Composers and songwriters Books

Book SynopsisBoth Dylan and Cohen have been a presence on the music and poetry landscape spanning six decades. This book begins with a discussion of their contemporary importance, and how they have sustained their enduring appeal as performers and recording artists. The authors argue that both Dylan and Cohen shared early aspirations that mirrored the Beat Generation. They sought to achieve the fame of Dylan Thomas, who proved a bohemian poet could thrive outside the academy, and to live his life of unconditional social irresponsibility. While Dylan's and Cohen's fame fluctuated over the decades, it was sustained by self-consciously adopted personas used to distance themselves from their public selves. This separation of self requires an exploration of the artists' relation to religion as an avenue to find and preserve inner identity. The relationship between their lyrics and poetry is explored in the context of Federico García Lorca's concept of the poetry of inspiration and the emotional depths oTrade ReviewA] volume full of information and thought-provoking insight and ideas ... It is a very worthwhile read. * Americana UK *RouteNote's "Top 10 new music books in 2021 – so far" * RouteNote *Table of ContentsIntroduction 1. Dying to Get Back Home 2. The Road Back 3. Redemption Men 4. Starting Out: Bob Dylan, Leonard Cohen, The Beat Generation and Dylan Thomas 5. The Masked Crusader: Bob Dylan 6. The Lone Ranger: Leonard Cohen 7. Poetry and Song 8. The Spirit of Duende 9. Mine’ve Been Like Verlaine’s and Rimbaud Conclusion Acknowledgments Index

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Book SynopsisPhilip V. Bohlman is Ludwig Rosenberger Distinguished Service Professor in the Department of Music at the University of Chicago, USA, where he is also Artistic Director of The New Budapest Orpheum Society, a Grammy-nominated cabaret. He is author and editor of many books including World Music: A Very Short Introduction (2nd ed., 2020), Focus: Music, Nationalism, and the Making of the New Europe (2010), and Wie sängen wir Seinen Gesang auf dem Boden der Fremde! Jüdische Musik des Aschkenas zwischen Tradition und Moderne (2019). He is Associate Editor for ethnomusicology of Grove Music Online, and co-editor of Acta Musicologica, the journal of the International Musicological Society.Table of ContentsAcknowledgments Sources and Translations Preface Introduction – Sounding the Wounded Dialectic 1. Russian Gambit 2. Forest near Moscow 3. The Duel 4. Centaurs 5. The Foundling Epilogue: The End of Epic as Its Beginning Bibliography

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Book SynopsisKoza Dabasa explores Okinawa''s island culture and its ghosts of war through the lens of Nenes, a four-woman pop group that draws on the distinctiveness and exoticism of Okinawan musical tradition. Both a tropical island paradise and the site of some of the bloodiest battles of World War II, Okinawa has a unique culture and a contentious history. Its musical traditions are distinct from other parts of Japan, varying in instrumentation, poetic forms, and musical scales. Nenes marks its cultural difference as Okinawan by emphasizing its own exoticism, expressed through its music, fashion, imagery, and performance style. Henry Johnson listens to Koza Dabasa as a representation of Okinawa''s relationship with the Japanese music industry and with the broader themes of international warfare and local tourism.33 1/3 Global, a series related to but independent from 33 1/3, takes the format of the original series of short, music-based books and brings the focus to muTrade ReviewThe logical and clear arguments, text development with high-quality English interpretation and accurate orthography of Okinawan and Japanese terms, and useful information referring to plentiful previous research are admirable. This book is accessible and enjoyable for fans of Okinawan popular music. * Okinawan Journal of Island Studies *Table of Contents1. Introduction: Okinawa and Japan 2. Okinawan Popular Music 3. Performers and Personnel 4. Island Culture 5. War and Peace 6. Performance and Reception Index

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Book SynopsisDarkthrone's A Blaze in the Northern Sky (1992) is a foundational keystone of the musical and aesthetic vision of the notorious Norwegian black metal scene and one of the most beloved albums of the genre. Its mysterious artwork and raw sound continue to captivate and inspire black metal fans and musicians worldwide. This book explores the album in the context of exoticism and musical geography, examining how black metal music has come to conjure images of untamed Nordic wildernesses for fans worldwide. In doing so, it analyzes aspects of musical style and production that created the distinctly grim sound of Darkthrone and Norwegian black metal.Trade ReviewHagen is uniquely placed to navigate [black metal's] paradoxes, as well as the sub-genre’s wider social significance. His exploration here of black metal’s appeal as a form of contemporary Nordic folk music, and his theoretical deliberations on the scene’s “romantic” and "modernist” aspects, are both forthright and stimulating ... [A] thought-provoking analysis. * Record Collector *Table of ContentsAcknowledgments Introduction: “Kathaarian Life Code” 1. “In the Shadow of the Horns” 2. “Where Cold Winds Blow” 3. “Paragon Belial” 4. “The Pagan Winter” Notes Bibliography

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Book SynopsisUpon its release, Don''t Break the Oath charted fifth on the official British heavy metal album list and was supported by a two month long sold-out American tour in early 1985. The band''s controversial stage appearance with burning crosses, a microphone stand formed as a cross made of two human leg bones, as well as other blasphemous rituals attracted the attention of the then newly formed PRMC (Parental Resource Music Center) committee, ironically reassuring the band its position on the charts. But though the album was hugely popular in the anglophone metal scene, it was conceived in peripheral Denmark.This book discusses the relationship between center and periphery. It juxtaposes the Anglophone reticent of heavy metal with the rather marginalized location of Copenhagen, and examines Mercyful Fate''s relation to the Nordic region more generally. It also takes a close look at the methods involved in the production of King Diamond''s vocals, and emphasizes the role of the vocalTable of ContentsFigures Acknowledgments Tracklisting A note to the reader 1. Introduction: A broken yet completed circle 2. Sounds, atmospheres and 43 minutes of not breaking the Oath 3. The satanic endeavors: Intentional transgressions and antinomian discourses 4. Diabolus in musica and other musical modes of symbolic Satanism 5. Unmasking the masks of masculinities:(Dis)appearances of the paint mask 6. Queer-Satanism galore: Otherings of the Oath 7. Conclusion: Rewriting the Heavy Metal canon of hegemonic masculinity Notes References Index

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Book SynopsisFor decades, the state-run music industry in Hungary has artificially isolated musical worlds. The 2010 album I'll Be Your Plaything is a concept album comprising at times drastically re-imagined cover versions of Hungary's most popular hits from the socialist era. As such it is a testament to music as a medium's aptness to reflect on public and personal pasts. The album moreover exemplifies how rich and appealing synthesis of sounds and traditions can be concocted when folk, classically trained, rock, and jazz musical artists collaborate. Along with this freedom to blend and synthesize, the album opens up some long overdue space for women; playing with personas, voices, and singing styles, Palya reflects on issues of femininity, maternity, sexuality, and coupledom across generations.Table of ContentsList of Figures Acknowledgments Preface 1. Playing Music, Playing with Music: Bea Palya and Samu Gryllu's Musical Partnerships 2. Memory Work with Souvenirs, Bronzes, and Tunes of State Socialism 3. "Play it One More Time, Play it All Night Long": Recycling, Re-working, and Reflecting in Popular Music Discourse 4. Start Making a New Sense 5. "A Babe in Toyland" or Pop-cultural Feminism in Bea Palya's Music and Early Career (2005-2014) 6. In the Aftermath of "I'll Be Your Plaything": A Woman Writing her Self References Track Listing of "I'll Be Your Plaything" Discography Index

