterAcknowledgmentsPart 1. Vocal/Choral Issues 1. National Singing Styles \ Sally Sanford 2. The Bel Canto Singing Style \ Julianne Baird 3. Choral Music in France and England \ Anne Harrington Heider 4. Choral Music in Italy and the Germanic Lands \ Gary TownePart 2. Wind, String, and Percussion Instruments 5. Woodwinds \ Herbert Myers 6. Cornett and Sackbut \ Bruce Dickey 7. Trombone \ Stewart Carter 8. Trumpet and Horn \ Steven E. Plank 9. Percussion and Timpani \ John Michael Cooper 10. The Violin: Technique and Style \ David Douglass 11. Historical Approaches to Playing the Violin \ Julie Andrijeski 12. The Viola da Gamba Family \ Stuart Cheney with Barbara Coeyman 13. Violoncello and Violone \ Marc Vanscheeuwijck 14. Keyboard Instruments \ Mark Kroll 15. Plucked String Instruments \ Paul O'DettePart 3. Performance Practice and Practical Considerations 16. Ornamentation in Early Seventeenth-Century Italian Music \ Bruce Dickey 17. Basso Continuo \ Jack Ashworth and Paul O'Dette 18. Meter and Tempo \ George Houle 19. Tuning and Temperament \ Herbert Myers 20. Pitch and Transposition \ Herbert MyersPart 4. The Seventeenth-Century Stage 21. Dance \ Dorothy Olsson 22. Theatrical Productions \ James MiddletonAppendix A. List of Names and DatesAppendix B. A Performer's Guide to Medieval Music: ContentsAppendix C. A Performer's Guide to Renaissance Music: ContentsBibliographyList of ContributorsIndex

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Book SynopsisAn expert's guide to the skills of the greatest conductorsTrade Review“Holden’s strong suit is his practical experience as a professional conductor. Abundant enthusiasm and love of the craft ensures a stimulating book.”—Cyril Ehrlich -- Cyril Ehrlich

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Book SynopsisTells the story of the life and musical work of Finnish composer Jean Sibelius (1865-1957). Drawing on Sibelius' own correspondence and diaries, contemporary reviews, and the remarks of family and friends, this book presents an account of the events of the musician's life.Trade Review"Andrew Barnett is unfailingly perceptive and has the ability to engage the interest of both the less informed and the more expert reader. Few would be better qualified to undertake a new book on the Finnish master."—Robert Layton, author of Sibelius (Master Musicians Series) -- Robert Layton"A book of great importance: a fresh, evenhanded account of the composer, especially of his early years. . . . A welcome antidote to the seesaw of critical attention from uncritical admirers and excessively harsh critics. . . . Highly recommended."—Choice * Choice *“Barnett neatly dispels other myths, explaining how from around 1930 to his death, Sibelius completed briefer works while striving, unsuccessfully, to complete his Eighth Symphony. . . . A warmly humanizing, informed biography.”--Benjamin Ivry, The Newark Star-Ledger -- Benjamin Ivry * The Newark Star-Ledger *

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Book SynopsisFirst performed at the midpoint of the twentieth century, John Cage's 4'33", a composition conceived of without a single musical note, is among the most celebrated and ballyhooed cultural gestures in the history of modern music. This title offers the reader both an expert's analysis and highly personal interpretation of Cage's most divisive work.Trade Review"'Gann's book perfectly proves Cage's belief that putting a frame around silence can be as rewarding as music itself.' (Andrew Male, Mojo) '4'33", Gann argues, though often suspected of being merely a 'provocative stunt', is actually one of the best understood and most influential works of avant-garde music... In describing the piece's premieres and reception, Gann recaptures its 'Promethean' impact, which cost Cage some friends and prompted his mother to ask, "Don't you think that John has gone too far this time?'" (The New Yorker)"

