Art music, orchestral and formal music Books

Book SynopsisAmy Marcy Cheney Beach (1867-1944), the most widely performed composer of her generation, was the first American woman to succeed as a creator of large-scale art music. Her Gaelic Symphony, given its premiere by the Boston Symphony Orchestra in 1896, was the first work of its kind by an American woman to be performed by an American orchestra. Almost all of her more than 300 works were published soon after they were composed and performed, and today her music is finding new advocates and audiences for its energy, intensity, and sheer beauty. Yet, until now, no full-length critical biography of Beach''s life or comprehensive critical overview of her music existed. This biography admirably fills that gap, fully examining the connections between Beach''s life and work in light of social currents and dominant ideologies. Born into a musical family in Victorian times, Amy Beach started composing as a child of four and was equally gifted as a pianist. Her talent was recognized early by BostoTrade ReviewAward-winning study... her music... is enjoying a revival of interest that is richly deserved and long overdue. Block's book is a thorough, academic study of Beach's life and work. She handles the musical elements with both sharp analytic skills and considerable sensitivity. It is a satisfying and illuminating read and hopefully will encourage more musicians to delve into the music itself - which, by the way, is strong, beautiful and filled with Beach's individual musical voice. * Jessica Duchen, Classical Music 17/06/2000. *Block's patient reconstruction of the complex mediations that shaped Beach's career is a refreshing change from the one dimensional revisionism of some recent biographies ... painstaking reconstruction of a career suspended awkwardly between genius and conventional restraint. * Brian Morton, Times Higher Education Supplement *Table of Contents1: A Prodigy's New England Upbringing 2: The Cheneys and the Marcys 3: A Prodigy Despite Her Mother 4: The Making of a Composer: I 5: Two Ways of Looking at a Marriage 6: The Making of a Composer: II 7: Becoming Mistress of Her Craft 8: Reaching Out to the World 9: "One of the Boys" 10: Amy Beach's Boston 11: The Composer at the Keyboard: Beach Plays Beach 12: "A Veritable Autobiography"?: The Piano Concerto 13: The Composer's Workshop 14: Choral Music 15: The Chambered Nautilus 16: Europe and a New Life 17: "Lion of the Hour" 18: My Old New Hampshire House 19: At the MacDowell Colony: "Solitude in Silence" 20: Caring 21: A Fascinating New York Life 22: Beach the Modernist? 23: Reckonings 24: Harvest Time Postlude: The Legacy Appendix: Catalog of Works Music's Ten Commandments as Given for Young Composers

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Book SynopsisMichael Steinberg''s 1996 volume The Symphony: A Reader''s Guide received glowing reviews across America. It was hailed as wonderfully clear...recommended warmly to music lovers on all levels (Washington Post), informed and thoughtful (Chicago Tribune), and composed by a master stylist (San Francisco Chronicle). Seiji Ozawa wrote that his beautiful and effortless prose speaks from the heart. Michael Tilson Thomas called The Symphony an essential book for any concertgoer. Now comes the companion volume--The Concerto: A Listener''s Guide. In this marvelous book, Steinberg discusses over 120 works, ranging from Johann Sebastian Bach in the 1720s to John Adams in 1994. Readers will find here the heart of the standard repertory, among them Bach''s Brandenburg Concertos, eighteen of Mozart''s piano concertos, all the concertos of Beethoven and Brahms, and major works by Mendelssohn, Schumann, Liszt, Bruch, Dvora''k, Tchaikovsky, Grieg, Elgar, Sibelius, Strauss, and Rachmaninoff. The book alTrade Review"A wide range of material--facts about the composers' lives, notable circumstances surrounding the first performances of the work--punctuate [Steinberg's] discussion of each work.... For the amateur with a musical background, this is a valuable and very interesting collection."--Library Journal "Each concerto is discussed with impeccable scholarliness an detailed historical information, but above all, the style of the writing is unfailingly entertaining."--Maestro Andre Previn "This collection of articles has a relaxed, easy charm that will most likely win over readers unfamiliar with the subject."--Publishers Weekly "Nobody can draw a reader into appreciation of a piece of classical music quite like Michael Steinberg.... Steinberg combines magisterial authority of a musicologist with the deeply personal point of view of a novelist."--St. Petersburg Times "The writing is often relaxed and virutuosic, and it always passes the acid test: after reading Steinberg's freshly considered thoughts on any piece, I immediately want to heari, or hear it again.... A few of the longer essays are almost short stories in themselves. Reading Michael Steinberg on music will definitley make you a better listener--it might even make some of us better, or at least humber, writers. More important, he'll remind you of what makes great music great."--City, Rochester "A wide range of material--facts about the composers' lives, notable circumstances surrounding the first performances of the work--punctuate [Steinberg's] discussion of each work.... For the amateur with a musical background, this is a valuable and very interesting collection."--Library Journal "Each concerto is discussed with impeccable scholarliness an detailed historical information, but above all, the style of the writing is unfailingly entertaining."--Maestro Andre Previn "This collection of articles has a relaxed, easy charm that will most likely win over readers unfamiliar with the subject."--Publishers Weekly "Nobody can draw a reader into appreciation of a piece of classical music quite like Michael Steinberg.... Steinberg combines magisterial authority of a musicologist with the deeply personal point of view of a novelist."--St. Petersburg Times "The writing is often relaxed and virutuosic, and it always passes the acid test: after reading Steinberg's freshly considered thoughts on any piece, I immediately want to heari, or hear it again.... A few of the longer essays are almost short stories in themselves. Reading Michael Steinberg on music will definitley make you a better listener--it might even make some of us better, or at least humber, writers. More important, he'll remind you of what makes great music great."--City, Rochester "In The Concerto, Michael Steinberg once again gives us essays on music that are love letters, overflowing with passion and intimate detail. What reader could fail to be seduced?"--Garrick Ohlsson "Those who have already discovered how useful and engaging the earlier book is will be happy to know that their is more of the same here.... [Steinberg's] style is elegant and informative, his commentaries do not shy away from a serious analysis of the music.... He has vast knowledge of European culture, yet there is an all-American directness and pace to his writing. He wears his scholarship lightly and chooses well what information to impart to the reader. His treatments are models of how program notes should be written for today's audiences, and it is wonderful to have them collected in so easily accessible a form."--Ted Libby, The Los Angeles Times Book Review "The Concerto: A Listener's Guide will send you running to the CD player....this lively, enthusiastic and detailed volume takes readers through more than 120 concertos, mainly for piano or violin and orchestra, but including works for cello, clarinet, oboe and horn. Steinberg is knowledgeable, literate and eloquent." --Frederic Koeppel, Commercial Appeal "In The Concerto: A Listener's Guide, Michael Steinberg once again proves his mastery in translating music to word. In this volume, he presents an excellent and thorough discussion of concerto repertory, providing readers with comprehensive, enlightening information that will definetly enhance their appreciation of this musical form." --Yo-Yo Ma

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Book SynopsisPresents a translation of the third volume of Syntagma musicum, a multi-volume work by a German composer and theorist. This volume deals with terminolgy and performance practice, and offers us a detailed commentary available from the 17th century about the performance of particular pieces of music.Trade Review...contains valuable commentary * William E Hettrick, Music and Letters *

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Trade ReviewIf one were to describe this impressive book in a nutshell, one might simply say that it is a thorough and rigorous account of the medieval tone-system in its theoretical and practical aspects; but this would do scant justice to its depth and complexity * Music and Letters *Table of ContentsPROLOGUE; PART I. THE EIGHTH AND NINTH CENTURIES; PART II. THE SYNTHESIS OF ANCIENT GREEK THEORY AND MEDIEVAL PRACTICE; EPILOGUE: PROBLEMS AND SOLUTIONS; BIBLIOGRAPHY; INDEX

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Trade Review[The author's] breezy prose and insight into the quintessentially American lives of his subjects make Drummin' Men well worth reading. * The New York Times Book Review *A brilliant account of a very important period in the history of American music. * Max Roach *A splendid achievement. * Artie Shaw *A book that illuminates not only the pantheon of jazz drummers in classical jazz but also makes clear the very essence of the jazz spirit. * Nat Hentoff *