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Book SynopsisThere has never been a band like Pearl Jam. The Seattle quintet has recorded eleven studio albums; sold some 85 million records; played over a thousand shows, in fifty countries; and had five different albums reach number one. But Pearl Jam's story is about much more than music. Through resilience, integrity, and sheer force of will, they transcended several eras, and shaped the way a whole generation thought about art, entertainment, and commerce.Not for You: Pearl Jam and the Present Tense is the first full-length biography of America's preeminent band, from Ten to Gigaton. A study of their role in history from Operation Desert Storm to the Dixie Chicks; Jeremy to Columbine; Kurt Cobain to Chris Cornell; Ticketmaster to Trump Not for You explores the band''s origins and evolution over thirty years of American culture. It starts with their founding, and the eruption of grunge, in 1991; continues through their golden age (Vs., VitalogyTrade ReviewRonen Givony's Not for You does what Givony would like Pearl Jam to do: it rises above its immediate purpose. It is a critical annotation to a body of work which lifts off the ground and becomes an extravagant performance about time, rebellion, fame, disenchantment, civil discourse, the idea of the mainstream, the desire of a fan, and what a band can do to answer it. * Ben Ratliff, author of Every Song Ever *An enjoyable book and, as a non-fan, I found myself coming around to their music and what they were trying to achieve. Whether you love them or not, it is clear they were trying to be genuine and reach out to their fans. -- Simon Cocking * Irish Tech News *Brilliantly contextualises the early ’90s socio-political climate from which the grunge icons emerged. It paints a vivid portrait … Not For You is a compelling examination of one of modern rock’s most enduring and compelling groups. -- Kate Brayden * Hot Press *Near perfect Pearl Jam prose… Not For You: Pearl Jam and the Present Tense is a book every Pearl Jam fan needs to read. Not only is it an excellent biography it is also the definitive unofficial Pearl Jam book for fans of the Last Grunge Band Standing.™ * Guerrilla Candy *[A] hefty and impressive work, digging into its subject with the kind of relentlessness any fan will appreciate… A thoughtful celebration of a band who’s still going strong, and should even be of interest to non-PJ fans, especially if they have an interest in alt rock of the ‘90s. * Record Collector News *[A]n insightful work for many reasons, not least its temperate analysis of fandom. Author Ronen Givony never forgets the whys and wherefores of the Seattle outfit and of how from their early days in the 1990s, despite their status as one of the mostpopular US acts, they sidelined traditional commercial channels in favour of servicing their fans … Givony incisively reflects on th[is] and more, but the primary selling point is what the band have meant to their fans across the years and the often-profound bonds that can be made. -- Tony Clayton-Lea * The Irish Times *The strength of Givony’s book lies in his readiness to make the tough call. His book is unreservedly opinionated, as so few these days are … Givony proves himself a master of the bon mot, the memorable soundbite, demonstrating ample literary chops throughout. If I had room, I’d quote a hundred worthy passages. -- Des Cowley * Rhythm Magazine *Givony trenchantly argues that Pearl Jam haven’t made a great album since 1998. Yet his sometimes contentious analysis is always delivered with a wry snap and bolstered by diligent sociocultural contextualisation, pinpointing one aspect of the band’s appeal; they’re more ‘for you’ than might initially appear to be the case. -- Keith Cameron * MOJO *CHOICE Magazine’s “New Year Reads” 2021 * CHOICE *CBC’s “18 Books for the Holiday Season” * CBC *Table of ContentsIntroduction: A Personal Preface 1 The Cast 2 A Dozen Moments in the Prehistory of Pearl Jam 3 The Bacchanal, San Diego (November 21, 1989) 4 The Off Ramp, Seattle (October 22, 1990) 5 “Jeremy,” “Garden,” “Yellow Ledbetter” (1991) 6 J.C. Dobbs, Philadelphia (July 12, 1991) 7 The Palladium, Hollywood (October 6, 1991) 8 Cow Palace, San Francisco (December 31, 1991) 9 MTV Unplugged (March 16, 1992) 10 Pinkpop Festival, Holland (June 8, 1992) 11 The Singles Soundtrack (1992) 12 Stadio Flaminio, Rome (July 6, 1993) 13 Lakefront Arena, New Orleans (November 16, 1993) 14 Hints, Allegations, and Things Left Unsaid (1993) 15 Civic Center, Pensacola (March 9, 1994) 16 Bayfront Amphitheater, Miami (March 28, 1994) 17 Patriot Center, Fairfax (April 8, 1994) 18 Rayburn House Office Building, Washington DC (June 30, 1994) 19 Dave (1994) 20 Self-Pollution Radio (January 8, 1995) 21 Soldier Field, Chicago (July 11, 1995) 22 38th Annual Grammy Awards (February 28, 1996) 23 Cox Arena, San Diego (July 10, 1998) 24 Binaural and the Battle of Seattle (1999) 25 Roskilde Festival, Denmark (June 30, 2000) 26 Madison Square Garden (October 15, 2000) 27 Nassau Veterans Memorial Coliseum, Uniondale (April 30, 2003) 28 Thin Air (2006—2013) 29 Tomas Young and Body of War (2005—2014) 30 Wells Fargo Center, Philadelphia (April 29, 2016) 31 Altice Arena, Lisbon (June 20, 2019) Afterword (For Chris Cornell) In Memoriam Acknowledgments Bibliography Index About the Author

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Book Synopsis'How refreshing, to read a book about music written for a music lover and not a musicologist. In clear, lucid, entertaining prose, Jane Glover makes those of us who lack musical literacy better understand and appreciate Handel’s divinity.' - Donna Leon, author of Handel's Bestiary and the Inspector Brunetti mysteriesHandel in London tells the story of a young German composer who in 1712, followed his princely master to London and would remain there for the rest of his life. That master would become King George II and the composer was George Frideric Handel.Handel, then still only twenty-seven and largely self-taught, would be at the heart of musical activity in London for the next four decades, composing masterpiece after masterpiece, whether the glorious coronation anthem, Zadok the Priest, operas such as Giulio Cesare, Rinaldo and Alcina or the great oratorios, culminating, of course, in Messiah. Here, Jane Glover, who has conducted Handel’s work in opera houses and concert halls throughout the world, draws on her profound understanding of music and musicians to tell Handel’s story. It is a story of music-making and musicianship, of practices and practicalities, but also of courts and cabals, of theatrical rivalries and of eighteenth-century society. It is also, of course, the story of some of the most remarkable music ever written, music that has been played and sung, and loved, in this country – and throughout the world – for three hundred years.Trade ReviewRemarkable ... Glover's command of detail is impressive ... Her beautiful descriptions of Handel's music sent me again and again, in mid-chapter, to my LPs and CDs to play the arias she had just described ... Handel in London is a delight to read, -- Richard Stokes * Financial Times *Written in elegant prose that wears its author's scrupulous scholarship lightly ... Glover deftly weaves musical analysis into her biographical flow. Her greatest achievement, however, is to give life and music a political and social context. -- Richard Morrison * The Times *Beautifully written ... This book's main achievement, though, is to evoke with admirable clarity and sympathy the rich, interdependent symbiosis between Handel, his singers, his audiences, the royal family and the great capital city that housed their life and work. -- Jessica Duchen * Sunday Times *Lively and warm ... It's refreshing to read a chronicle of Handel's years in London written by a renowned conductor and musicologist ... She wants us to love Handel's music as much as she does and she writes convincingly and fully about each work, singling out her favourite arias for mention, but always in a way that's readable by a music-loving lay person. -- Ysenda Maxtone Graham * Country Life *Inspiring and reassuring ... told with fluency * Spectator *Handel’s workload leaves one breathless. Reading, in Jane Glover’s beautiful prose, about the astonishing succession of masterpieces he composed is almost overwhelming. As is the schedule for the singers and musicians who learned one lengthy opera whilst performing another. I now have a much clearer picture of the man himself as he adapted his operas to suit the singers at his disposal, rewriting arias and nurturing young artists, and of his generosity in all he did for the Foundling Hospital. I’m full of admiration for the subject of the book, as I am for its author. -- Dame Felicity LottBehind Jane Glover's baton lurks a brilliant explainer in words, as well as music, able to unravel the threads of musical technique, performance history, and social and political events, exploring each before braiding them tightly together to weave a brightly coloured tapestry of Handel, of his music, and of the world about him. Handel in London is an education, and a delight. -- Judith FlandersAs an experienced international conduction who once told an interviewer that her ambition was to conduct Handel's entire dramatic oeuvre (has she yet achieved this? I wonder), Jane Glover is ideally placed to show us how these pieces continue to glitter ... [she] turns our gaze towards the creative artist, resilient and inspired, and asks us to listen ever more attentively to his tuneful voice. -- Jonathan Keates * Literary Review *Delightfully readable, informed and enlivened like no other Handel biography by Jane Glover’s understanding of a professional music director’s life. -- Dr Ruth Smith, author of Handel's Oratorios and Eighteenth-Century ThoughtJane Glover gives us a welcome portrait of Handel as a hard-working composer and conductor. She makes us feel the bruising schedule he set for himself, and for all who worked with him, from the point of view of a conductor who knows full well what it takes to mount Handel’s great opera or oratorios. She details Handel’s uncanny ability to choose his singers when given the opportunity, and she illustrates his amazing skill for writing to the strengths of all his singers, while also bringing to life the characters they portrayed. -- Professor Ellen T. HarrisHow refreshing, to read a book about music written for a music lover and not a musicologist. In clear, lucid, entertaining prose, Jane Glover makes those of us who lack musical literacy better understand and appreciate Handel’s divinity. -- Donna LeonGlover’s story sweeps us away with her practitioner’s musical insights, her attention to historical detail, and her placing of Handel’s work in social and political context, which few of his biographers have attempted before. Handel in London is an unputdownable read. -- Hugh Canning * Opera *Glover tells [Handel’s] story with easy scholarship, placing Handel in the midst of the city’s turbulent social life, beset by aristocratic factions and temperamental prima donnas. Out of this maelstrom, great music flourishes -- Richard Fairman 'Books of the Year' * Financial Times *Table of ContentsSection - i: List of Illustrations Section - ii: Foreword Section - iii: Author’s Note Section - iv: Preface Chapter - 1: EARLY YEARS ‘An infant rais’d by thy command’ [Saul] Chapter - 2: LONDON, 1710 ‘Populous cities please me then’ [L’Allegro] Chapter - 3: THE FINAL STUART YEARS ‘Cease, ruler of the day, to rise’ [Hercules] Chapter - 4: HANOVER IN LONDON ‘From mighty kings he took the spoil’ [Judas Maccabaeus] Chapter - 5: THE LAUNCH OF THE ROYAL ACADEMY ‘Music, spread thy voice around’ [Solomon] Chapter - 6: THE FORTUNES OF THE ROYAL ACADEMY ‘Ah! think what ills the jealous prove’ [Hercules] Chapter - 7: NEW BEGINNINGS ‘Now a different measure try’ [Solomon] Chapter - 8: NEW ENDINGS ‘Toss’d from thought to thought I rove’ [Alexander Balus] Chapter - 9: DEFIANCE ‘All danger disdaining’ [Deborah] Chapter - 10: RECOVERY AND REINVENTION ‘Strange reverse of human fate’ [Alexander Balus] Chapter - 11: ‘Hallelujah’ Chapter - 12: WINDING DOWN ‘Great in wisdom, great in glory’ [Judas Maccabaeus] Chapter - 13: THE FINAL ACT ‘With honour let desert be crown’d’ [Judas Maccabaeus] Section - v: Afterword Acknowledgements - vi: Acknowledgements Section - vii: Bibliography Section - viii: Notes Index - ix: Index