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Book SynopsisMusicologist Pauline Fairclough explores the evolving role of music in shaping the cultural identity of the Soviet Union in a revelatory work that counters certain hitherto accepted views of an unbending, unchanging state policy of repression, censorship, and dissonance that existed in all areas of Soviet artistic endeavor. Newly opened archives from the Leninist and Stalinist eras have shed new light on Soviet concert life, demonstrating how the music of the past was used to help mold and deliver cultural policy, how undesirable repertoire was weeded out during the 1920s, and how Russian and non-Russian composers such as Mozart, Tchaikovsky, Wagner, Bach, and Rachmaninov were canonized during different, distinct periods in Stalinist culture. Fairclough's fascinating study of the ever-shifting Soviet musical-political landscape identifies 1937 as the start of a cultural Cold War, rather than occurring post-World War Two, as is often maintained, while documenting the efforts of musicians and bureaucrats during this period to keep musical channels open between Russia and the West.Trade Review“These books give fuller, finer-grained and better-shaded accounts of Soviet policy ups and downs and their impact on musicians than any previous study.”—Richard Taruskin, Times Literary SupplementWon the 2017 Choice Award for Outstanding Academic TitleHas just been awarded the Women's Forum Book Prize of the British Association of Slavonic and East European Studies (BASEES).

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Book SynopsisEvery year, Johann Sebastian Bach's major vocal works are performed to mark liturgical milestones in the Christian calendar. Written by a renowned Bach scholar, this concise and accessible book provides an introduction to the music and cultural contexts of the composer's most beloved masterpieces, including the Magnificat, Christmas Oratorio, and St. John Passion. In addition to providing historical information, each chapter highlights significant aspectssuch as the theology of loveof a particular piece. This penetrating volume is the first to treat the vocal works as a whole, showing how the compositions were embedded in their original performative context within the liturgy as well as discussing Bach's musical style, from the detailed level of individual movements to the overarching aspects of each work. Published in the approach to Easter when many of these vocal works are performed, this outstanding volume will appeal to casual concertgoers and scholars alike.Trade Review'Markus Rathey provides concise and very readable introductions to six of Bach’s greatest works. Apart form the sheer power of the music, the meditation that Bach intended them to inspire is greatly assisted and deepened by an understanding of the rich traditions of theology and liturgy from which they grew. Bach lovers, people approaching Bach for the first time, and particularly people outside these traditions will find this book an enriching companion.' - David Ledbetter, author of Unaccompanied Bach: Performing the Solo Works 'Rathey achieves something that is rare in writing about Bach: a book that is fully informed by scholarship but also one that is relevant and understandable for virtually any interested reader, at any level of musical education. Rathey's particular contribution is to explain what initially appear to be arcane expressions in the texts of Bach’s major sacred works, bringing out the significance of the many references to love. This helps us to experience Bach’s music as far more sensual and emotional than many may hitherto have believed.’ - John Butt, author of Bach's Dialogue with Modernity: Perspectives on the Passions

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Book SynopsisA fresh appreciation of the great musical figure that gives him his due as composer as well as conductorTrade Review“Excellent.”—David Denby, New Yorker“An engrossing portrait of a gifted—and conflicted—man.”—Jerusalem Post“There were, and are, critics who believe that Bernstein’s facility and fecundity was merely dilettantism. Allen Shawn’s suave new biography hopes to give them pause.”—Christopher Bray, The Spectator“Immensely valuable as a concise study of a major figure; sympathetic in its account of his life and its artistic and social context, and illuminating in its critical judgements.”—Anthony Burton, BBC Music“I can’t imagine a better biography of Leonard Bernstein. His intensity, complexity, and personal charm come across fully; so do his manifest importance to twentieth-century American culture and his intimate relation to the music he produced. Bravo!”—Wendy Lesser

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Book SynopsisThe life of a beloved American composer reflected through his music, writings and letters.Trade Review"The author offers many such evocative descriptions in his scholarly account of Gershwin’s tragically short life. The works are covered in exhaustive detail, with in-depth analysis, plots and character summaries..." -- The Economist

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Book SynopsisAn intimate portrait of Handel's life and inner circle, modelled after one of the composer's favourite forms: the fugue.Trade Review"...a sequence of thematic chapters, each with its own timeline, charting the composer's career through others' eyes and ears, evoking more vividly than most the society in which Handel moved." -- Hugh Canning, Sound Choices 2014 - The Sunday Times