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Book SynopsisOffers an in-depth look at the "Great Eighteen" organ chorales, among the most celebrated works for organ, and a milestone in the history of the chorale. Of interest to organists, scholars, and general listeners alike, this book examines the music from a wide spectrum of historical and analytical perspectives.Trade Review"Stinson is lucid and well organized, and he includes many high-quality facismiles of the original sources. He gives an up-to-date synthesis of recent scholarship on the collection, in particular of German writings that may be unfamiliar to English speakers."--Notes"A valuable introduction to these unique organ chorales." --Music and Letters"Stinson's treatment of the individual preludes is unfailingly just and sensitive, and abounds in valuable insights."--Early Music

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Book SynopsisPaul Taffanel (1844 - 1908) is essentially the father of modern flute playing. Drawing on previously unavailable material from a provate archive in Paris, Blakeman describes and evaluates Taffanel's life, career, and works, with particular reference to his influence as founder of the modern French School of flute playing.Trade Review...a book that will appeal to the aficionado as well as the proletariat, a highly readable documentation that balances the composer's achievements against the cultural institutions of the Belle Epoque. * Mark Tanner, Musical Opinion *...a good read, but the book will also prove invaluable as a reference tool...fascinating...[an] important book * Richard Langham Smith, Open University *Edward Blakeman...lucidly tells the story of this fascinating, important, and kindly man who influenced flute playing indelibly over the later decades of the nineteenth century and into the early twentieth. This makes for a good read... [An] important book. * Richard Langham Smith, Music and Letters, Volume 88, Number 4 *Table of ContentsPreface and Acknowledgments Introduction 1: Early Life 2: The Conservatoire and After 3: Advances and Retreats 4: New Beginnings 5: Composing for the Flute 6: The Wind Society 7: The Magic Flute 8: From Russia to the Paris Exhibition 9: Toward a New Career 10: Wielding the Baton 11: Teaching the Flute 12: Last Words on the Flute Conclusion Appendixes 1: Papiers Paul Taffanel 2: Paul Taffanel Works List 3: Music Dedicated to Paul Taffanel 4: Société classique 5: Société de musique de chambre pour instruments à vent 6: Paris Conservatoire Flute Class Notes/Bibliography Index

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Book SynopsisA book on jazz's central modern music style: bebop. Focusing on jazz drumming, it shows how deftness, speed, fury, precision, and adventure changed the music's beat and was instrumental in establishing bebop, Korall weaves an account of the music that makes it one of the classic books on the subject.Trade Review"Korall's eagerly awaited sequel to his swing-era treatise is a lively, fascinatingly detailed text composed of narrative, exegesis, interviews and musical examples. Korall tells you exactly what these tub-thumpers did to make their music sound the way it did, from the obscure Lou Fromm to the familiar Kenny Clarke."--Seattle Times/Post-Intelligencer"If you want to know what modern drumming is all about, this is your book. Burt Korall has done a remarkable job, and I strongly recommend it."--Artie Shaw"Nobody writes about jazz drumming like Burt Korall. He gets inside the important drummers, the jazzmen who played with them, the arrangers and the leaders, to capture the excitement, the feel, even the sound of the Bebop Era. What an achievement!"--Dom Cerulli, The Jazz Word"Attention drummers, jazz lovers, bebop lovers, and students of jazz history! Run--I repeat, run--do not walk to your local bookstore and purchase this absolutely wonderful book."--Allegro"Korall digs deep into the hippest period in drumming history. A fascinating must-read for any drummer of style or lover of modern jazz."--William F. Miller, Editorial Director, Modern Drummer Magazine"Burt Korall uses the topic of bebop drumming to range across the larger territory of music. Masterly in concept, scope and detail, his book tells the stories of the great bop drummers, and Korall is a superb story teller."--Doug Ramsey, author of Jazz Matters: Reflections on the Music and Some of its Makers"Unexpected coverage of artists like Tiny Kahn, Stan Levey, Shadow Wilson, and Don Lamond provide diversity and a greater understanding of how bop drumming evolved. It is a readable tome that would appeal to jazz enthusiasts and jazz scholars alike."--Library Journal

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Book SynopsisJulian Budden, one of the world''s foremost scholars of Italian opera and author of a monumental three-volume study of Verdi''s works, now offers music lovers a major new biography of one of the giants of Italian opera, Giacomo Puccini. Blending astute musical analysis with a colorful account of Puccini''s life, here is an illuminating look at some of the most popular operas in the repertoire, including Manon Lescaut, La Boheme, Tosca, Madama Butterfly, and Turandot. Budden provides an illuminating look at the process of putting an opera together, the cut-and-slash of nineteenth-century Italian opera--the struggle to find the right performers for the debut of La Boheme, Puccini''s anxiety about completing Turandot (he in fact died of cancer before he did so), his animosity toward his rival Leoncavallo (whom he called Leonasino or lion-ass). Budden provides an informative analysis of the operas themselves, examining the music act by act. He highlights, among other things, the influence Trade ReviewA major book on Puccini by the supremely authoritative Julian Budden arouses the highest expectations, wonderfully fulfilled by this new volume of over 500 pages. * Philip Borg-Wheeler, Classical Music *"He makes one hungry to hear the operas once again and reconsider one's own response--what can be higher praise for music criticism?"--Tim Page, Washington Post Book World"At the least, Budden's book will stand as the bellwether of studies of Puccini's music, the starting point for further scholarly work and for informed amateurs alike. At the most, he has given us the best survey we have of Italian opera around 1900.... He has made a minor art form of operatic description in prose, expanding the old format of plot-summary-plus-favoritie-themes to include music analysis, critical response, and secure judgments as to the echoes of other composers heard at any moment. He joins all this is a prose that will engage even those who cannot follow all the musical particulars. There is more: Budden contrives in the introductory sections of his chapters to give us a canny glimpse of Puccini's life at the time of each opera. And--this is one of the most impressive features of his study--he provides in each chapter vignettes that add up to a historical sketch of the musical culture Puccini lived and worked in."--Gary Tomlinson, The New York Times Book Review"Julian Budden's book fills a serious gap. Here is a single volume combining excellent biography with an often illuminating discussion of the work.... Budden's approach to the individual operas is often fresh and engaging. His investigation of the dramatic and musical problems that Puccini encountered while writing Manon Lescaut is fascinating.... Budden's is a book for the library shelf, a reliable reference work that the reader will want to consult when program notes fail or a fresh view of the operas."--Opera News"Budden is responsible for much of the new Puccini scholarship and his synthesis of this material is often elegant."--New York Review of Books"If you want in-depth insight into Puccini's operas, replete with many stanzas of music, Budden's bio and discussion should be on your shelf."--The San Diego Union Tribune"Essential reading, Budden's biography allies in-depth scholarship with narrative pace to offer us a masterly and intensely human portrait of the man and composer. Finely researched, surely the most thoughtful biography to date of Italy's last great opera composer."--Vivien A. Hewitt, Director, Festival Puccini of Torre del Lago"Bravo Budden!!!!!! His books on Verdi have been an invaluable aid to my study and role preparation over the years, and now the Puccini volume joins them in my library. Budden manages to synthesize the historical, academic, artistic, and human aspects of Puccini's operas in a way that is totally accessible, and most useful to any serious artist or music lover."--Elizabeth Blancke-Biggs, Soprano"An enormously impressive achievement. Certainly the best book on Puccini in English. As we would expect from the author of The Operas of Verdi, Budden's discussion of Puccini's alarmingly popular music is both sensitive and challenging in its insights."--Roger Parker, Professor of Music and Fellow of St John's College, Cambridge University"Informed lay readers will gain insight while theoreticians will appreciate Budden's deeper musical analysis. His elegant turns of phrase ("rhythmic scaffolding") and obvious expertise combine in an exceptional whole."--Library Journal