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Book Synopsis'I couldn’t put it down' - Joanne Lumley At thirteen years old Wolfgang Amadeus Mozart was a child prodigy who had captured the hearts of northern Europe, but his father Leopold was now determined to conquer Italy. Together, they made three visits there the last when Mozart was seventeen, all vividly recounted here by acclaimed conductor Jane Glover.Father and son travelled from the theatres and concert salons of Milan to the church-filled streets of Rome to Naples, poorer and more dangerous than the prosperous north, and to Venice, the carnivalesque birthplace of public opera. All the while Mozart was absorbing Italian culture, language, style and art, and honed his craft. He met the challenge of writing Italian opera for Italian singers and audiences and provoked a variety of responses, from triumph and admiration to intrigue and hostility: in a way, these Italian years can be seen as a microcosm of his whole life.Evocative, beautifully written and with a profound understanding of eighteenth-century classical music, Mozart in Italy reveals how what he experienced during these Italian journeys changed Mozart – and his music – for ever.Trade ReviewYou don’t have to be able to hum Mozart to find this book utterly engrossing. As a fan of both the fabled composer and Dame Jane Glover, Mozart in Italy is a match made in heaven. I couldn’t put it down. -- Joanna LumleyBrimming with life, Glover’s vibrant account of Mozart’s unique and absorbing adolescence is joyously rewarding. * The Toronto Star *

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Book SynopsisIn the hierarchy of British jazz & rock musicians, the electrifying guitarist, composer, and bandleader John McLaughlin arguably holds an unassailable position at the very top. Across dozens of official studio and live albums that encompass solo acts, The Mahavishnu Orchestra, Shakti, and co-headlining group projects, GRAMMY Award-winner John McLaughlin has consistently enthralled and surprised with boundary-pushing, genre-defying music. He revolutionized guitar playing with his virtuosic style, carving out one of the most critic-proof and prolific careers in modern times and was Miles Davis’s guitarist of choice on epochal albums In A Silent Way, Jack Johnson, Bitches Brew, and Live-Evil. Drawing on hundreds of sources and interviews with key collaborators, Matt Phillips takes us on an exciting journey through McLaughlin’s entire career: his early years on the London pop scene; his flirtations with the European avant-garde; groundbreaking work with Miles Davis and Tony Williams; the electrifying fusion groups The Mahavishnu Orchestra and Shakti; special projects with the likes of Chick Corea, Sting, Herbie Hancock, Wayne Shorter, Carlos Santana, and Jeff Beck; hugely popular acoustic collaborations with Paco De Lucia, Larry Coryell, and Al Di Meola; and his 4th Dimension band. This is the first major book about McLaughlin to illuminate his entire output from 1980–2020. Including never-before-seen photographs, it’s a thrilling ride through the life of a master musician.Trade ReviewJohn McLaughlin is one of a kind. What he has contributed to the world of music will never be duplicated. It’s the reason why a book reflecting on his musical career should be a must-have in every aspiring musician's personal library. -- Billy Cobham, drummer, Mahavishnu Orchestra, inductee, Modern Drummer Hall of FameTable of ContentsIntroductionChapter 1: The Early Years (1942 – 1968)Chapter 2: 1969-1970Extrapolation, Miles and LifetimeChapter 3: 1970-1973From Devotion to Between Nothingness & EternityChapter 4: 1974-1979From Apocalypse to Electric DreamsChapter 5: The 1980sFrom Friday Night In San Francisco to Paco & John At MontreuxChapter 6: The 1990sFrom The Mediterranean Concerto to Remember ShaktiChapter 7: The 2000sFrom The Heart Of Things Live to Five Peace Band LiveChapter 8: The 2010sFrom To The One to Is That So?Epilogue: Covid, Liberation Time and John’s Goals BeyondAcknowledgmentsBibliographySelected Online ReferencesSelected Print ReferencesAbout The Author

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Book SynopsisIn PARTY LIKE A ROCKSTAR, J.T. Harding charts his life from a kid growing up in Michigan to a chart-topping songwriter living in Nashville and working with country music stars like Keith Urbahn and Kenny Chesney. As a kid playing rock n' roll in his parents' garage, Harding's was a world in which every taste of new music-from KISS to Prince and everyone in between-was a revelation. Inspired by his favorite artists, Harding abandons the classic "American Dream" and runs away to Los Angeles, where he forms a band and becomes part of the music scene there, all the while selling records to his favorite artists and producers at Tower Records.A story of youth, rebellion, and determination, PARTY LIKE A ROCKSTAR is a memoir for music lovers and an invaluable how-to guide for anyone who wants to learn how to write a hit song. Fun and heartfelt, Harding's memoir is the story of one man's unshakable love for rock and roll, how it guided him through some of the greatest tragedies-and greatest triumphs-of his wild and unvarnished life.

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Book SynopsisFrom his writing of ÊGodspellÊ's score at age 23 through the making of the megahit musical ÊWickedÊ and beyond ÊDefying Gravity: The Creative Career of Stephen Schwartz fromÊ Godspell ÊtoÊ Wicked takes readers into the world of the legendary Broadway and film composer-lyricist. In this authorized biography drawing from her interviews with Schwartz and his collaborators author Carol de Giere focuses on the behind-the-scenes stories for Schwartz's hits and disappointing flops. Readers will find colorful anecdotes and insights for his licensed musicals ÊChildren of EdenÊ ÊPippin Ê ÊWorkingÊ and others. ÊDefying GravityÊ also includes Hollywood stories beginning with a new foreword by composer Alan Menken.ÞThis updated and revised second edition delves into Stephen Schwartz's creative process for the new stage musicals ÊThe Hunchback of Notre DameÊ ÊThe Prince of EgyptÊ and other shows. It provides additional insights on Schwartz's early work with Leonard Bernstein and his more recent international work on ÊWickedÊ. It offers additional Creative Notes ä a popular feature of the first edition ä with comments from Schwartz about overcoming creative blocks collaboration and the artistic life.Trade ReviewThe second edition of Defying Gravity is a treasure-trove of information, stories, insights, and creative advice for anyone who wants to know more about Stephen Schwartz, or about the creative process of writing songs for the stage and screen. -- Ryan Luevano * Tin Pan L.A. *A stunning 512 pages (with photographs and handwritten notes), de Giere's book is a thoroughly fascinating read as well as something of a musical theatre master class in written form—one that has been lovingly lensed through the life and creativity of Stephen Schwartz. -- Linda Hodges * BroadwayWorld.com *This new version of what had been an already an impactful book offers deeper and wider insights into the creative mind of Stephen Schwartz ... As she did in the original edition, the author has captured not only the genius of the man, but his spirit, as well. -- Al Chase * The White Rhino Report blog *

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Book Synopsis** Now with three bonus songs**'Go Your Own Way' by Fleetwood Mac'Come on Eileen' by Dexys Midnight RunnersWhy Can't We Be Friends?' by WarSongs that sell the most copies become hits, but some of those hits become something more - iconic recordings that not only inspire a generation but also alter the direction of music. In this follow-up to his classic Anatomy of a Song, writer and music historian Marc Myers tells the stories behind fifty-five more rock, pop, R&B, country and reggae hits through intimate interviews with the artists who wrote and recorded them.Part oral history, part musical analysis, Anatomy of 55 Hit Songs ranges from Creedence Clearwater Revival's 'Bad Moon Rising' to Dionne Warwick's 'Walk On By', The Beach Boys' 'Good Vibrations' and Black Sabbath's 'Paranoid'. Bernie Taupin recalls how he wrote the lyrics to Elton John's 'Rocket Man'; Joan Jett remembers channeling her rage against how she had been unfairly labeled and treated into 'Bad Reputation' and Ozzy Osbourne, Elvis Costello, Bob Weir, Sheryl Crow, Alice Cooper, Roberta Flack, John Mellencamp, Keith Richards, Carly Simon and many others reveal the emotions and technique behind their major works.Trade ReviewMyers has a knack for capturing the artistry of songwriting and easily shows why these tracks are "iconic but not tired." This melodic collection will strike a chord with music fans. * Publishers Weekly *Myers adds important context by interviewing and extensively quoting the principal artists, composers, and producers. Especially recommended for collections where the first book found favor. * Booklist *Insightful...Pop-music fans of a certain age will enjoy this collection and might even use it as a playlist. * Library Journal *Myers does a fine job of getting behind the hits...With snippets of business, creativity, techno-wizardry, and raw emotion, a pleasure for music fans. * Kirkus Reviews *A treasure trove of music trivia between hard covers... [A] splendid volume. * Guardian on ANATOMY OF A SONG *[T]he anecdotes give flesh to the meaning of the lyrics. Musical influences that get passed from artist to artist are equally fascinating - and often surprising... Myers' book is big-fun forensic musicology. * Mojo on ANATOMY OF A SONG *A winning look at the stories behind 45 pop, punk, folk, soul and country classics. * Washington Post on ANATOMY OF A SONG *A cultural history of the elusive hit single, focused on artists' recollections and studio alchemy . . . The book's strength lies in thoughtful, wry reflections from artists including Elvis Costello, Jimmy Cliff, Stevie Wonder, Booker T. Jones, Dr. John, and Debbie Harry. An entertaining record of the soundtrack of the baby boomer era. * Kirkus Reviews on ANATOMY OF A SONG *Table of Contents1: Walk On By DIONNE WARWICK 2: Dancing in the Street MARTHA AND THE VANDELLAS 3: Sunshine Superman DONOVAN 4: Good Vibrations THE BEACH BOYS 5: Up, Up and Away THE 5TH DIMENSION 6: Get Together THE YOUNGBLOODS 7: The Weight THE BAND 8: Fire THE CRAZY WORLD OF ARTHUR BROWN 9: Bad Moon Rising CREEDENCE CLEARWATER REVIVAL 10: Crystal Blue Persuasion TOMMY JAMES AND THE SHONDELLS 11: Ain't No Mountain High Enough DIANA ROSS 12: Paranoid BLACK SABBATH 13: Truckin' GRATEFUL DEAD 8 14: I'm Eighteen ALICE COOPER 15: Bang a Gong (Get It On) T. REX 16: Roundabout YES 17: Doctor My Eyes JACKSON BROWNE 18: Long Cool Woman in a Black Dress THE HOLLIES 19: Rocket Man ELTON JOHN 20: I'll Be Around THE SPINNERS 21: Papa Was a Rollin' Stone THE TEMPTATIONS 22: Killing Me Softly with His Song ROBERTA FLACK 23: Smoke on the Water DEEP PURPLE 24: Hello It's Me TODD RUNDGREN 1 25: She's Gone HALL & OATES 26: Come and Get Your Love REDBONE 27: Sundown GORDON LIGHTFOOT 28: Why Can't We Be Friends? WAR 29: I'm Not in Love 10CC 30: Love Is the Drug ROXY MUSIC 31: The Boys Are Back in Town THIN LIZZY 32: Fly Like an Eagle STEVE MILLER BAND 33: Year of the Cat AL STEWART 34: Go Your Own Way FLEETWOOD MAC 35: Barracuda HEART 36: Nobody Does It Better CARLY SIMON 37: Peg STEELY DAN 38: My Best Friend's Girl THE CARS 39: The Gambler KENNY ROGERS 40: September EARTH, WIND & FIRE 41: What a Fool Believes THE DOOBIE BROTHERS 42: Accidents Will Happen ELVIS COSTELLO 43: The Devil Went Down to Georgia THE CHARLIE DANIELS BAND 44: Good Times CHIC 45: Highway to Hell AC/DC 46: Cars GARY NUMAN 47: On the Radio DONNA SUMMER 48: Bad Reputation JOAN JETT 49: Rapture BLONDIE 50: Don't Stop Believin' JOURNEY 51: Come On Eileen DEXYS MIDNIGHT RUNNERS 52: Steppin' Out JOE JACKSON 53: Burning Down the House TALKING HEADS 54: The Power of Love HUEY LEWIS AND THE NEWS 55: Small Town JOHN MELLENCAMP 56: Take It So Hard KEITH RICHARDS 57: Being Boring PET SHOP BOYS 58: If It Makes You Happy SHERYL CROW