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Book SynopsisA concise anthology including a wide range of Renaissance music.Table of Contents Luca Marenzio, Liquide perle Johannes Ciconia, Doctorum principem Thomas Morley, Miraculous love’s wounding Guillaume Du Fay, Par le regart Antoine Busnoys, Ja que li ne s’i attende Jacob Obrecht, Missa de Sancto Donatiano, Kyrie John Dunstable, Quam pulchra es Anonymous, There is no rose Guillaume Du Fay, Supremum est mortalibus Guillaume Du Fay, Missa L’homme armé, Agnus Dei Josquin des Prez, Missa L’homme armé super voces musicales, Kyrie John Wilbye, Draw on, sweet Night Bartolomeo Tromboncino, Ostinato vo’ seguire Josquin des Prez, Ave Maria . . . virgo serena Josquin des Prez (?), Mille regrets Clément Janequin, Martin menoit Jacques Arcadelt, Il bianco e dolce cigno Adrian Willaert, Madonna mia famme bon’offerta William Byrd, Ave verum corpus Jean Lhéritier, Nigra sum Giovanni Pierluigi da Palestrina, Missa Nigra sum: Credo Thomas Tallis, Why fumeth in sight Giovanni Bassano, Divisions on Orlando di Lasso, Susane un jour Diego Ortiz, Recercada ottava Fabrizio Dentice, Fantasia Claudio Monteverdi, Sfogava con le stelle Carlo Gesualdo, O vos omnes, from Tenebrae for Holy Week

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Book SynopsisA concise anthology including a wide range of Baroque music.Table of Contents Claudio Monteverdi, "O Mirtillo" from Fifth Book of Madrigals Giulio Caccini, "Dovrò dunque morire" from Le nuove musiche John Dowland, "Flow, my tears" from The Second Booke of Songs or Ayres Claudio Monteverdi, "Tu se' morta" and "Ahi, caso acerbo" from L’Orfeo Claudio Monteverdi, Lamento della ninfa, from Madrigali guerrieri et amorosi Girolamo Frescobaldi, Toccata No. 2, from Toccate e partite d'intavolatura di cimbalo, Book 1 Dario Castello, Sonata No. 2 from Sonate concertate in stil moderno, Book 2 Johann Jacob Froberger, Suite in C major, FbWV 612, from Libro quarto di toccate, ricercari, capricci, allemande, gigue, courante, sarabande Claudio Monteverdi, "Duo seraphim" from Vespro della Beata Vergine (1610) Heinrich Schütz, "Fili mi, Absalon" SWV 269, from Symphoriae sacrae, Book 1 Giacamo Carissimi, "Plorate colles" from Jephte Francesco Cavalli, "Infelice, ch'ascolto?" from Giasone Jean-Baptiste Lully, "Le perfide Renaud me fuit" from Armide Henry Purcell, "What ho!" and "What power are thou" from King Arthur Antonio Vivaldi, Concerto for Viola d'amore and Lute, RV 540: Movement 1, Allegro Barbara Strozzi, "Begli occhi" from Cantate, ariette, Op. 3 Arcangelo Corelli, Violin Sonata in A Major, Op. 5, No. 9 François Couperin, La ténébreuse and Les moissonneurs from Pièces de clavessin Jean-Philippe Rameau, "A l'aspect de ce nuage" from Platée Dieterich Buxtehude, Ad cor: Vulnerasti cor meum from Membra Jesu nosti, BuxWV 75 Georg Philipp Telemann, Ouverture burlesque de Quixotte, TWV 55:G10 Heinrich Ignaz Franz von Biber, Crucifixion Sonata from the Mystery Sonatas George Frideric Handel, Rinaldo, HWV 7a: Act 1, scenes 6, 7, and 9 George Frideric Handel, Saul, HWV 53: Act 1, scene 3 Johann Sebastian Bach, St. John Passion, BWV 245: Part 2, nos. 37-32 Johann Sebastian Bach, Contrapuncti 1 and 7 from The Art of Fugue, BWV 1080

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Book SynopsisThe Norton Critical Score of Brahm's Fourth Symphony is the latest volume in this highly-regarded series, in which an authoritative score--here the first edition as corrected by the composer--is combined with illuminating essays and documents for an in-depth study of the work.