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Book SynopsisFew musical works loom as large in Western culture as Richard Wagner's four-part "Ring of the Nibelung". This work looks at this greatest of Wagner's achievements, focusing on its far-reaching and subtle exploration of problems of meanings and endings in this life and world.Trade Review"In Finding an Ending Kitcher and Schacht break free from the contemporary clichés of producers determined to show Wotan as nothing more than a capitalist crook, and of commentators more interested in Wagner's political and ideological opinions than in his surpassing artistic achievement. It is the latter that they are exclusively concerned with, and they argue their case with style and passion. The result is the most rewarding new account of the Ring that I have read in many years, and it will surely take its place as one of the classics of Wagner criticism." --Michael Tanner, Corpus Christi College, Cambridge University, and author of Wagner"Eloquent...there is none of the extreme tone which so dominates both anti-Wagner tirades and expressions of Wagner idolatry. Instead, the mood introduced at the outset and maintained throughout is dignified and circumspect.... An analytic gem...[Kitcher and Schacht's] definitions and explanations [are] crystal clear.... Their discussion on the Ring teems with intimate references to musical movements, some of them truly moving.... This book will surely satisfy Wagner aficionados as much as it will make those who are new to the Ring feel welcome."--Nicholas Vazsonyi, Wagner Notes"This book examines the richness and complexity of Der Ring des Nibelungen. I particularly enjoyed the careful analysis of each of the important characters in their society, their psychological undercurrents, and their reactions to others. Philip Kitcher and Richard Schacht demonstrate how these mythological gods and heroes are ultimately recognizable as purely human." --Jane Eaglen"Each chapter contains thought-provoking discussions that will intellectually engage readers, even those who are unmoved, or perhaps repelled, by Wagner's music and ideas.... This book plunges more deeply into the intricacies of character development in the Ring itself, touching more lightly upon the details of philosophical inquiry. Recommended for all collections."--Library Journal"Determined like no other composer to 'fathom the depths of philosophy,' Wagner wrote operas exploring the elemental passions and conflicts of the human condition. Kitcher and Schacht, distinguished philosophers in their own right, present a profound analysis of the guiding ideas of the Ring which enables us to grasp as never before the power of Wagner's most ambitious work." --Charles E. Larmore, University of Chicago Law School"A strikingly successful reading of Wagner's music drama as a philosophical meditation on the meaning of human existence and freedom." --Paul Boghossian, New York University

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Book SynopsisA comprehensive study of the clarinet in use through the classical period, 1760 to 1830, a period of intensive musical experimentation. The book provides a detailed review and analysis of construction, design, materials, and makers of clarinets. Rice also explores how clarinet construction and performance practice developed in tandem with the musical styles of the period.Table of ContentsIntroduction ; 1. General Design and Construction Characteristics ; 2. Historical Development ; 3. Playing Techniques ; 4. Music for the Classical Clarinet ; 5. The Clarinet in Performing Groups ; Notes ; Bibliography

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Book SynopsisThis volume concentrates on the composer's vocal music, including the late Rueckert Lieder, the 8th Symphony and Das Lied von der Erde.A monument in Mahler studies, this volume concentrates on the composer's vocal music and, in particular, on some of his most famous, most original and best loved compositions: the late Rueckert orchestral songs and Kindertotenlieder; Das Lied von der Erde, one of the composer's supreme masterpieces, and the vast Eighth Symphony. Much new ground is broken but the author bases his conclusions on a meticulous examination of the principal manuscript sources, especially those for Das Lied. He offers an unprecedented exploration of the original Chinese texts for that work and indeed of the whole Oriental dimension of Mahler's last and greatest song-cycle. Time and time again, the composer's sketches back up the author's reading of these massive scores and there will be few among this book's readers who will not find a familiar passage or movement sharply illuminated by fresh insights and information. The scope of the book, despite its concentration, is immensely wide; and so is the readership it addresses: Mahler scholars, performers, and general readers. DONALD MITCHELL was Founder Professor of Music at the University of Sussex. He is currently Visiting Professor at Sussex and York, and formerly at King's College, London.Trade ReviewHe is...an enthusiast, and his enthusiasm, which lights up every page, is reinforced by an unsurpassed knowledge of his subject. However well one thinks one knows Das Lied von der Erde, one's knowledge and understanding of it will be enhanced by reading this book. -- Michael Kennedy * MUSICAL TIMES *Anyone genuinely interested in this composer should acquire this book at the earliest opportunity. It is magnificently produced, as befits the depth of scholarship the author continues to impart to his subject. * MUSIC AND MUSICIANS *No book I have read on any composer brings one closer to the act of composition itself, to imagining the creative decisions that occupied Mahler, especially in Das Lied... If ever a book forced one to reconsider every detail of a masterpiece it is this. * NEW STATESMAN *

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Book SynopsisThe eighteenth century arguably boasts a more remarkable group of significant musical figures, and a more engaging combination of genres, styles and aesthetic orientations, than any century before or since, yet huge swathes of its musical activity remain under-appreciated. The Cambridge History of Eighteenth-Century Music provides a comprehensive survey, examining little-known repertories, works and musical trends alongside more familiar ones. Rather than relying on temporal, periodic and composer-related phenomena to structure the volume, it is organised by genre; chapters are grouped according to the traditional distinctions of music for the church, music for the theatre and music for the concert room that conditioned so much thinking, activity and output in the eighteenth century. A valuable summation of current research in this area, the volume also encourages readers to think of eighteenth-century music less in terms of overtly teleological developments than of interacting and mutTrade Review'This must have been a very difficult book to edit, and Simon Keefe (together with David Wyn Jones, who planned the volume) deserves unqualified congratulations for having engaged the work of so many gifted contributors and for having lurked in the detail (as it were) to such good effect … one cannot doubt the immense significance of this volume in its authoritative engagement with a repertory that speaks at every turn to the central importance of music as a vital expression of eighteenth-century thought.' Music and LettersTable of ContentsEditor's preface Simon P. Keefe; Prelude: 1. The musical map of Europe c.1700 STEPHEN ROSE; Part I. Music for the Church: 2. Catholic church music in Italy, and the Spanish and Portuguese Empires PAUL R. LAIRD; 3. Catholic sacred music in Austria JEN-YEN CHEN; 4. Catholic church music in France JEAN-PAUL C. MONTAGNIER; 5. Lutheran church music STEPHEN ROSE; 6. Protestant church music in England and America CHARLES E. BREWER; Interlude; 7. Listening, thinking and writing DAVID SCHROEDER; Part II. Music for the Theatre: 8. Italian opera in the eighteenth century MARGARET R. BUTLER; 9. Opera in Paris from Campra to Rameau LOIS ROSOW; 10. An instinct for parody and a spirit for revolution: Parisian opera, 1752–1800 MICHAEL FEND; 11. German opera from Richard Keiser to Peter Winter CLAUDIA MAURER ZENCK, translated by Anke Caton and Simon P. Keefe; 12. The lure of aria, procession and spectacle: opera in eighteenth-century London MICHAEL BURDEN; 13. Music theatre in Spain RAINER KLEINERTZ; 14. Opera in Sweden GREGER ANDERSSON; Interlude; 15. Performance in the eighteenth century JOHN IRVING; Part III. Music for the Salon and Concert Room: 16. Keyboard music from Couperin to early Beethoven ROHAN STEWART-MACDONALD; 17. The Serenata in the eighteenth century STEFANIE TCHAROS; 18. Private music in public spheres: chamber cantata and song BERTA JONCUS; 19. Handel and English oratorio EVA ZÖLLNER; 20. The Overture-Suite, Concerto Grosso and Harmoniemusik in the eighteenth century STEVEN ZOHN; 21. Concerto of the individual SIMON MCVEIGH; 22. Eighteenth-century symphonies: an unfinished dialogue RICHARD WILL; 23. The string quartet CLIFF EISEN; Postlude: 24. Across the divide: currents of musical thought in Europe, c.1790–1810 SIMON P. KEEFE; Appendix 1: Personalia DAVID BLACK; Appendix 2: Chronology DAVID BLACK; Appendix 3: Institutions in major European cities DAVID BLACK.