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Book SynopsisAt 102 years of age, Louise Tobin is one of the last surviving musicians of the Swing Era. Born in Aubrey, Texas, in 1918, she grew up in a large family that played music together. She once said that she fell out of the cradle singing and all she ever wanted to do was to sing. And sing she did. She sang with Benny Goodman and also performed vocals for such notables as Will Bradley, Bobby Hackett, Harry James (her first husband), Johnny Mercer, Lionel Hampton, the Glenn Miller Orchestra, Peanuts Hucko (her second husband), and Fletcher Henderson.Based on extensive oral history interviews and archival research, Texas Jazz Singer recalls both the glamour and the challenges of life on the road and onstage during the golden age of swing and beyond. As it traces American music through the twentieth century, Louise Tobin's story provides insight into the challenges musicians faced to sustain their careers during the cultural revolution and ever-changing styles and tastes in music.In this absorbing biography, music historian Kevin Edward Mooney offers readers a view of a remarkable life in music, told from the vantage point of the woman who lived it. Rather than simply making Tobin an emblem for women in jazz of the big band era, Mooney concentrates instead on Tobin's life, her struggles and successes, and in doing so captures the particular sense of grace that resonates throughout each phase of Tobin's notable career.

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Book SynopsisIn his time, the Austrian American composer Arnold Schoenberg (1874–1951) was an international icon. His twelve-tone system was considered the future of music itself. Today, however, leading orchestras rarely play his works, and his name is met with apathy, if not antipathy. With this interpretative account, the acclaimed biographer of Toscanini finally restores Schoenberg to his rightful place in the canon, revealing him as one of the twentieth century’s most influential composers and teachers. Sachs shows how Schoenberg, a thorny character who composed thorny works, raged against the “Procrustean bed” of tradition. Defying his critics—among them the Nazis, who described his music as “degenerate”—he constantly battled the anti-Semitism that eventually precipitated his flight from Europe to Los Angeles. Yet Schoenberg, synthesising Wagnerian excess with Brahmsian restraint, created a shock wave that never quite subsided and, as Sachs powerfully argues, his compositions must be confronted by anyone interested in the past, present or future of Western music.Trade Review"Lucid... Sachs's book is a succinct guide to Schoenberg's life and work, one designed in part to make the composer's music accessible to a wider audience. Much of the book's appeal lies in that implicit promise to help find the beauty hidden in what can seem, to the uninitiated, a writhing mass of noise. Sachs is neither a hater nor a glassy-eyed enthusiast... [he] is, as he puts it, 'a writer and music historian who is Schoenberg-curious.'... This is not to say that he doesn't admire the music—he does. And there's real pleasure to be found in the way Sachs writes about it. He clearly describes, for instance, the genius of the way in which Schoenberg composes the voice of God in his opera Moses und Aron, which Sachs calls a nearly ideal vehicle for twelve-toned music... The effect is perfectly eerie." -- Christopher Carroll - Harper's"[A] concentrated meditation . . . It may be recommended for anybody with an interest in the work of the Viennese-American composer Arnold Schoenberg—and perhaps especially to those who have never quite been able to “crack” his music . . . Despite his postwar decades in California, Schoenberg—with his rattles and shimmers, his craggy melodies and pervasive angst—never quite escaped the nightmares of what was then a crabbed and bloody Old World . . . Mr. Sachs’s fine study should inspire a fresh understanding of his life and work." -- Tim Page - Wall Street Journal"[A]n immensely valuable source for anyone desiring an accessible overview of this endlessly controversial and chronically misunderstood giant of 20th-century music... Sachs can be refreshingly candid, sharing his feelings at times as if he were whispering confidentially in your ear during a concert intermission... his genuine enthusiasm for those pieces that do stir him is enough to draw the reader in, and in so doing has done a great service to the cause. " -- John Adams - The New York Times Book Review"In this study of Arnold Schoenberg, the Austrian-born composer who immigrated to the U.S. in 1933, Sachs blends fleet-footed biography with an accessible analysis of Schoenberg's works. " -- The New Yorker"[An] elegant and judicious book" -- Rupert Christiansen - Literary Review

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Book SynopsisAn alphabetical history of rock ’n’ roll’s most iconic band…the Grateful Dead.Featuring playful rhymes and glorious illustrations, The ABCs of the Grateful Dead celebrates the band’s rich and dynamic history. Each letter of the alphabet highlights a significant moment, cultural contribution, or innovation along the band’s journey, from their groundbreaking release of American Beauty to their pioneering Wall of Sound, from the beloved dancing bears to their singular community of tape traders. This delightfully kaleidoscopic look back on the Grateful Dead will entertain first-time readers as well as diehard fans of all ages. The Grateful Dead is a social and musical phenomenon that grew into a genuine American treasure. In 1965, an entire generation was linked together by common ideals, gathering by the hundreds and thousands. This movement created a seamless connection between the band and its fans. As the band toured, Dead Heads would follow. Not because it was a part of popular culture, but because it is a true counterculture that exists to this very day-one that earnestly believes in the value of its beliefs. By 1995, the Grateful Dead had attracted the most concert goers in the history of the music business, and today remain one of the all-time leaders in concert ticket sales. Eventually, the caravan evolved into a community with various artists, craftsmen and entrepreneurs supplying a growing demand for merchandise that connected them to the music. Today, the connection is as strong as ever. The band was inducted into the Rock & Roll Hall Of Fame in 1994 and received a Grammy® Lifetime Achievement Award in 2007. Their final tally of 2,318 total concerts remains a world record. The Grateful Dead recently celebrated their 53rd top 40 album on the Billboard chart, a feat no other group has achieved.Trade Review"Unique, original, fun, The ABCs of the Grateful Dead offers a fascinating and entertainingly kaleidoscopic look back on the Grateful Dead that will have a very special appeal to young first-time readers—as well as diehard fans of all ages! The ABCs of the Grateful Dead is especially recommended for family, elementary school, and community library ABC collections in general, and dedicated Grateful Dead fans of any age in particular." -- Midwest Book Review

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Book SynopsisA curated collection of Enlightenment operas, paintings, and literary works that were all marked by the "Telemacomania" scandal, a furious cultural frenzy with dangerous political stakes. Imaginatively structured as a guided tour, Opera and the Politics of Tragedy captures the tumultuous impact of the so-called Telemacomania crisis through its key artifacts: literary pamphlets, spoken dramas, paintings, engravings, and opera librettos (drammi per musica). Prominently featured in the gallery are two operas with direct ties to this aesthetic and political war: Mozart and Cigna-Santi's Mitridate (1770) and Mozart and Varesco's Idomeneo (1781). Reading and listening across the Enlightenment's cultural spaces (its new public museums, its first encyclopedias, and its ever-controversial operatic theater), this book showcases the Enlightenment's disorderly historical revisionism alongside its progressive politics to expose the fertile creativity that can emerge out of the ambiguous space between what is "ancient" and what is "modern."Table of ContentsExhibition List Patrons of the Museum Guidebook A Mozartean Museum The Death of Tragedy Exhibiting Enlightenment Dramma per musica Map of the Exhibits Entrance Hall Arts, Letters, and Music Modern Antiquarian Spaces "La Poésie" and its Systems Arts and Letters The Lyrical Impulse Exhibit A The Poet's Prose: Mitridate Room 1 Literary Adventures in Télémacomania Treasonous Popularity Sensual Lyricism Tragic Prose on Trial Opera as Mediator Room 2 Mitridate's Operatic Poetry Allegorical Mithridates Political Mithridates Operatic Mithridates Transformative Farnace Exhibit B Paintings Unseen: Idomeneo Room 3 Imagi(ni)ng the Prose Epic Epic Values Painting Télémaque Myths Invisible and Unheard Epic Opera Room 4 Idomeneo's Operatic Canvas The Operatic Stage as Canvas The Composition of an Opera Portrait of a King Supernatural Angles Exit Regrets on Parting Decorative Luxury Prose Painting Declassification Bookshop