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Book SynopsisArnold Schoenberg’s Second String Quartet revolutionized western art music.

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Book SynopsisIntended for the music student, the professional musician, and the music lover, Chamber Music: An Essential History covers repertoire from the Renaissance to the present, crossing genres to include string quartets, piano trios, clarinet quintets, and other groupings.Trade ReviewChamber Music is an impressive and magisterial work. Mark Radice has covered an enormous amount of ground in these pages and has done so with admirable clarity and evenness of tone." — Jeremy Yudkin, Boston University

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Book SynopsisTreats Nietzsche's youthful analysis of the contradictions in Wagner's doctrine; the question of periodicization in romantic and neo-romantic music; the underlying kinship between Brahms' and Wagner's responses to the central musical problems of their time; and, the true significance of musical nationalism.Table of Contents"Neo-romanticism" The Twofold Truth in Wagner's Aesthetics:Nietzsche's Fragment "On Music and Words" Issues in Composition (translated in collaboration with Arnold Whittall) 1. The musical idea 2. Real sequence and developing variation 3. "Musical prose" and "endless melody" 4. "Expanded" and "wandering" tonality 5. The "individualization" of harmony 6. Conclusion Nationalism and Music 1. The "Volksgeist" hypothesis 2. Nationalism and folk music 3. On the aesthetics of national expression in music Appendix Friedrich Nietzsche, "On Music and Words" translated by Walter Kaufmann 103 Index

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Book SynopsisThe account of Bartok's compositional processes stresses the composer's position as one of the masters of Western music history, and avoids a purely theoretical approach or one that emphasizes him as an enthusiast for Hungarian folk music.

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Book SynopsisShows how classical music can take on new meaning and new life when approached from postmodernist standpoints. This book provides an account of the postmodernist ethos, explains its relationship to music, and explores that relationship in a series of case studies ranging from Haydn and Mendelssohn to Ives and Ravel.Table of ContentsList of Musical Examples and Figure Preface Acknowledgments 1. Prospects Postmodernism and Musicology 2. From the Other to the Abject Music as Cultural Trope 3. Music and Representation In the Beginning with Haydn's Creation 4. Musical Narratology A Theoretical Outline 5. Felix Culpa Mendelssohn, Goethe, and the Social Force of Musical Expression 6. The Lied as Cultural Practice Tutelage, Gender, and Desire in Mendelssohn's Goethe Songs 7. Cultural Politics and Musical Form The Case of Charles Ives 8. Consuming the Exotic Ravel's Daphnis and Chloe Epilogue Autonomy, Elvis, Cinders, Fingering Bach Appendix: Mendelssohn: Three Goethe Songs Notes Index

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Book SynopsisA selection of the author's critical essays on music, which includes an analysis of Beethoven's obsession with the key of C minor, an account of William Byrd as a spokesman for the Elizabethan Catholic minority, and papers on the operas Don Giovanni, The Magic Flute and Tristan and Isolde.Table of ContentsPreface CRITICISM 1 A Profile for American Musicology 2 How We Got into Analysis, and How to Get Out 3 A Few Canonic Variations 4 Critics and the Classics BYRD, TALLIS, ALFONSO FERRABOSCO 5 William Byrd and Elizabethan Catholicism 6 Byrd, Tallis, and the Art of Imitation 7 "Write All These Down": Notes on a Song by Byrd 8 The Missa Puer natus est by Thomas Tallis 9 An Italian Musician in Elizabethan England BEETHOVEN 10 Tovey's Beethoven 11 An die ferne Geliebte 12 Taking the Fifth 13 Beethoven's Minority OPERA AND CONCERTO 14 Translating The Magic Flute 15 Wagner: Thoughts in Season 16 Verdi's Use of Recurring Themes 17 Two Early Verdi Operas; Two Famous Terzetti 18 Reading Don Giovanni 19 Mozart's Piano Concertos and Their Audience 20 Tristan und Isolde: The Prelude and the Play Acknowledgments