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Book SynopsisTon de Leeuw (1926-96) is probably one of the most influential composers at the crossroads between Eastern philosophy and Western technique. A one-time pupil of Olivier Messiaen’s in Paris, throughout the latter years of his musical career he concentrated on the marriage of Western emphasis on action and tension, and the ethical function of music in Eastern traditions. The musical world of the twentieth century is a divided one. Numerous histories of it have been written, but few of the exceptional quality of de Leeuw’s, who brought into his writing a lifetime of experience as a composer and scholar of music. His work is a lucid and impassioned discussion of the elements, structures, compositional principles and terminologies in modern music that can be regarded as most innovatory. This book is an excellent guide for anyone wishing to gain knowledge of the compositional technique and mentality, particularly university and conservatory students.Table of ContentsTable of Contents - 6 Foreword by Rokus de Groot - 8 Preface - 10 Introduction - 12 Chapter 1: Panorama - 20 Chapter 2: Rhythm - 38 Chapter 3: Melody - 60 Chapter 4: Simultaneity - 78 Chapter 5: Timbre - 98 Chapter 6: Exoticism and Folklore - 118 Chapter 7: From Free Atonality to 12-Note Music - 136 Chapter 8: From 12-Note Music to… - 164 Chapter 9: From the Sixties to the Present Day - 196 Notes - 206 List of Examples - 210 List of Abbreviations - 214 Acknowledgements - 216 About the Author - 218 Index - 220

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Book SynopsisIn The Symphony, renowned critic Michael Steinberg offers music lovers a monumental guide to this most celebrated of musical forms, with perceptive commentaries on some 118 works by 36 major composers.Trade Reviewa treat for those addicted to reading the program notes before the concert begins * Booklist *an essential book for any concertgoer and any new or veteran fan of classical music * Michael Tilson Thomas, Music Director, The San Francisco Symphony *

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Book SynopsisIntroducing a new theory of musical form for the analysis of instrumental music of the classical style. The book provides a broad set of principles and a comprehensive methodology for analysing phrases and themes to complete movements. Illustrated with over 250 annotated musical examples by Haydn, Mozart and Beethoven.Trade ReviewThis ambitious book offers nothing less than a new theory of form for the music of the Classical period ... In its combination of scholarship, musicality and sheer common sense, Caplan's Classical Form is a major achievement by any standards ... it should be read by anybody who teaches, studies or writes about this music. * Music and Letters *Table of ContentsIntroduction Part I. Preliminaries 1: Some Basic Formal Functions: An Overview 2: Fundamental Progressions of Harmony Part II. Tight-Knit Themes 3: Sentence 4: Period 5: Hybrid Themes and Compound Themes 6: Small Ternary 7: Small Binary Part III. Looser Formal Regions 8: Subordinate Theme 9: Transistion 10: Development 11: Recapitulation 12: Coda Part IV. Full-Movement Forms 13: Sonata Form 14: Slow-Movement Forms 15: Minuet/Trio Form 16: Rondo Forms 17: Concerto Form Glossary of Terms Notes Bibliography Index of Classical Compositions General Index

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Book SynopsisThis title provides a collection of the composer Steve Reich's writings on music, from his classic essay from 1968 on "Music as a Gradual Process," which was the founding call for the development of minimalism, to his work on non-western musics such as the Balinese and African music that contributed to "Drumming" and other compositions.Trade Review"Writings on Music 1965-2000, a new collection of Reich's writings...substantially enlarges upon, and in most senses supersedes, its slim predecessor. ... These works are, at one and the same time, radical and sensible, revolutionary and respectful of tradition, and offer extensions of techniques found in diverse forms of music-making around the world...This book seems to me not an ending but a beginning: it marks a point where new work, both creative and scholarly, can start...Steve Reich has consolidated his reputation as an internationally renowned artist of enormous distinction: this new book is a testament to his integrity and staying power, charting as it does a musical evolution, still in progress, that has permanently altered the course of new music in the West in the last third of the twentieth century."--Music and Letters

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Book SynopsisThis is an essential book for all performers and students of Classical and Romantic music. This book is the first to examine the changing relationship, during the period 1750 - 1900, between what composers committed to paper and what performers were expected to play.Trade Review"This book will revolutionize the study of music...The book weaves strong patterns from the conflicting habits of different places, people and periods. It doesn't tell you exactly what to do, but inspires a confidence that your own decisions, thus informed, will work."--BBC Music Magazine"Brown has produced a work of the greatest scholarship and utility....Recommended--required!--for all libraries with music collections serving upper-division undergraduates and above."--Choice"His substantial book presents many new findings and demonstrates new approaches. Brown has contributed greatly to our understanding of period technique, especially for string instruments" --Notes"His book offers a wealth of advice and ideas, ideas which should be thought of as creative and enabling, not restrictive."--Early Music Review"Brown's grasp of primary sources is wide-ranging and scholarly, lavishly illustrated with musical examples, often of unfamiliar repertory. He uncovers many questions and and possible answers, which can hardly fail to stimulate the thinking performer."--Gramophone Early Music"The fact that the book focuses on notation will make it permanently useful, something to consult."--The Musical TimesTable of ContentsForeword ; Introduction ; 1. Accentuation in Theory ; 2. Accentuation in Practice ; 3. The Notation of Accents and Dynamics ; 4. Articulation ; 5. Articulation and Expression ; 6. The Notation of Articulation and Phrasing ; 7. String Bowing ; 8. Tempo ; 9. Alla Breve ; 10. Tempo Terms ; 11. Tempo Modification ; 12. Embellishment, Ornamentation, and Improvisation ; 13. Appoggiaturas, Trills, Turns, and Related Ornaments ; 14. Vibrato ; 15. Portamento ; 16. The fermata; Recitative; Arpeggiation; The Variable Dot and Other Aspects of Rhythmic Flexibility; Heavy and Light Performance ; Index

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Book SynopsisJ.S. Bach's sonatas and partitas for solo violin have been central to the violin repertoire since the mid-18th century. This introduction to these works explores their place within Bach's music, focusing on their structural and stylistic features as they have been perceived since their creation.Trade Review"The volume thus has a quadruple purpose, providing an analytical study and historical guide to Bach's solo-violin works, an introduction to Bach's style and its evolution and a forum for authoritative discussion of selected performance issues....will certainly assist violinists, students, scholars and other listeners to develop new perspectives on this music...and encourage the cultivation of more informed and more vivid performances." --The Strad"Serious violinists and theorists will applaud the thoroughness of Lester's work."--Choice"Joel Lester is one of America's leading theorists and analysts of music, as well as a professional violinist. He is therefore uniquely qualified to write a serious analytical and interpretive study of J. S. Bach's violin music. . . . It's quite incredible that, despite the stature and importance of this music, there has never been a serious full-length study of its repertoire. That is, until now. . . . This book is richly informative and insightful, abundantly displaying Lester's learning and analytical talents. It is also engagingly written."--Robert L. Marshall, Brandeis University"Performers will find this book's discussion of recordings invaluable, its performance-oriented analyses helpful in understanding the logic behind interpretation, and its historical excursuses informative. . . . Lester has the reputation of being an excellent performer, is a recognized scholar in the history of theory, and has written a harmony textbook. Who better to bring all of these talents and accomplishments to a book of this sort?"--Lee A. Rothfarb, University of California at Santa BarbaraTable of Contents1. The History of Bach's Solo-Violin Works ; 2. The G-minor Adagio ; 3. The G-minor Fuga ; 4. The Siciliana of the G-minor Sonata ; 5. The G-minor Presto ; 6. The Partitas ; 7. Closing Thoughts

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Book SynopsisThis revised edition of Jazz Anecdotes comes with 150 new anecdotes about jazz musicians both classic and contemporary.Trade ReviewA scintillating omnium gathering of jazz talk. * Washington Post *Guarantees up to a thousand laughs...recommended without reservation. * Los Angeles Times *The intense sociological hothouse that was the jazz and commercial music world has cooled down greatly over the years, but it's important to have books like this to remind us how exciting and invigorating those days were....Don't let it slip by. * Allegro *Read this somewhere where you're not afraid to be seen laughing out loud....Everyone should be able to find something to like in this rich collection. * Library Journal *