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Book SynopsisThe demonization, internment, and deportation of celebrated Boston Symphony Orchestra conductor Dr. Karl Muck, finally told, and placed in the context of World War I anti-German sentiment in the United States.BEST CLASSICAL MUSIC BOOK RELEASE OF 2019 by Classical-music.com, the official website of BBC Music Magazine. 2019 SUMMER READS ABOUT CLASSICAL MUSIC by the Australian Broadcasting Corporation.2019 BEST BOOK AWARD FINALIST in both the History and Performing Arts categories, sponsored by American Book Fest. 2019 SUBVENTION AWARD by the American Musicological Society, funded in part by the National Endowment for the Humanities and the Andrew W. Mellon Foundation. One of the cherished narratives of American history is that of the Statue of Liberty welcoming immigrants to its shores. Accounts of the exclusion and exploitation of Chinese immigrants in the late nineteenth century and Japanese internment during World War II tell a darker story of American immigration. Less well-known, however, is the treatment of German-Americans and Germannationals in the United States during World War I. Initially accepted and even welcomed into American society at the outbreak of war, this group would face rampant intolerance and anti-German hysteria. Melissa D. Burrage's book illustrates this dramatic shift in attitude in her engrossing narrative of Dr. Karl Muck, the celebrated German conductor of the Boston Symphony Orchestra, who was targeted and ultimately disgraced by a New York Philharmonic board member and by capitalists from that city who used his private sexual life as a basis for having him arrested, interned, and deported from the United States. While the campaign against Muck made national headlines, and is the main focus of this book, Burrage also illuminates broader national topics such as: Total War; State power; vigilante justice; internment and deportation; irresponsible journalism; sexual surveillance; attitudes toward immigration; anti-Semitism; and the development of America's musical institutions. The mistreatment of Karl Muck in the United States provides a narrative thread that connects these various wartime and postwar themes.

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Book SynopsisA captivating, revealing biography of the legendary musician and poetLeonard Cohen opens in Los Angeles on the last night of the man's life in 2016. Alone in his final hours, the beloved writer and musician ponders his existence in a series of flashbacks that reveal the ups and downs of a storied career.A young Cohen traded in the promise of steady employment in his family's Montreal garment business for the unlikely path of a literary poet. His life took another sharp turn when, already in his thirties, he recorded his first album to widespread international acclaim. Along the way he encountered a who's who of musical luminaries, including Lou Reed, Nico, Janis Joplin, and Joni Mitchell. And then there's Phil Spector, the notorious music impresario who held a gun to Cohen's head during a coke-fueled, all-night recording session.Later in Cohen's life, there's the story of Hallelujah, one of his most famous songs, and its slow rise from relative

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Book SynopsisBorn in a mainly working-class area of North Tyneside in 1951, Gordon Sumner would become one of the world's best-selling music artists. Known professionally as Sting, he was the lead singer for the band The Police from 1977 to 1984, before launching a hugely successful solo career. The foundations of Sting's creativity and drive for success were established in the region of his birth, with vestiges of his 'Northern Englishness' continuing to emerge in his music long after he left the area. Published to coincide with the 40th anniversary of the formation of The Police, this is the first book to examine the relationship between Sting's working-class background in Newcastle and the creativity and inspiration behind his music. Focusing on the sometimes-blurry borderlines between nostalgia, facts, imagination and memories - as told by Sting, the people who knew (and know) him, and those who have written about him - Carr investigates the often complex resonance between local boy Gordon Sumner and the star the world knows as Sting. This book will be of great interest to the many fans of Sting and The Police, as well as those interested in the history of popular music.

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Book SynopsisBono (U2) once said, "More than any other band, The Who are our role models." Starting as a simple four-piece 'mod' band in the early 1960s, The Who went on to conquer the world with their unique and supremely powerful music that transcended any genre and appealed to fans across the world. The original lineup of Roger Daltrey, Keith Moon, Pete Townshend and John Entwhistle honed their sound and recorded some milestone albums in rock history: Live at Leeds, Tommy and Quadrophenia are just some of the legendary records they released.

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Book SynopsisDavid Bowie: every single song. Everything you want to know, everything you didn't know. David Bowie remains mysterious and unknowable, despite 45 years of recording and performing. His legacy is roughly 600 songs, which range from psychedelia to glam rock to Philadelphia soul, from avant-garde instrumentals to global pop anthems. Rebel Rebel catalogs Bowie's songs from 1964 to 1976, examines them in the order of their composition and recording, and digs into what makes them work. Rebel Rebel is an in-depth look at Bowie's early singles and album tracks, unreleased demos, session outtakes and cover songs. The book traces Bowie's literary, film and musical influences and the evolution of his songwriting. It also shows how Bowie exploited studio innovations, and the roles of his producers and supporting musicians, especially major collaborators like Brian Eno, Iggy Pop and Mick Ronson. This book places Bowie's music in the context of its era. Readers will discover the links between Kubrick's 2001 and "Space Oddity"; how A Clockwork Orange inspired "Suffragette City". The pages are a trip through Bowie's various lives as a young man in Swinging London, a Tibetan Buddhist, a disillusioned hippie, a rock god, and a Hollywood recluse. With a cast of thousands, including John Lennon, William S. Burroughs, Andy Warhol and Cher.Trade Review...best writing on David Bowie bar none. -- Bob Stanley, writer and a member of the pop group Saint Etienne 2014 If you're a David Bowie fan, you'll love Chris O'Leary's Pushing Ahead of the Dame. Each post is devoted to analyzing a Bowie song, in roughly chronological order: its words, music, history, precursors and influence on other performers...Even if you're not an admirer of the artist sometimes known as Ziggy Stardust, the site's a rewarding read. If nothing else, it may leave you wishing that your favorite musician had a fan as perceptive and prolific as O'Leary. (TIME's Best Blogs of 2011) -- Harry McCracken Time Magazine, 2012

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Book SynopsisKate Bush began her career in 1978 at the age of 19 with the single 'Wuthering Heights', inspired by a film adaptation of the Emily Bronte novel, the first No. 1 UK single to be written and sung by a female artist, and the accompanying album 'The Kick Inside', both of which established her as a highly individual talent. She has always preferred the recording studio with live performances and tours having been few and far between, and all her albums have been very successful at home and abroad, her third, 'Never For Ever' (1980), being the first by a female artist to enter the British chart at No. 1. Her eclectic, experimental musical style with its often literary and unconventional lyrical themes has defied easy categorisation, and earned the lasting admiration of fans, fellow performers and music critics alike, while an eclectic roster of guest artists including Eric Clapton, Elton John, Prince and Stephen Fry have appeared on her work,. This book provides a thorough examination of the songs on all her singles, albums, and occasional recorded collaborations with other artists.Table of ContentsAcknowledgements; Author's Note; Introduction; 1: The Kick Inside; 2: Lionheart; 3: Never For Ever; 4: The Dreaming; 5: Hounds of Love; 6: The Whole Story; 7: The Sensual World; 8: This Woman's Work; 9: The Red Shoes; 10: Aerial; 11: Director's Cut; 12: 50 Words for Snow; 13: The Other Sides; Endnotes; Bibliography.

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Book SynopsisThe Stranglers occupy a paradoxical position within the history of popular music. Although major artists within the punk and new-wave movements, their contribution to those genres has been effectively quarantined by subsequent critical and historical analyses. They are somehow "outside" the realm of what responsible accounts of the period consider to be worthy of chronicling. Why is this so? Certainly The Stranglers' seedy and intimidating demeanor, and well-deserved reputation for misogyny and violence, offer a superficial explanation for their cultural excommunication. However, this landmark work suggests that the unsettling aura that permeated the group and their music had much more profound origins; ones that continue to have disturbing implications even today. The Stranglers, it argues, continue to be marginalised because, whether by accident or design, they brought to the fore the underlying issues of identity, status and structure that must by necessity be hidden from society's conscious awareness. For this, they would not be forgiven.

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Book SynopsisA pathbreaking, new intellectual biography of the composer and conductor Wilhelm Furtwängler. Wilhelm Furtwängler (1886-1954) has entered the historical memory as a renowned interpreter of the canon of Austro-German musical masterworks. His extensive legacy of recorded performances of Beethoven, Brahms, Bruckner and Wagneris widely regarded as unsurpassed. Yet more than sixty years after his death he remains a controversial figure: the complexities and equivocacy of his high-profile position within the Third Reich still cast a long shadow over hisreputation. This book builds an intellectual biography of Furtwängler, probing this ambiguity, through a critical examination of his extensive series of essays, addresses and symphonies. It traces the development of his thought from its foundations in late nineteenth-century traditions of Bildung and associated discourses of conservative-minded nationalism, through the turbulent years of the Weimar Republic and the cultural and moral dilemmasof the Nazi period, to the post-World War II years of Bundesrepublik reconstruction, in which the beleaguered idealist found himself adrift in an alien cultural environment overshadowed by the unfolding narrative of the Nazi holocaust. The book will be of interest not only to music scholars but to cultural and intellectual historians as well. ROGER ALLEN is a Fellow of St Peter's College, Oxford and author of Richard Wagner's Beethoven (1870): A New Translation (Boydell Press, 2014)Trade Review[An] absorbing, but balanced and methodical, appraisal of Furtwängler as man and musician. The unique aspect of his book is the detailed attention that is given to the conductor's extensive writings...a key towards understanding [Wilhelm Furtwängler] place German music history. * THE WAGNER JOURNAL *An innovative approach to this highly controversial conductor whose career flourished under Nazi rule...a very welcome and insightful complement to the extant library of Furtwängler biographies. * GERMAN HISTORY *Roger Allen's thoroughly researched volume is something subtler and ultimately perhaps more insightful. * OPERA *An astute essay on the highs and lows of German cultural history, as seen through the eyes and perceived by the actions of the star conductor Wilhelm Furtwängler...Allen enters this terrain equipped with a great sense of fairness rarely found in scholarly studies. * WAGNERSPECTRUM *Trace[s] the genesis of the belief system that made Furtwängler accept the Nazi regime as an unappetizing but tolerable set-up in which to achieve his cultural aims...Reading Furtwängler's writings with Allen as a guide illuminates the political undercurrents of his aesthetics. * TIMES LITERARY SUPPLEMENT *Explored through Furtwängler's writings and those of relevant contemporaries, is the social, intellectual and cultural hinterland - the 'Germanness' - that shaped his being...There is much that is interesting here about the nature of German conservatism and Furtwängler's relationship to it. * GRAMOPHONE *This impeccably researched and engagingly written study tackles the emotive subject from a cultural perspective, shedding fresh light on how Furtwängler remained (at least in his mind) apolitical during a period of extreme politicisation. * BBC MUSIC MAGAZINE *Table of ContentsIntroduction Wilhelm Furtwängler: The Historical, Cultural and Intellectual Background Childhood and Youth [1886-1911] Lübeck and Mannheim [1911-1920] Furtwängler in the Weimar Republic [1919- 1933] Furtwängler and the Nazi State I [1933-1935] Furtwängler in the Nazi State II [1935-1945] Reflection and Reaction: Furtwängler in the post-war period [1945-1950] Furtwängler as Symphonist 'All Greatness is Simplicity' [1951-1954] Afterword Appendix 1: Two Furtwängler essays, 'Heinrich Schenker' [1947], 'Hans Pfitzner' [1948] Appendix 2: Thomas Mann, 'Germany and the Germans' [1945] Appendix 3: Audio and visual sources Bibliography