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Book SynopsisBreaking down walls between genres - classical, jazz, and popular, this book offers an integrated view of twentieth-century music. It demonstrates how Duke Ellington's music is as vital to musical modernism as anything by Stravinsky, and has had a lasting impact on jazz and pop that reaches from Gershwin to contemporary R&B.Trade Review"'The Ellington Century' redefines the Duke's place in American music... It's a must-read for music students and enthusiasts." -- David Stabler The Oregonian "Schiff makes you yearn to be a part of the ongoing flow of all music, not just jazz, or classical, or pop, or anything else. And that is one of the highest compliments I can pay the book." -- John Scott G Music Industry Newswire "The most stimulating contribution to the Ellington literature I have encountered since Eddie Lambert's Listener's Guide." -- Roger Boyes Dems Bulletin "This book will be a must read for Ellingtonians and any musician interested in jazz-classical theory." -- Lewis J Whittington All About Jazz "An important milestone in Ellington scholarship, a one-of-a-kind substantive, in-depth study that opens possibilities for better understanding and appreciation of Duke Ellington the composer." -- Theodore (Ted) Hudson Ellingtonia "Schiff's ode to Ellington is a joy." Publishers Weekly "An invaluable contribution to music history ... [it] opens the door to a new understanding of modernism, one that resists traditional narratives of stratification and embraces history in all its messy complexity." -- Caroline Waight Make Magazine "Schiff is ostensibly addressing classical listeners, but jazz folks will find the book equally fascinating, looking over the fence from the other side, at the harmonic refinements that would enrich jazz... The Ellington Century's expansiveness and shifting frames of reference are typically Ellingtonian. This lively kaleidoscopic narrative evokes Ellington's inclusive spirit." -- Kevin Whitehead DownbeatTable of ContentsPreface Acknowledgments Part I: Overture: Such Sweet Thunder 1. "Blue Light": Color 2. "Cotton Tail": Rhythm 3. "Prelude to a Kiss": Melody 4. "Satin Doll": Harmony Part II: Entr'acte: "Sepia Panorama" 5. "Warm Valley": Love 6. Black, Brown and Beige: History 7. "Heaven": God Notes Bibliography Index

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Book SynopsisPresents a volume of 453 letters written by and to composer Charles Ives (1874-1954). This book provides insight into one of the most paradoxical careers in American music history. It offers a view on Ives's personality and his creative process. It includes correspondence with musicians and critics such as John Cage, Aaron Copland, and others.Trade Review"This is the most informative and revealing direct line to Charles Ives and his context since John Kirkpatrick's edition of the Memos came out in 1972." -- Peter Dickinson GramophoneTable of Contentslist of illustrations acknowledgments introduction 1. childhood, hopkins, and yale (1881--1903) 2. courtship and marriage (1907--1908) 3. call and response (1911--1936) 4. health (1907--1954) 5. collaborators and champions (1923--1933) 6. travel (1930--1938) 7. editors and performers (1933--1944) 8. final years (1945--1954) appendix: list of letters and formats selected bibliography index

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Book SynopsisFocuses on Benjamin Britten, one of the great British composers. Addressing urgent questions of how an artist's sexual, cultural, and personal identity feeds into specific musical texts, this title examines most of Britten's operas as well as his role in the British cultural establishment of the mid-twentieth century.Trade Review"Philip Brett changed the way we hear Britten's music, compelling us to listen anew for its sounding-out of political, sexual, and cultural meanings. Brett's richly detailed historical awareness, his supple and subtle theoretical mind, his sheer musicianship - these are qualities clear on every page of this book." - Philip Rupprecht, author of Britten's Musical Language"Table of ContentsPreface George Haggerty Introduction Susan McClary 1. Britten and Grimes 2. "Grimes Is at His Exercise": Sex, Politics, and Violence in the Librettos of Peter Grimes 3. Grimes and Lucretia 4. Salvation at Sea: Britten's Billy Budd 5. Character and Caricature in Albert Herring 6. Britten's Bad Boys: Male Relations in The Turn of the Screw 7. Britten's Dream 8. Eros and Orientalism in Britten's Operas 9. Keeping the Straight Line Intact? Britten's Relation to Folksong, Purcell, and His English Predecessors 10. Pacifism, Political Action, and Artistic Endeavor 11. Auden's Britten 12. The Britten Era Afterword Jenny Doctor Appendix: Philip Brett's Britten Scholarship Works Cited Index