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Trade ReviewThe Lute in Britain has been beautifully produced by Oxford University Press. The vast amount of information it contains, its presentation, the extremely useful tables of music sources and iconography, and the wonderful selection of illustrations make it will worth the price. A 'must' for scholars of English and Scottish music and the ever-growing number of players in the international lute community, it should also be of interest to instrument makers and researchers for the wealth of information it provides on the physical nature of the instruments, which is meticulously documented by a combination of iconography, music sources, and contemporary writings. Undoubtedly, this book will become a standard reference work and should be found in every music library in the world. * Journal of the American Musical Instrument Society *Spring's book is the first attempt to trace a history of the lute in Britain (including Scotland) from the earliest known documents of about 1285 to its decline in the early eighteenth century...A formidable task considering its long and complex history. * Renaissance Quarterly *Performer-scholar Matthew Spring has written the first full-length history of the lute and its repertory to appear in print...For a single scholar to have undertaken such a comprehensive study is remarkable; that he has accomplished it in such a masterly fashion is nothing short of amazing. * Journal of the American Musical Instrument Society *The Lute in Britain has been beautifully produced by Oxford University Press. The vast amount of information it contains, its presentation, the extremely useful tables of music sources and iconography, and the wonderful selection of illustrations make it will worth the price. A 'must' for scholars of English and Scottish music and the ever-growing number of players in the international lute community, it should also be of interest to instrument makers and researchers for the wealth of information it provides on the physical nature of the instruments, which is meticulously documented by a combination of iconography, music sources, and contemporary writings. Undoubtedly, this book will become a standard reference work and should be found in every music library in the world. * Journal of the American Musical Instrument Society *Spring's book is the first attempt to trace a history of the lute in Britain (including Scotland) from the earliest known documents of about 1285 to its decline in the early eighteenth century...A formidable task considering its long and complex history. * Renaissance Quarterly *

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Trade ReviewHaynes always writes as the insider performer, and his writing is fresh and direct...likely to be enjoyed by most musicians. * David Ledbetter, British Clavichord Society *Bruce's arguments are rich, not obvious, and very convincing. Read Bruce's ideas: applaud, question, be infuriated. But you will never think about early music as you did before. * Clifford Bartlett, Early Music Review *Table of ContentsList of Musical Examples List of Recorded Excerpts Preface: If this Muses Come to Call Acknowledgements Part I: Performing Styles One: Performing Style: When You Say Something Differently, You Say Something Different Two: Mind the Gap: Current Styles Three: Mainstream Style: "Chops, but no Soul" Part II: How Romantic Are We? Four: Classical Music's Coarse Caress Five: The Transparent Performer Six: Changing Meanings, Permanent Symbols Part III: Anachronism and Authenticity Seven: Original Ears Eight: Ways of Copying the Past Nine: The Medium is the Message: Period Instruments Ten: Baroque Oratory Compared with Romantic Autobiography Eleven: Gestural Phrasing Part V: The End of "Early" Music Twelve: Passive and Active Musicking: Stop Staring and Grow Your Own Thirteen: Mainstream Musicking as "Early Music" Fourteen: Perpetual Revolution Notes List of Bibliographic Abbreviations Bibliography Index

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Book SynopsisGiuseppe Verdi is the famous Italian composer of opera. While he was sometimes criticized for writing music considered too "simple," his works have endured, and are still performed throughout the world. This volume is a guide to the Verdi's life and operas, containing "New Grove" articles, a section on modern Verdi productions, and more.

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Trade ReviewEditor: Suzanne Ryan "In my opinion, this is the most important book on music aesthetics to appear in the last several decades.... Goehr does not seek a universal definition for music and its meanings but instead traces the history of the 'work concept' in Western music. She both reveals the developments that cemented the notion of the musical work in the 19th century and also examines the limits of that notion."--Susan McClary, Professor of Musicology, University of California -- Los Angeles"This book is not only a major contribution to the philosophy of music, but is also vitally important to understanding music history and performance practice. Further, those interested in rethinking the conventions of today's classical music world should not miss it."--Bernard Sherman, Iowa Public Radio, author of Inside Early Music: Conversations with Performers, co-editor of Performing BrahmsTable of ContentsFOREWORD; INTRODUCTORY ESSAY: HIS MASTER'S CHOICE; INTRODUCTION; PART I. THE ANALYTIC APPROACH; PART II. THE HISTORICAL APPROACH; BIBLIOGRAPHY OF WORKS CITED; INDEX

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Trade ReviewAs a student of Gustav Meier, I was enormously inspired and impressed by his knowledge and unwavering commitment to the music. Reading this book, I am once again equally inspired and impressed. Gustav Meier is brilliant and clearly one of the leading conducting teachers in the world; his book is chock-full of invaluable information. * Marin Alsop, Music Director Baltimore Symphony Orchestra, Music Director, Cabrillo Music Festival *Many times I've been able to get Gustie on the phone whenever I've found myself stuck and couldn't figure out how to conduct my way through a thorny passage. Now that I have his book, I'll still give him a try on the phone, but if I can't reach him, I'll know here I can get the answers I'm looking for. Thank you Gustie for sharing your vast knowledge of the the art of conducting with the world. * Your student, Bobby McFerrin. *With its myriad examples from the standard repertoire both symphonic and operatic, Gustav Meier's book is an indispensable tool for conductors aspiring and professional alike on all aspects of this mysterious craft. * Anthonio Pappano, Music Director, Royal Opera House, Covent Garden and Music Director, Accademia Nazionale di Santa Cecilia *An important addition to the conducting reference library. * Music Educators Journal *Table of ContentsA) INSTRUMENTAL CHART ; B) NOTATION OF INSTRUMENTS ; C) HARMONICS ; D) HARMONIC CHARTS ; E) CROSS RHYTHM CHARTS