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Book SynopsisThe first detailed study of the working relationship and productive friendship between Ralph Vaughan Williams (1872-1958) and Adrian Boult (1889-1983). From 1918 onwards, Boult became one of Vaughan Williams's most important interpreters, giving the world premieres of the Pastoral, Fourth and Sixth Symphonies, performing almost all his major works (not only at home but with some of the world's greatest orchestras), and working in close collaboration with the composer on major projects including the first complete recording of Vaughan Williams's symphonies. Boult continued to be the most devoted advocate of Vaughan Williams's music to the end of his long career. As this book shows, Boult's scores include numerous annotations derived from conversations and correspondence with Vaughan Williams and these provide important evidence of the composer's wishes including adjustments to orchestration, comments on interpretation, dynamics, phrasing and revisions to Vaughan Williams's notoriously unreliable metronome marks. The evidence of these scores is considered alongside the extensive correspondence between Vaughan Williams and Boult, Boult's private diaries and other relevant documents including contemporary press reports. The book includes three substantial supplements: a detailed description of Boult's marked scores, a comprehensive list of Boult's Vaughan Williams performances and a discography including surviving recordings of unpublished broadcasts. It will be indispensable reading for scholars and students of Vaughan Williams and historical conducting, Vaughan Williams enthusiasts and those interested in the history of recorded music.Trade ReviewAnother new book Vaughan Williams and Adrian Boult, by Nigel Simeone, analyses the crucial creative partnership Vaughan Williams had with Boult, who conducted the premieres of three of his symphonies, and recorded the first cycle of them. The collaboration continued posthumously: throughout the 1960s and 1970s Boult recorded and performed his friend's works, conducting his centenary concert in 1972. Simeone's achievement is to have analysed the scores Boult used when conducting, and the annotations he added following conversations with the composer. -- Simon Heffer * The Telegraph *In Simeone's hands, Boult's commitment to his composer and Vaughan Williams' rugged, self-deprecating character tell an enormously valuable story -- Sir Mark Elder, conductorIt is the revelation of the interaction between these two towering figures in British music that makes this such an important book -- Sir Andrew Davis, conductor[T]he much-respected musicologist Nigel Simeone has provided a definitive account of the relationship between the two men which throws much light on their working practices. One might have thought that such an examination had appeared before, but ... the level of attention and scholarship given here is unprecedented.... Simeone's is perhaps one of the most valuable books on the composer to appear in some time.... It goes without saying that any admirer of Vaughan Williams should have Simeone's study on their shelves; his reserves of insight and elegantly expressed enthusiasm are to be found in abundance here. -- Barry Forshaw * Classical CD Choice *Simeone's exploration of the intensely nourishing relationship between these two giants of British music-and Boult's characteristically selfless dedication and steadfast commitment to this repertoire right to the end [...]-makes for consistently absorbing reading. As an unabashed RVW/Boult obsessive, I devoured this book and unhesitatingly recommend it to anyone of a similar mindset. -- Andrew Achenbach * Gramophone *Well written and eminently readable, this book will take its place on the shelf of classic Vaughan Williams literature. * Fontes Artis Musicae *Table of ContentsPrologue 1. First Encounters and A Sea Symphony 2. A London Symphony 3. A Pastoral Symphony and Boult on Conducting in the 1920s 4. Job: 'To Adrian Boult' 5. Symphony No. 4 in F minor 6. Wartime Tensions 7. Symphony No. 5 in D major 8. Symphony No. 6 in E minor 9. Sinfonia antartica and the Last Two Symphonies 10. Fantasia on a Theme by Thomas Tallis and Other Orchestral Works 11. Choral and Vocal Works 12. Vaughan Williams, Boult and The Pilgrim's Progress Appendix 1: Annotations on Boult's Working Scores Appendix 2: Boult's Vaughan Williams Performances: A Chronology Appendix 3: Discography Bibliography Index

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Book SynopsisPresents a first analytical study that looks at the overarching designs of Benjamin Britten's John Donne, Thomas Hardy and William Blake solo song cycles. By questioning when a group of songs ought to be understood not merely as a collection, but as a cycle, Sly shows that Britten's personal selection and arrangement is indispensable to understanding these cycles' extra-musical communication. The Holy Sonnets of John Donne, Winter Words (poems by Hardy) and Songs and Proverbs of William Blake - composed in 1945, 1953 and 1965 respectively - each represent a philosophical exploration. The terrains set out by the three poets are distinct, but also engage one another in important and unexpected ways. Their cyclic architectures are expressed not only in their poetic arrangement, but in their musical settings. Key relationships and motive remain central for Britten. Keys convey a network of interconnections, create groupings of songs, and establish levels of tonal affinity or distance. Motive - often intervals that can fit into any melodic, harmonic or rhythmic context - is used to create aural affinities between or among individual songs. This book also offers a broader narrative revealing Britten's evolving philosophical convictions in post-war Britain. While it may not be the case that Britten intended any broader philosophical comment, the works together outline the cold and brittle state that emerges from loss and aligns with their composer's increasingly stark outlook on humanity.Table of ContentsPreface 1: Britten's Clever Subconscious 2: The Holy Sonnets of John Donne 3: Winter Words 4: Songs and Proverbs of William Blake Coda Bibliography Index

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Book SynopsisGiuseppe Verdi remains the greatest operatic composer that Italy, the home of opera, has ever produced. Yet throughout his lifetime he claimed to detest composing and repeatedly rejected it. He was a landowner, a farmer, a politician and symbol of Italian independence; but his music tells a different story.; An obsessive perfectionist, Verdi drove collaborators to despair but his works were rightly lauded from the start as dazzling feats of composition and characterisation. From Rigoletto to Otello, La Traviatato to Aida, Verdi's canon encompassed the full range of human emotion. His private life was no less complex: he suffered great loss, and went out of his way to antagonise many erstwhile supporters, including his own family. An outspoken advocate of Italian independence and a sharp critic of the church, he was o en at odds with nineteenth-century society and paid the price.; In Verdi: The Man Revealed, John Suchet attempts to get under the skin of perhaps the most private composer who ever lived. Unpicking his protestations, his deliberate embellishments and disingenuous disavowals, Suchet reveals the contradictory and sometimes curmudgeonly character of this great artist, convicted throughout much of his life but ultimately unable to walk away from the art for which he will be forever known.Table of ContentsContents; 1; Confused Beginnings ...1; 2; A Father and His Daughter ...13; 3; `He Is a Rude, Uncivil Scoundrel' ...21; 4; Intolerable Losses ...33; 5; Another Loss and a Fiasco ...43; 6; `Little By Little the Opera Was Composed' ...51; 7; The Galley Years ...61; 8; `Signor Maestro' ...71; 9; Verdi, Man of Property ...81; 10; Queen Victoria Is Not Amused ...91; 11; `The Hour of Liberation Has Sounded' ...101; 12; Verdi Sets Tongues Wagging ...111; 13; The Opera Is `Repugnant, Immoral, Obscene' ...121; 14; A Rift in the Verdi Family ...131; 15; A Question of Identity ...139; 16; `Without You, I Am a Body Without a Soul' ...147; 17; The Bear of Busseto ...157; 18; Verdi, Gentleman Farmer ...165; 19; `Verdi Is My Tyrant' ...175; 20; A Wedding At Last ...183; 21; A Soprano Impresses Verdi ...193; 22; `I Am an Almost Perfect Wagnerian' ...203; 23; An Opera for Cairo ...213; 24; `The All-Powerful Corruptor of Italian Artistic Taste' ...223; 25; Scandal and Comedy ...233; 26; `One Button More, One Button Less' ...243; Afterword ...255; Notes ...267; Bibliography ...270; Index ...272

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Book SynopsisThe full range of traditional fiddle repertoire is now at your fingertips! Using these generous collections, you can create your own ceilidh, barn dance, jazz club or Sarajevo street-café. Some of this music is familiar, some more exotic, but all of it is absolutely authentic, faithfully arranged and, above all, hugely enjoyable.Each title in the series is available in two formats: the Violin Edition (with an optional easy violin part and guitar chords); or the Complete Edition, which also includes both keyboard and violin accompaniments. Either format is hugely flexible, which means the music can be played as solos, duets or trios as well as with larger ensembles.Edward Huws Jones has travelled extensively researching fiddle-playing traditions. In each book he explains the background of the particular musical style, giving his own suggestions for a lively performance.Instrumentation:violin (2 violins) and piano, guitar ad libitum