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Book SynopsisDocuments crucial changes in performance practice and live electronics, computer music, notation and event scores, theater and installations, intermedia and technology, politics and the social roles of composers and performers, and innovations in the sound of music.Trade Review"Many unexpected delights." Gramophone "Source was there to document all the crazy changes in ... art-music that we're always trying to one-up one another in our purported 'vast knowledge of' here in the TMT office. Score." Tiny Mix Tapes "Fascinating... A healthy collection of prose descriptions trying to account for what was going on at the time." -- Stephen Smoliar Examiner.com "Remarkable... The book is a delight to hold and view... Highly recommended." -- John Schuster-Craig, Grand Valley State University Fontes Artis MusicaeTable of ContentsPreface: Source in the Cause of New Music, by Douglas Kahn Introduction: Larry Austin on Source, from an interview by Douglas Kahn ISSUE NO. 1 The Editors | Preface Giuseppe Chiari | Quel che volete Robert Ashley * in memoriam...Esteban Gomez (quartet) * in memoriam...John Smith (concerto) * in memoriam...Crazy Horse (symphony) * in memoriam...Kit Carson (opera) plus Letter to the Editor Earle Brown | Form in New Music Harry Partch | Lecture Harry Partch | And on the Seventh Day Petals Fell in Petaluma Robert Ashley, Larry Austin, and Karlheinz Stockhausen | Conversation ISSUE NO. 2 The Editors | Is the Composer Anonymous? Toshi Ichiyanagi | Appearance, for 3 Instruments, 2 Oscillators, 2 Ring Modulators Morton Feldman | Conversations Without Stravinsky John Cage | 4'33" plus correspondence and telephone conversation with the Editor Gordon Mumma | Alvin Lucier's Music for Solo Performer 1965 Jerry Hunt | Sur (Doctor) John Dee and Tabulatura Soyga ISSUE NO. 3 Larry Austin, Stanley Lunetta, John Mizelle, and Arthur Woodbury | Groups Section * Gordon Mumma and Larry Austin | Sonic Arts Group * Robert Ashley | The ONCE Group * Musica Elettronica Viva | WORDS ... David Behrman | Wave Train Will Johnson | First Festival of Live-Electronic Music 1967 John Mizelle | Radial Energy I Frederic Rzewski | Plan for Spacecraft Pauline Oliveros | Some Sound Observations Robert Moran | Titus Number 1 for Amplified Automobile The Editors | Comment ISSUE NO. 4 Robert Ashley | The Wolfman John Cage and Lejaren Hiller | HPSCHD, interview by Larry Austin Larry Austin | Accidents ISSUE NO. 5 Anna [Annea] Lockwood | Glass Concert 2 Christian Wolff | Edges Dick Higgins | Boredom and Danger Stanley Lunetta | Spider-Song Max Neuhaus | A Max Sampler: Six sound oriented pieces for situations other than that of the concert hall Larry Austin | Events/Comments ISSUE NO. 6 Dick Higgins | The Thousand Symphonies Philip Corner | Anti-personnel Bomb Editors and Respondents | Events/Comments: Is new music being used for political or social ends? Jani Christou | Enantiodromia Frederic Rzewski | Street Music and Symphony ISSUE NO. 7 John Cage and Calvin Sumsion | Plexigram IV: Not Wanting to Say Anything about Marcel * Barbara Rose | Not Wanting to Say Anything about Marcel John Dinwiddie | MEWANTEMOOSEICDAY: John Cage in Davis, 1969 Dick Higgins | Towards the '70s Arthur Woodbury | Velox Pauline Oliveros | The Indefinite Integral of Psi Star Psi d Tau Equals One Mark Riener | Phlegethon Alvin Lucier | I Am Sitting In A Room and Vespers Ben Johnston | How to Cook an Albatross Jocy de Oliveira | Polinteracoes ISSUE NO. 8 Sven Hansell and Harvey Matusow | Fylkingen 1970 * Ake Hodell, Mr. Smith in Rhodesia * Bob Cobbing, Chamber Music * Ferdinand Kriwet, Rundscheibe XIII Lowell Cross | Audio/Video/Laser Morton Feldman | Boola Boola Larry Austin | Caritas and Transmission One Stanley Lunetta | Moosack Machine Peter Garland | "Sea Fever" Larry Austin | Editorial ISSUE NO. 9 David Rosenboom | Noise Abatement Resolution Anna [Annea] Lockwood | Piano Burning and Tiger Balm Nelson Howe | Fur Music Nicolas Slonimsky, Mobius Strip-Tease Stanley Lunetta | Events/Comments * Donald Buchla | On the Desirability of Distinguishing between Sound and Structure The Editors | International Carnival of Experimental Sound ISSUE NO. 10 Alvin Lucier | Gentle Fire and Queen of the South "Naked Software" * Harvey Matusow | Naked Software: 12-Cassette Spatial Sound System * Anna [Annea] Lockwood: River Archive * John Lifton | Project: International Concert of Public Noise * John Lifton | Interface 3A Stuart Marshall | "Exhibition on 3 Hills" Steve Reich | "Music as a Gradual Process" and Pendulum Music Anthony Braxton | 8KN-(J-6) 1 R10 Cornelius Cardew | The Great Learning Cornelius Cardew | The Scratch Orchestra: Draft Constitution George Brecht | Land Mass Translocation Christopher Hobbs | The Friesian Cow a.d.r. | Portsmouth Sinfonia Gavin Bryars | Verbal Pieces Pauline Oliveros | Sonic Meditations ISSUE NO. 11 Ken Friedman and Stanley Lunetta | Editorial * Ken Friedman | International Sources: Notes on the Exhibition Ken Friedman | NYCS Weekly Breeder Max Neuhaus | Water Whistle Robert Filliou | Telepathic Music Image Bank | New York Corres-Sponge Dance School of Vancouver Nam June Paik | "My Symphonies" and "Postmusic" Charles Amirkhanian | "xvurt" and "bcuhla" John Paul Rhinehart and Stanley Marsh 3 | Chromatic Tree Harp Appendix: Complete Contents of Source Credits