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Book SynopsisIn this groundbreaking book, Tymoczko uses contemporary geometry to provide a new framework for thinking about music, one that emphasizes the commonalities among styles from Medieval polyphony to contemporary jazz.Trade Reviewa tour de force, a rich and suggestive summation of an exciting new perspective, a jumping-off point for further explorations. * Peter Pesic, Times Literary Supplement *Table of ContentsPREFACE; PART I. THEORY; 1.1 THE FIVE FEATURES; 1.2. PERCEPTION AND THE FIVE FEATURES; 1.3 FOUR CLAIMS; A. HARMONY AND COUNTERPOINT CONSTRAIN EACH OTHER; B. SCALE, MACROHARMONY, AND CENTRICITY ARE INDEPENDENT; C. MODULATION INVOLVES VOICE LEADING; D. MUSIC CAN BE UNDERSTOOD GEOMETRICALLY; 1.4 MUSIC, MAGIC, AND LANGUAGE; 1.5 OUTLINE OF THE BOOK, AND A SUGGESTION FOR IMPATIENT READERS; 2.1 LINEAR PITCH SPACE; 2.2 CIRCULAR PITCH-CLASS SPACE; 2.3 TRANSPOSITION AND INVERSION AS DISTANCE-PRESERVING FUNCTIONS; 2.4 MUSICAL OBJECTS; 2.5 VOICE LEADINGS AND CHORD PROGRESSIONS; 2.6 COMPARING VOICE LEADINGS; 2.7 VOICE-LEADING SIZE; 2.8 NEAR IDENTITY; 2.9 HARMONY AND COUNTERPOINT REVISITED; 2.10 ACOUSTIC CONSONANCE AND NEAR-EVENNESS; 3.1 ORDERED PITCH SPACE; 3.2 THE PARABLE OF THE ANT; 3.3 TWO-NOTE CHORD SPACE; 3.4 CHORD PROGRESSIONS AND VOICE LEADINGS IN TWO-NOTE CHORD SPACE; 3.5 GEOMETRY IN ANALYSIS; 3.6 HARMONIC CONSISTENCY AND EFFICIENT VOICE LEADING; 3.7 PURE PARALLEL AND PURE CONTRARY MOTION; 3.8 THREE-DIMENSIONAL CHORD SPACE; 3.9 HIGHER-DIMENSIONAL CHORD SPACES; 3.10 VOICE LEADING LATTICES; 3.11 TRIADS ARE FROM MARS, SEVENTH CHORDS ARE FROM VENUS; 3.12 TWO MUSICAL GEOMETRIES; 3.13 STUDY GUIDE; 4.1 A SCALE IS A RULER; 4.2 SCALE DEGREES, SCALAR TRANSPOSITION, SCALAR INVERSION; 4.3 EVENNESS AND SCALAR TRANSPOSITION; 4.4 CONSTRUCTING COMMON SCALES; 4.5 MODULATION AND VOICE LEADING; 4.6 VOICE LEADING BETWEEN COMMON SCALES ; 4.7 TWO EXAMPLES; 4.8 SCALAR AND INTERSCALAR TRANSPOSITION; 4.9 INTERSCALAR TRANSPOSITION AND VOICE LEADING; 4.10 COMBINING INTERSCALAR AND CHROMATIC TRANSPOSITIONS; 5.1 MACROHARMONY; 5.2 SMALL-GAP MACROHARMONY; 5.3 PITCH-CLASS CIRCULATION; 5.4 MODULATING THE RATE OF PITCH-CLASS CIRCULATION; 5.5 MACROHARMONIC CONSISTENCY; 5.6 CENTRICITY; 5.7 WHERE DOES CENTRICITY COME FROM?; 5.8 BEYOND "TONAL" AND "ATONAL."; PART II. HISTORY AND ANALYSIS; 6.1 DISCLAIMERS; 6.2 TWO-VOICE MEDIEVAL COUNTERPOINT; 6.3 TRIADS AND THE RENAISSANCE; 6.4 FUNCTIONAL HARMONY; 6.5 SCHUMANN'S CHOPIN; 6.6 CHROMATICISM; 6.7 TWENTIETH-CENTURY SCALAR MUSIC; 6.8 THE EXTENDED COMMON PRACTICE; 7.1 THE THIRDS-BASED GRAMMAR OF ELEMENTARY TONAL HARMONY; 7.2 VOICE LEADING IN FUNCTIONAL HARMONY; 7.3 SEQUENCES; 7.4 MODULATION AND KEY DISTANCE; 7.5 THE TWO LATTICES; 7.6 A CHALLENGE FROM SCHENKER; 8.1 DECORATIVE CHROMATICISM; 8.2 GENERALIZED AUGMENTED SIXTHS; 8.3 BRAHMS AND SCHOENBERG; 8.4 SCHUBERT AND THE MAJOR-THIRD SYSTEM; 8.5 CHOPIN'S TESSERACT; 8.6 THE TRISTAN PRELUDE; 8.7 ALTERNATIVE APPROACHES; 8.8 CONCLUSION; 9.1 THREE SCALAR TECHNIQUES; 9.2 CHORD-FIRST COMPOSITION; A. GRIEG'S "DROMMESYN," (VISION), OP. 62 NO. 5 (1895); B. DEBUSSY'S "FETES" (1899); C. MICHAEL NYMAN'S "THE MOOD THAT PASSES THROUGH YOU" (1993); 9.3 SCALE-FIRST COMPOSITION; A. DEBUSSY'S "DES PAS SUR LA NEIGE" (1910); B. JANACEK'S "ON AN OVERGROWN PATH," SERIES II, NO. 1 (1908); C. SHOSTAKOVICH'S FS MINOR PRELUDE AND FUGUE, OP. 87 (1950); D. REICH'S "NEW YORK COUNTERPOINT" (1985); E. REICH'S "THE DESERT MUSIC," MOVEMENT 1 (1984); F. THE WHO'S "CAN'T EXPLAIN" (1965) AND BOB SEGER'S "TURN THE PAGE" (1973); 9.4 THE SUBSET TECHNIQUE; A. GRIEG'S "KLOKKEKLANG," (BELL RINGING), OP. 54 NO. 6 (1891); B. "PETIT AIRS," FROM STRAVINSKY'S HISTOIRE DU SOLDAT (1918); C. REICH'S "CITY LIFE" (1995); D. STRAVINSKY'S "DANCE OF THE ADOLESCENTS" (1913); E. THE MILES DAVIS GROUP'S "FREEDOM JAZZ DANCE" (1966); 9.5 CONCLUSION; 10.1 BASIC JAZZ VOICINGS; 10.2 FROM THIRDS TO FOURTHS; 10.3 TRITONE SUBSTITUTION; 10.4 ALTERED CHORDS AND SCALES; 10.5 BASS AND UPPER-VOICE TRITONE SUBSTITUTIONS; 10.6 POLYTONALITY, SIDESTEPPING, AND "PLAYING OUT."; 10.7 BILL EVANS'S "OLEO."; 10.8 JAZZ AS MODERNIST SYNTHESIS; CONCLUSION; APPENDIX A. MEASURING VOICE-LEADING SIZE; APPENDIX B. CHORD GEOMETRY: A TECHNICAL LOOK; APPENDIX C. DISCRETE VOICE LEADING LATTICES; APPENDIX D. THE INTERSCALAR INTERVAL MATRIX; APPENDIX E. SCALE, MACROHARMONY, AND LERDAHL'S "BASIC SPACE."; APPENDIX F. SOME STUDY QUESTIONS, PROBLEMS, AND ACTIVITIES; BIBLIOGRAPHY; INDEX

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Book SynopsisLanguage, education, politics, and music come together in Katherine Bergeron's Voice Lessons, a study of the French mélodie in the Belle Epoque. Close readings of songs by Fauré, Debussy, and Ravel, along with poems, sound recordings, and other historical documents, seek to uncovers the cultural meanings of this art: why it emerged, why it mattered, and why it eventually disappeared.Trade ReviewBergeron is no score-dodger and the music is exactly in the right place: central. Surrounding this is a wealth of detail and context opening up bypaths previously unexplored. * Richard Langham Smith, Music and Letters *excellently researched and illuminating ... this is a book to be reckoned with. It tells its bedtime story eloquently and it approaches its repertory in more detail than elsewhere. * Richard Langham Smith, Music & Letters *Table of ContentsList of Figures ; List of Musical Examples ; Foreword: Telling History ; 1. ; Eve Sings, An Origin Story ; Melody ; Eve Sings ; Muteness ; Oral Pleasures ; Melos and Mimesis ; Mortal Melody ; Perfect prosody, androgynous melody ; Selfless Singers ; NOTES TO CHAPTER ONE ; The Mother Tongue Teaching the modern ABCs ; The People's Mouth L Figures of Speech Talking Machines Indelible Accents ; NOTES TO CHAPTER TWO ; Free Speech, Free Verse, and Music Before All Things ; Poetry and the People Vibrations of Language Accentus/ ad cantus Music After All Transcribing the voix parlee Unsung symbols ; NOTES TO CHAPTER THREE 4. L'Art de dire, or Language in Performance Venetian glass and marqueterie ; Vibrant noise, expressive elegance Dir(e) Expressions lyriques ; Forget that you are singers A Bird in a branch ; NOTES TO CHAPTER FOUR ; 5. Farewell to an Idea ; La verite ; Natural history ; Une voix du passe? ; Realism revisited ; In the shadow of the Faun ; Mirages ; NOTES TO CHAPTER FIVE ; Bibliography

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Book SynopsisThis is the first in-depth survey of the oboe during its Golden Age, tracing the history of the instrument from its invention through its many mutations as it adapted to the changing demands of composers. The author describes in detail the instruments, players, makers, and composers, how and where it was played, and who listened to it.