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Book SynopsisFrom the author of the bestselling Darwin: A Life in Poems, Ruth Padel’s new collection follows in the footsteps of one of the world’s greatest composers, Beethoven, and investigates what his life and music might mean to us todayTwo hundred and fifty years since Beethoven was born, Ruth Padel goes on a personal search for him, retracing his steps through war-torn Europe of the early nineteenth century, delving into his music, letters, diaries and the conversation books he used when deaf, to uncover the man behind the legend. Her quest, exploring the life of one of the most creative artists who ever lived, turns more personal than she expects, taking her into the sources of her own creativity and musicality. From a deeply musical family herself, Padel’s parents met through music, and she grew up playing chamber music on viola – Beethoven’s instrument as a child. Her father’s grandfather, a concert pianist born on the German–Danish border, studied in Leipzig with a friend of Beethoven before immigrating to the UK. The poems in this illuminating biography in verse conjure not only Beethoven’s life and personality, but her own music-making and love both of the European music-making tradition to which her father’s family belongs, and to the continent itself Europe.Trade ReviewHow to uncover from biographical details the mystery that is music? With precision, heart-breaking beauty and lyric insight, Ruth Padel performs a miracle: Beethoven comes alive before us, the son of a drunk, who became a genius, and lost everything, and found his way back to the center. And here we are, following Padel's own genius for composing the music of a story via lyrical means. You will find your heart shored up / by meeting the trapped brilliance of his eyes, she writes. Indeed -- Ilya Kaminsky, author of Deaf RepublicVividly beautiful * BBC *Poetry, biography, music and memoir collide in this wonderful collection from Ruth Padel... A tender and evocative portrait of the man and his music, and most of all the profound ways it affects listeners and performers * Tatler *Padel's imagery and imagination took me deeper into Beethoven than many biographies I've read... Padel knows her history. But a poet is free to inhabit her subject and elaborate on the record -- Anthony Tommasini * New York Times *What a wonderful and unusual idea. Ruth Padel writes with true passion; her love for, and understanding of, the man and his music shine through each poem -- Steven Isserlis, cellistBeethoven’s music encompasses the entire blinding spectrum of human thought and emotion, from violent to ethereal, from chaos to sublimity. Ruth Padel’s poems encompass that uncontainable spirit to an astounding degree, and preserve the primal shock of our first hearing -- Alex Ross, author of The Rest is Noise, music critic of the New YorkerBreathtaking -- Paul Griffiths * Times Literary Supplement *

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Book SynopsisThe tale that follows is not another cliched collection of rock'n'roll debaucheries (sorry) nor is it another tired fable of triumph over adversity (you're welcome). It's the story of a half-deaf kid from a tiny, remote village in South Wales who was hailed as a genius by the UK's biggest radio station and headhunted by major record labels, only for the music industry to collapse. It crashed hard, taking with it an entire generation of talented artists who would never now get their shot. CNN called it 'music's lost decade'. Along the way, there are goodies, baddies, gun-toting label execs, life-saving surgeons, therapy, true love, loyalty, hope, breakdowns, suicidal managers, betrayal, drummers and way too many hangovers. James Kennedy shows that the best lessons are to be learned from good losers. It really is all about the journey. Part memoir, part expose of the music world's murky underbelly, Noise Damage is emotional, painfully honest, funny, informative and ridiculous. It's also a celebration of the life-changing magic of music.Trade Review‘History, it’s said, is written by the winners, but this insightful, candid autobiography from Kyshera’s James Kennedy suggests otherwise. A journey through disillusion, the machinations of the music industry and hard-won self-acceptance, it's required, revelatory reading’ - Metal Hammer, ‘The indefatigable Welsh misfit’s entertaining memoir of underachievement – ebullient writing style and hard-earned hungover wisdom’ - Classic Rock, 'Both Adrian Smith's autobiography and Rob Halford's tome are good, but neither match the raw passion of Noise Damage. A splendid read about the trials and tribulations of trying to break into the music stratosphere, it's a book that every aspiring musician or band leader should own' - Metal Talk, 'A refreshingly different addition to the crowded shelves of rock autobiographies. This is partly because James tells the familiar booze-fuelled-tour-antics story from a different perspective; he tells the story of the ninety-nine percent of bands that don't make it. But Noise Damage also stands out because it is remarkably well-written, with humour, humility and insight' - Catherine Fearns, V13, 'A wonderful volume that does unique things with so many familiar genre tropes. I ended the book feeling I'd read of a life worth living, been encouraged to live my own, and wanting to wish Kennedy all the luck in the world: anyone who lives this hard, works this hard, and writes this well, deserves it' - Nick Soulsby, Trebuchet Magazine, 'An absolute must-read for anyone attempting a career in music. A genuinely powerful testimony' - Darren Johnson, Get Ready to Rock!

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Book Synopsis___________________6 JULY, 1972David Bowie appears on Top of the Pops for a third time.His quiff is big, bold, and the colour of fire. His make-up is lavish. His jumpsuit is a wild burst of colourful patterns, like a fluorescent fish skin. He carries a brand-new blue acoustic guitar. There's excitement, mixed with incredulity. And then he begins to play.It's a moment that will change the world of music forever.This is Ziggy Stardust, what would become Bowie's most famous persona. It's an instant seismic shift in the zeitgeist. This one performance embeds Ziggy Stardust into the nation's consciousness, and music will never be the same again.In When Ziggy Played Guitar, Dylan Jones looks back at one of the most influential moments in pop history,the birth of an icon, and the myriad unexpected ways that David Bowie reshaped pop culture.Trade ReviewThe best music book I have ever read, dislodging Revolution in the Head and England's Dreaming. Superb in every way. -- Matthew d'AnconaHis blow-by-blow account of the performance is breathless in its fan-boy enthusiasm and much of the rest of When Ziggy Played Guitar is rooted in its personal impressions. “The by-product of Ziggy’s success was the validation of identity, our identity”, Jones writes, and it’s hard not to be moved by his hero worship. * New Statesman *Jones is a wonderfully fluent writer, with a terrific knack for atmospheric phrasemaking, period detail and juicy factoids. * Daily Telegraph *Dylan Jones’s account of David Bowie’s rise to superstardom. We’ll eat up anything about the greatest pop star who ever walked this planet. * The Herald Magazine *This excellent book looks at the background to that memorable TV event, and its enduring legacy. * Choice Magazine *

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Book SynopsisIn Jimi Hendrix: The Stories Behind the Songs, music journalist and author David Stubbs provides the definitive companion to Hendrix's recorded output, from the early years, including 'Hey Joe' and 'Purple Haze' through to his posthumously released trilogy that concluded with Both Sides Of The Sky. Quite possibly the greatest solo rock artist of all time, Jimi Hendrix was the supreme physical and musical emblem of rock music. And although he was an immense guitarist, he also connected with audiences as a performer and a songwriter. Songs like 'Voodoo Chile' and 'Third Stone From The Sun' were the brilliant products of a dazed yet expanded consciousness, full of casual epithets which illuminated the era: 'May you never hear surf music again'; ''Scuse me while I kiss the sky'; 'Gonna raise my freak flag high'. Each one of them is explored, dissected and celebrated. Table of ContentsIntroduction • Are You Experienced • Axis: Bold As Love • Electric Ladyland • Band Of Gypsys • First Rays Of The New Rising Sun • South Southern Delta • The Jimi Hendrix Experience • Loose Ends and Live Albums • Valleys of Neptune • People, Hell And Angels • Both Sides Of The Sky • Epilogue • Discography • Index.

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Book SynopsisPaul McCartney's songwriting output as a member of the Beatles, mainly with his co-writer John Lennon, has been exhaustively documented over the years. Now, taking 50 key songs from his five-decade career since the break-up of the Fab Four, Paul McCartney: The Stories Behind 50 Classic Songs takes an in-depth look at the post-Sixties work of one of popular music's most versatile and prolific composers and performers.Paul McCartney has been a genuine pop idol, a cutting-edge experimenter, and in later years recognized as an international musical treasure. The 50 selections from his vast songwriting catalogue highlighted in Paul McCartney: The Stories Behind 50 Classic Songs mark half a century of musical creativity by a true icon of popular music.Each song includes full session details, personnel lists and chart data and is described in detail, from original inspiration to the final release. Quotes from session musicians and studio personnel – and star guests such as Stevie Wonder, Elvis Costello and Kanye West – bring the making of every song to life, alongside a wealth of related photographs in and out of the studio.Table of ContentsEach song includes full session details, personnel lists and chart data and is described in detail, from original inspiration to the final release. Includes quotes from session musicians and studio personnel, and photographs both in and out of the studio.

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Book SynopsisDavid Toop has become one of our most significant touchstones of contemporary music writing and reportage. Employing intensified studies into World Music in relation to popular (as well as marginalized) contemporary trends, Toop has created one of the most distinctive publishing histories of modern music thinking for our times. Flutter Echo is his memoir of a life enchanted with all aspects of music both composed and abstract. Toop's personal growth as a practicing musician, visual artist, and witness to some of the most significant events in modern music history is a completely fascinating view into a world of considered thought and random access. From recording for Brian Eno's Obscure Records imprint in 1975 to co-publishing the radical music magazines Musics and Collusion to developing music programming for BBC to releasing recordings he personally made of Yanomami Shaman rituals to working with artists such as creative pop icon Bjoerk and Jamaican dub pioneer Prince Far-I, Toop has experienced one of the most interesting and dynamic timelines in the dynamic world of our contemporary sound world. Player, listener, scholar, reporter, communitarian, parent, iconoclast - David Toop brings his own life in music to focus in a remarkable, wonder-filled, engaging read.