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Book SynopsisHearing the symphonies and concertos of Haydn and Mozart with an ear tuned to operatic style, as their earliest listeners did, this book shows that this familiar music is built on a set of mimetic associations drawn from conventional modes of depicting character and emotion in opera buffa.Trade Review"Consistently accessible, quick-witted and amusing ... One must be grateful to Smart and Taruskin for asserting the virtues of scholarly community by taking up Wendy Allanbrook's unfinished opus and delivering it to the world." -- W. Dean Sutcliffe Early MusicTable of ContentsList of Illustrations Foreword Mary Ann Smart and Richard Taruskin 1. Comic Flux and Comic Precision 2. Comic Voice in the Late Mimetic Period 3. The Comic Surface 4. Comic Finitude and Comic Closure Notes Bibliography Index

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Book Synopsisexamines the influence of Beethoven's Ninth Symphony on two major nineteenth-century composers, Richard Wagner and Robert Schumann. During 1845 46 the compositional styles of Schumann and Wagner changed in a common direction, toward a style that was more contrapuntal, more densely motivic, and engaged in processes of thematic transformation.Trade Review"Wagner, Schumann, and the Lessons of Beethoven's Ninth is a fascinating new examination... It is as though a careful magnifying glass were held to past interactions between two very different composers..." -- Nancy Lorraine The Midwest Book Review "This is a multilayered book. It is on one level a formidable piece of forensic musical detective work displaying detailed critical understanding of the works in question through identification of influences and tracing of possible thematic cross-references across generic boundaries; on another it is a musically highly intelligent study of interactive compositional processes in the different but related guises of operatic and instrumental music." Music & LettersTable of ContentsPreface Acknowledgments Introduction 1. Wagner's Faustian Understanding of Beethoven's Ninth 2. The Impact of the Ninth on The Flying Dutchman 3. Wagner, Thematic Dispersion, and Contrary Motion 4. Schumann, Thematic Dispersion, and Contrary Motion 5. Late Schumann, Wagner, and Bach 6. Brahms's Triple Response to the Ninth 7. Wagner and Schumann Appendix 1: Citations of Wagner's Possible Allusions and Influences in The Flying Dutchman Appendix 2: Contrary Motion Counterpoint in the First Movement of Beethoven's Ninth Symphony Appendix 3: Contrary Motion Counterpoint in The Flying Dutchman Appendix 4: Contrary Motion Counterpoint in the Fourth Movement of Schumann's Second Symphony Appendix 5: Contrary Motion Counterpoint in the First Movement of Brahms's First Symphony Abbreviations Notes Works Cited Index