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Book SynopsisChopin's Polish Ballade examines the Second Ballade, Op. 38, and how that work gave voice to the Polish cultural preoccupations of the 1830s, using musical conventions from French opera and amateur piano music. This approach provides answers to several persistent questions about the work's form, programmatic content, and poetic inspiration.Trade Reviewhis connections with present performance concerns are also compelling ... the book is a welcome invitation to reconsider what approaches we might take to performing and listening to this music today. * Matthew Gelbart, Music and Letters *This book is highly recommendable to performers and music students alike * Philip Borg-Wheeler, Classical Music *Table of ContentsLIST OF MUSICAL EXAMPLES; INTRODUCTION; TWO VERSIONS; TWO KEYS; "CERTAIN POEMS OF MICKIEWICZ"; STORIES IN TONES; AMATEUR PROGRAM MUSIC; BALLAD POETRY AND MUSICAL FORM; OVERVIEW AND STYLISTIC SUMMARY OF THE FIRST BALLADE; KONRAD WALLENROD: PLOT AND STRUCTURE; KONRAD WALLENROD AS BALLADE SCENARIO; THE LAY OF ALDONA'S FATE; A FORMAL OVERVIEW OF CHOPIN'S SECOND BALLADE; THE SECOND BALLADE AND THE SONATA PROBLEM; BALLADE AS GENRE; THE OPERATIC BALLADE TO 1831; A PILGRIMS' BALLADE; A POLISH BALLADE; THE GREAT MIGRATION AND POLISH CULTURE IN EXILE; PERSONAL ANGUISH AND LITERARY APOTHEOSIS; SAPIENTI PAUCA; INTERNAL EVIDENCE I-THE A MATERIAL: SICILIANO; INTERNAL EVIDENCE II-THE B MATERIAL: STORM; INTERNAL EVIDENCE III-THE C THEME; OP. 38 AS NARRATIVE OF NATIONAL MARTYRDOM; VERSIONS, TONIC KEYS, AND MICKIEWICZ REVISITED; THE FOREST AND THE TREES; APPENDIX: "A M. F. CHOPIN, SUR SA BALLADE POLONAISE," BY FELICIEN MALLEFILLE; BIBLIOGRAPHY; INDEX

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Book SynopsisTable of ContentsPART I: THE PROCESS OF COMPOSITION; PART II. THE COMPOSITIONAL STYLE; PART III: TRANSCRIPTIONS OF THE SKETCHES

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Trade ReviewIn this brilliant study of a local culture's transnational dynamics and dimensions, Alejandro Madrid reveals how radical changes in contemporary commerce and culture are imbuing old identities, borders, and boundaries with new meanings. * George Lipsitz, author of Footsteps in the Dark *The Nortec Collective stands astride the US/Mexico border creating an art of hope and adaptation. This music represents all that is possible along the new frontier, and it has fomented a movement of art and film and literature that is unique in the world. Alejandro Madrid's masterful study of this brilliant hybrid stands as one of the important texts in the history of the new, shining, borderlands. Nortec sings, 'Tijuana makes me happy.' This work makes us happy to be alive. * Luis Alberto Urrea, author of The Devil's Highway and The Hummingbird's Daughter *Alejandro Madrid is an amazing thinker. His fresh theoretical insights are synthesized from a broad base of knowledge and disciplines. This work will appeal to anyone interested in border studies and contemporary societal trends, as well as those with an interest in contemporary music and activism through music. * Brenda M. Romero, Associate Professor of Musicology and Ethnomusicology, University of Colorado *Alejandro Madrid has brilliantly captured Nor-tec's burst into the twenty-first century. This is an innovative book that effectively balances traditional with virtual fieldwork, musical analysis with a cultural-oriented approach, and theoretical reflections with empirically grounded investigations. Madrid's critical mind and analytical skills meet the ingenuity and eloquence of the Nortec Collective. * Helena Simonett, Vanderbilt University, author of Banda: Mexican Musical Life across Borders *Nor-tec has spawned audio imitators, Volvo ads, t-shirts, and indie films, popped up everywhere from art installations to MTV and HBO, and now Tijuana's first-next-big-global-thing finally has its own full-scale scholarly book that lends a critical ear to border beats. With a focused and serious mix of theory, interviews, and lots of listening during long nights in Tijuana clubs, Madrid has done the music and the scene a great service by unraveling its histories and dissecting its meanings for fans and scholars alike. * Josh Kun, University of Southern California, author of Audiotopia: Music, Race, and America *Table of ContentsList of Figures ; List of Music Examples ; Acknowledgements ; Introduction: Nor-tec and the Borders ; 1. Origins Revisited. Myth and Discourse in the Nortec Collective ; 2. Tradition, Style, Nostalgia, and the Kitsch ; 3. Getting the Word Around ; 4. "Where is the Donkey Show Mr. Mariachi?" Reterritorializing TJ ; 5. Producers, DJs, Fans, and the Performance of Nor-tec ; 6. Dancing with Desire ; 7. Nor-tec and the Postnational Imagination ; Bibliography

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Trade ReviewIn this comprehensive study of Tristan und Isolde Eric Chafe has created a text that will serve as a point of reference for generations of scholars when they refer to this seminal work...Chafe has created a model investigation that will enable listeners to return to Wagner's familiar score and reclaim for themselves the nuances in the opera. * Tristania *Table of Contents1. The Path to Schopenhauer ; 2. Tristan and Schopenhauer ; 3. Tristan and Gottfried von Strassburg I: Minne ; 4. Tristan and Gottfried von Strassburg II: Honor ; 5. The Desire Music ; 6. The Prelude: A Musicopoetic View ; 7. Tragedy and Dramatic Structure ; 8. The Two Death Motives ; 9. Musicopoetic Design in Act One ; 10. Act Two, Scene One: Night and Minne ; 11. The Love Scene in Act Two: Transition and Periodicity ; 12. Tristan's Answer to King Mark: Moral and Philosophical Questions ; 13. Act Three: Musicopoetic Design ; 14. Love as Fearful Torment ; 15. The Road to Salvation

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Table of ContentsPREFACE; ACKNOWLEDGMENTS

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Book SynopsisThe Arts of the Prima Donna assembles a star-studded yet well-balanced cast of contributors, whose essays combine theoretical approaches to text and narrative, and current theory on gender, performativity, and the commodification of the female body, with the growing understanding of the lives, careers, and performances of the female opera singer.Trade ReviewThe essays offer a rich variety of approaches to the prima donna, and the quality of scholarship and writing is high. Together they reveal the contradictory views of the prima donna in different times and places, the ideologies of gender that shaped perception, and the challenges these singers presented to traditional male/female power dynamics. * Sarah Hibberd, Studies in Theatre and Performance *this volume makes a unique contribution to the literature ... Highly recommended * R. Pitts, CHOICE *Table of ContentsIntroduction ; Rachel Cowgill and Hilary Poriss ; PART ONE: PROMOTION AND IMAGE-MAKING ; Chapter 1. Divas and Sonnets: Poetry for Female Singers in Teatri arti e letteratura ; Francesco Izzo ; Chapter 2. Idealizing the Prima Donna in Mid-Victorian London ; Roberta Montemorra Marvin ; Chapter 3. Prima Donnas and the Performance of Altruism ; Hilary Poriss ; Chapter 4. Staging Scandal with Salome and Elektra ; Joy H. Calico ; Chapter 5. Screening the Diva ; Mary Simonson ; Chapter 6. The Prima Donna's Art of Politics ; James R. Currie ; INTERLUDE 1: The Prima Donna Creates ; Julian Rushton ; PART TWO: FANTASY AND REPRESENTATION ; Chapter 7. Gautier's "Diva": The First French Use of the Word ; James Q. Davies ; Chapter 8. Artistic Experiment and the Reevaluation of the Prima Donna in George Moore's Evelyn Innes ; Grace Kehler ; Chapter 9. Ars moriendi: Reflections on the Death of Mimi ; Helen Greenwald ; Chapter 10. Lakme's Echoing Jewels ; Gurminder Kaur Bhogal ; INTERLUDE 2: Breath's End: Opera and Mortality ; Terry Castle ; PART THREE: CULTURES OF CELEBRITY ; Chapter 11. "Attitudes with a Shawl": Performance, Femininity, and Spectatorship at the Italian Opera in Early Nineteenth-Century London ; Rachel Cowgill ; Chapter 12. From Diva to Drama Queen ; Tracy C. Davis ; Chapter 13. The Prima Donna as Opera Impresario: Emma Carelli and the Teatro Costanzi, 1911-1926 ; Susan Rutherford ; Chapter 14. "In Imitation of My Negro Mammy": Alma Gluck and the American Prima Donna ; Susan C. Cook ; Chapter 15. "The Finest Voice of the Century": Clara Butt and Other Concert-Hall and Drawing-Room Singers of Fin-de-siecle Britain ; Sophie Fuller ; Chapter 16. Galli-Curci Comes to Town: The Prima Donna's Presence in the Age of Mechanical Reproduction ; Alexandra Wilson ; Index

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Book SynopsisIn this volume Richard Viladesau seeks to understand the beauty of the cross as it developed in both theology and art from their beginnings until the eve of the renaissance.Trade ReviewA fine book. * International Review of Biblical Studies *This is a fascinating investigation centred on the interplay of thought and feeling, of word and art, of understanding and emotion which lies at the heart of the Christian faith. * Contemporary Review *a unique and profitable contribution ... This book is a great resource for pastors, theologians, students, and all who desire a deeper appreciation for the beauty of the cross. * Jeremy R. Treat, Themelios *Table of ContentsCONCLUSION AND ANTICIPATION ; APPENDIX: WEBSITES FOR VIEWING ARTWORKS ; INDEX

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Table of ContentsIntroduction ; Antonin Dvorak Comes to America ; American and Negro Music ; Dvorak's Symphony From the New World ; The Chicago World's Columbian Exposition from 1893 ; The National Conservatory of Music in America ; Paul Laurence Dunbar, Clorindy, and "The Talented Truth" ; James Reese Europe ; George Gershwin and African American Music ; Leonard Bernstein ; Gershwin's Rhapsody in Blue ; The Clef Club Concert ; Will Marion Cook ; George Antheil's Ballet Mecanique ; Bernstein's Mass ; Duke Ellington ; Ellington's Queenie Pie ; Ellington's Black, Brown, and Beige ; Afterword ; Notes ; Selected Discography ; Selected Bibliography ; Index

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Trade ReviewThe book is intelligently organized, mindful of unfair value judgments against earlier works and simply packed full of information. * Karen Hiles, Cambridge journal Eighteenth-Century Music *Both of them eminent scholars, Floyd and Margaret Grave bring to this undertaking not only a comprehensive knowledge of the existing literature but also an admirable ability to present their material coherently and to supplement it with their own analytical insights * Early Music *Table of ContentsIntroduction Part I: Points of Departure 1: The Repertory 2: Genre and Character 3: Texture, Ensemble, Technique, and Sonority Part II: Formal Perimeters 4: Sonata Form 5: The Dance Movement 6: Variation 7: Other Forms: Fugue, Rondo, and Miscellaneous Nonstandard Designs Part III: The Opus Groups 8: The Earliest Quartets (ca. 1755-60 [?ca. 1757-59]): Op. o; Op. 1 Nos. 1,2,3,4, and 6; Op. 2 Nos. 1,2,4, and 6 9: Op. 9 (ca.1768-70) and Op. 17 (1771) 10: Op. 20 (1772) 11: Op. 33 (1781) and Op. 42 ([?1784-] 1785) 12: Op. 50 (1787) 13: Op. 54/55 (1788)

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Book Synopsis

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Book Synopsis

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Book SynopsisWolfgang Amadeus Mozart is one of the great icons of Western music. An amazing prodigy who toured the capitals of Europe as a child, astonishing royalty and professional musicians with his precocious skills, in his adulthood he wrote some of the finest music in the European tradition. Julian Rushton offers a concise and up-to-date biography of this musical genius, combining a well-researched life of the composer with an introduction to the works--symphonic, chamber, sacred, and theatrical--of one of the few who have composed undisputed masterpieces in every genre of his time. Rushton presents a vivid portrait, ranging from Mozart the Wunderkind--travelling with his family from Salzburg to Vienna, Paris, London, Rome, and Milan--to the mature composer of perennially fascinating operas such as The Marriage of Figaro, Don Giovanni, and The Magic Flute. During the past half-century, scholars have thoroughly explored Mozart''s life and music, offering new interpretations based on their hisTrade ReviewThe new edition of the series's Mozart biography is an essential, readable and authoritative resource. * Classic FM, *The Master Musicians composer biographies have long been invaluable handbooks for students. * Classic FM *A revised biography from OUP's excellent 'Master Musicians' series offers a captivating and accessible account of Mozart's life and music. * Classic FM *Table of ContentsCONTENTS; APPENDICES; A CALENDAR / B LIST OF WORKS / C PERSONALIA / D SELECT BIBLIOGRAPHY /; INDEX

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Book SynopsisThe foremost composer under the reign of Elizabeth I and James I, William Byrd (c. 1540 - 1623) produced countless masses, motets, polyphonic songs, and works for keyboard and instrumental consort. In this biography, author Kerry McCarthy explores the musical world in which Byrd grew up and traces his influence on the English musicians of the early Baroque.Trade ReviewA compendious new introduction to Byrd's life and music, incorporating the newest research. * Christopher Howse, The Daily Telegraph *Excellent new study. * Peter Phillips, The Times Literary Supplement *We know a gratifying amount about William Byrd [...] and Kerry McCarthy splendidly and concisely present it all in this intelligent and affectionate biography. * Diarmaid MacCulloch, London Review of Books *This volume is an excellent addition to any music reference section ... Recommended. * B.L. Eden, CHOICE *The growing awareness of the importance of musicological research to such a wide range of different audiences today makes writing composer biographies a tall order indeed. It is one that has been filled in Byrd with eloquence, clarity and candour. * Andrew Cichy, Early Music *Table of ContentsPreface ; Ad lectorem ; Acknowledgements ; 1. Origins ; 2. Apprentice years ; 3. Lincoln Cathedral ; 4. Musical explorations ; 5. Royal patronage ; 6. Byrd the reader ; 7. Sundry songs ; 8. Sacred songs ; 9. My Lady Nevell's Book ; 10. The three masses ; 11. Court and country ; 12. Later instrumental music ; 13. Gradualia ; 14. 1611 ; 15. Last works ; 16. Students and legacy ; 17. Afterthoughts ; Appendix A. Documents of Byrd's life ; Appendix B. List of works ; Appendix C. Personalia ; Appendix D. Select bibliography ; Appendix E. A reader's guide to Byrd literature

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Book SynopsisAn account of Huju, a Shanghai operatic tradition which blends music and acting with portrayal of the lives of ordinary people, this study follows the genre as it develops in China's largest city from rural entertainment to urban ballad, revolutionary drama, and contemporary opera.Trade ReviewJonathan Stock has made a valuable contribution to the field of Chinese music studies in particular and to musicology in general. * Music and Letters *Table of ContentsIntroduction ; The Rise of Local Opera form in east China, up to 1920 ; Female roles and the Rise of Actresses, 1915-c.1950 ; Place and Music: Local Opera in Shanghai, 1912-49 ; Huju and the politics of revolution, post-1949 ; Ethnomusicological Research in an Urban Setting

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Book SynopsisThe Weimar Republic is often seen as an era of progress for the arts, but strands of pessimism and conservatism also developed rapidly. In this cultural atmosphere, music and musical scholarship could provide forms of protest and resistance to modernity. Attfield's concentration on continuity challenges the received historiography of this period.Table of ContentsIntroduction: Weimar Culture and its Others 1: Music and the Idea of 'Conservative Revolution' 2: 'Sympathie mit dem Tode': Thomas Mann, Hans Pfitzner, and the Further Reflections of a Non-Political Man 3: 'Innerer Betrachtung gewidmet': Alfred Heuss, the Zeitschrift für Musik, and the Music Journal as Community 4: 'Der alte treue Meister Antonius': Mysticism, Nation, and the Weimar Bruckner Cult 5: 'Eine neue, edle deutsche Jugendkultur': August Halm, Gustav Wyneken, and the Question of Leadership Epilogue: Working Towards the Third Reich Appendix: Transcription and Translation of Paul Hindemith's letter to Alfred Heuss, February 1923

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