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Book SynopsisNostalgia for the Future is the first collection in English of the writings and interviews of Luigi Nono (19241990). One of the most prominent figures in the development of new music after World War II, he is renowned for both his compositions and his utopian views. His many essays and lectures reveal an artist at the center of the analytical, theoretical, critical, and political debates of the time. This selection of Nono's most significant essays, articles, and interviews covers his entire career (19481989), faithfully mirroring the interests, orientations, continuities, and fractures of a complex and unique personality. His writings illuminate his intensive involvements with theatre, painting, literature, politics, science, and even mysticism. Nono's words make vividly evident his restless quest for the transformative possibilities of a radical musical experience, one that is at the same time profoundly engaged with its performers and spaces, its audiences, and its human and social motivations and ramifications.Trade Review"The appeal of what the English music historian Harriet Boyd-Bennett called Nono's 'sonic hubub' is elucidated in this long overdue collection of the composer's writings and interviews. A comparable French edition of this material appeared back in 1993, which indicates how belated, albeit still timely, its insights are for opera lovers undeterred by avant garde sounds." * Opera Now *Table of ContentsPreface Introduction EXERGO: Clarifications (1956) EXCURSUS I. An Autobiography of the Author Recounted by Enzo Restagno (1987) PART ONE. MUSICAL ANALYSIS AND COMPOSITION 1. Luigi Dallapiccola and the Sex Carmina Alcaei (ca. 1948) 2. On the Development of Serial Technique (1956) 3. The Development of Serial Technique (1957) 4. Text—Music—Song (1960) 5. [About Il canto sospeso] (1976) EXCURSUS II. A Letter from Los Angeles (1965) PART TWO. MUSIC ONSTAGE: FROM A "THEATER OF IDEAS" TO THE "TRAGEDY OF LISTENING" 1. Some Clarifications on Intolleranza 1960 (1962) 2. Possibility and Necessity of a New Music Theater (1962) 3. Play and Truth in the New Music Theater (1962) 4. Die Ermittlung: A Musical and Theatrical Experience with Weiss and Piscator [Music and Theater] (1966) 5. Toward Prometeo: Journal Fragments (1984) EXCURSUS III. Interview with Renato Garavaglia (ca. 1979–80) PART THREE. "CONSCIENCE, FEELINGS, COLLECTIVE REALITY" 1. Historical Presence of Music Today (1959) 2. Music and Resistance (1963) 3. Replies to Seven Questions by Martine Cadieu (1966) 4. Music and Power (1969) 5. In the Sierra and in the Parliament (1971) EXCURSUS IV. Technology to Discover a Universe of Sounds: Interview with Walter Prati and Roberto Masotti (1983) PART FOUR. PORTRAITS AND DEDICATIONS 1. Josef Svoboda (1968) 2. Remembering Two Musicians (1973) 3. Victor Jara’s Song (1974) 4. Preface to Arnold Schoenberg’s Harmonielehre (1977) 5. Bartók the Composer (1981) 6. For Helmut (1983) 7. For Marino Zuccheri (1986) EXCURSUS V. Interview with Michelangelo Zurletti (1987) PART FIVE. THE "POSSIBLE INFINITIES" 1. Error as a Necessity (1983) 2. Other Possibilities for Listening (1985) 3. Lecture at the Chartreuse in Villeneuve-les-Avignon (1989) EXCURSUS VI. “Proust” Questionnaire (1986) Notes and Abbreviations Bibliographical Notes and Comments to the Texts Chronology of Nono’s Works Index

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