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Book Synopsis‘Ours is music with built-in hatred.’ – Pete Townshend A Band with Built-In Hate pictures The Who from their inception as the Detours in the mid-sixties to the late seventies, post-Quadrophenia. It is a story of ambition and anger, glamour and grime, viewed through the prism of pop art and the radical levelling of high and low culture that it brought about – a drama that was aggressively performed by the band. Peter Stanfield lays down a path through the British pop revolution, its attitude and style, as it was uniquely embodied by The Who: first, under the mentorship of arch-mod Peter Meaden, as they learnt their trade in the pubs and halls of suburban London; and then with Kit Lambert and Chris Stamp, two aspiring filmmakers, at the very centre of things in Soho. Guided by contemporary commentators – among them George Melly, Lawrence Alloway and most conspicuously Nik Cohn – Stanfield describes a band driven by belligerence, and of what happened when Townshend, Daltrey, Moon and Entwistle moved from back-room stages to international arenas, from explosive 45s to expansive concept albums. Above all, he tells of how The Who confronted their lost youth as it was echoed in punk.Trade Review‘This superb volume . . . A Band with Built-in Hate feels fresh and without precedent, a scholarly yet thrilling studyof the paradoxes that made The Who the most vital band of the '60s, and the cultural backdrop against which their initial impact was played out.’ — Shindig!; ‘Eloquently framing their success as the only successful 1960s UK pop/rock group that didn't want to be either The Beatles or The Rolling Stones, Stanfield locates The Who (and crucially their peak years, during which they were, he writes "not copyists but innovators") at a boundary-breaking intersection of pop and art-rock.’ — Tony Clayton-Lea, Irish Times; ‘Stanfield’s masterful new book on the Who, A Band with Built-In Hate, charts their perfect trajectory from pop art to punk with the serious tone their cultural rage deserves. And he does it with a verve that properly situates creative powerhouse Townshend in a practically ideal collaborative arc . . . Stanfield has produced a valuable document, the accurate archive of a uniquely revolutionary band driven forward by belligerence.’ — Critics at Large; ‘There’s some very perceptive writing on the influence the Who had on the wider scene . . . essential reading for anyone who’s ever loved the Who, or wants an insight into the Sixties’ music scene that goes beyond greatest hits compilations and easy generalisations.’ — Louder Than War; ‘If Roger Daltry's 2018 autobiography was a prosaic foot soldier's telling of the Who story, here is a view from the high plains . . . . The best parts of the book mirror the best of The Who, fizzing with ideas and connections . . . This book vividly reanimates the nasty, transgressive, scene-shaping thrill of their beginnings.’ — Mail on Sunday; ‘[An] ear for apt detail enriches Stanfield's account. He plumbs archives for ephemeral magazines and forgotten interviews to reveal more than the standard recitals of the works.’ — Popmatters; ‘Another example of popster intellectualism from this year comes from Stanfield who tackles the overlap of pop music and pop art at the height of the 1960s in A Band With Built-In Hate. This account of The Who up to the arrival of punk concentrates on Pete Townsend’s ideas rather than Keith Moon’s treatment of TVs and cars and is the better for it.’ — 'Music Books of the Year', The Herald, Glasgow; ‘Stanfield has masterfully identified the mod, pop art, and art rock stages of the Who’s career for rock fans and general readers alike.’ — Library Journal; ‘A Band With Built-In Hate: The Who From Pop Art To Punk is an easy but by no means breezy read, well researched and notated, and illustrated throughout in black and white. It brings together some significant criticism of The Who, connecting them with all manner of cultural references, and is a valuable addition to my ever-expanding Who library. That The Who continue to be so well-served by knowledgeable authors is a tribute to their importance.’ — Chris Charlesworth, Just Backdated; ‘While the death of Keith Moon effectively put to bed the essential meaning of their opposition, the push-back of their music and lives, A Band with Built-In Hate can now address with minute clarity and put-right connections how it all started and for the others that followed in their tidal-wave wake, and for the lows and the highs of the cultural innovators that are collectively engraved as the Who. I give this book 4 out of 4 beetles!’ — beatles-freak.com; ‘This definitely is not the kind of book on The Who you expected. A Band with Built-In Hate is an unusual title, very well done and enlightening.’ — www.popcultureshelf.com; ‘A Band With Built-in Hate reaffirms the Who's importance to the rock and pop revolutions of the sixties and seventies’ — Choice magazine, UK; ‘With impressive eloquence, A Band with Built-in Hate situates '60s Britain's most volatile and incendiary group at the heart of pop's wild vortex, its sonic assaults on the class system and the cultural status quo. Stanfield digs brilliantly into the Who's transgressions, their up-ending of entertainment, their transmuting of pop music into art-rock and proto-punk. He can see for miles.’ — Barney Hoskyns, author of Lowside of the Road: A Life of Tom Waits and Major Dudes: A Steely Dan Companion; ‘The best book on the Who. Stanfield understands that they were built entirely around opposition - they didn’t want to be the Beatles or the Stones; they didn’t even want to be the Who most of the time. He smartly states the case for peak Who as transgressive, how their clashing obsessions with primitive rock’n’roll and sociological statements made them so exciting. He also wisely concentrates on their peak years, before pop solidified as rock, when the Who were the closest thing to pop art British music has ever produced.’ — Bob Stanley, founding member of St Etienne and author of Yeah Yeah Yeah: The Story of Modern Pop; ‘That The Who’s image was constantly shifting according to whatever they thought would best promote their music in the moment is the focus of Peter Stanfield’s new book A Band with Built-In Hate. Stanfield examines how The Who took in disparate influences from outside the rock world—influences flying in from the fine and pop arts, youth culture, and so-on – and shipped them back out to be co-opted by everyone from The Creation to The Sex Pistols. It is the first deep, book-length look at an important aspect of The Who’s persona and art that is an integral portion of every book on the band . . . fills in the gaps of an important area of Who history.’ — Mike Segretto, The Who FAQ: All That's Left to Know About Fifty Years of Maximum R&B

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Book SynopsisThe Monkees represent a vital problem for rock and pop, and perhaps the major question: is it the music that matters or the personality and image of the performers? This book explores the system behind the Monkees, the controversial made-for-tv band that scored some of the biggest hit records of the 1960s. The Monkees represent the cumulative result of a complex coordination of talented individuals, from songwriters to studio musicians to producers – the system of the 1960s Hollywood music industry. The new rock criticism bewailed the fake band, while fans and audiences made the Monkees a major commercial success. More than any other band in the 1960s, the Monkees illustrate the genius of the system and its role in popular music.

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Book SynopsisThe first book-length study in English of composer Mathias Spahlinger, one of Germany’s leading practitioners of contemporary music. One of the most stimulating and provocative figures on the new music scene on Germany, he has long been a touchstone for leftist, ‘critical’ composition there, yet his work has received very little attention in Anglophone scholarship until now. Born in 1944, Spahlinger has risen only gradually to prominence in his native Germany and for many years was considered an outsider within the contemporary music scene. Yet, his position as one of the most venerable exponents of post-WWII modernism in his homeland is now undeniable: his music is regularly performed, he has received commissions from many of the major orchestras and new music groups in Germany, and in 2014 he received the Großen Berliner Kunstpreis (Berlin Art Prize – Grand Prize) from the city’s Akademie der Künste (Academy of Arts). Spahlinger is, however, becoming increasingly known as a significant figure within later twentieth-century music – in 2015, a festival in Chicago focused exclusively on his music, and he was a keynote speaker at a conference on Compositional Aesthetics and the Political at Goldsmiths, University of London. This new book provides an essential reference for scholars of new music and twentieth-century modernism. There are no other book-length studies of Spahlinger in English, though there is a monograph and a book of essays in German, and books of interviews. This original work promises a more critical perspective upon the composer and his aesthetics and political ideas compared to previous publications. The illustrations include musical examples. Its primary market will be a specialist musicological readership, including academics, researchers and composers, but the writing style such that it could be accessible also to undergraduates interested in the field. The discussion of aesthetic debates in post-war Germany, and the interesting reading of the work of Jacques Rancière, means that it could also have significant appeal across the disciplines of philosophy and critical theory.Trade Review'While on the one hand, Neil Thomas Smith succeeds in filling up a void in academic literature on Spahlinger in English, his writing exceeds that purpose by bringing Spahlinger’s work into a general cultural and political context.[...] What is perhaps the most remarkable aspect of Smith’s book is the detailed analysis of many notable works of Spahlinger, which generations of composers will find very useful after listening to the music. On the whole therefore, this very enlightening book illustrates how one of the most influential composers at the dawn of the 21st century put thought and sound into the wholeness of his unique works that continue to intrigue the global artistic community.' -- Jonas Baes, Popular MusicTable of ContentsIntroduction Part 1 Modernism Underestimated Biography and Context: Spahlinger and Twentieth-Century Germany Part 2 Musique Concrète Instrumentale Order Open Form Perception Conclusion Mathias Spahlinger: List of Works

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Book SynopsisEveryone loved The Hollies. They were the 'group's group'. Never confrontational or rebellious, always smartly suited, always smiling. The band had an unbroken run of immaculate pop singles which, while they seldom had that must-buy factor of the latest Rolling Stones or Beatles record, was hallmarked by tight harmonies and unfailing chart sensibility. Throughout the sixties and well into the seventies, everyone had - own up - at least one or two Hollies singles in their collection. No-one begrudged The Hollies their hits. When 'He Ain't Heavy, He's My Brother' and 'Long Cool Woman In A Black Dress' became global million-sellers, The Hollies were inducted into The Rock 'n' Roll Hall Of Fame. Graham Nash - by then deep into his second career as part of Crosby, Stills and Nash - was reunited with other members of the outfit, all on stage together in the March 2010 ceremony. This book tells the full story, from the band's origins in Manchester, through the full arc of hits, and the albums - track-by-track, into the twenty-first century, then... now... always

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Book SynopsisLong, unfurling tracks; huge stacks of gear; music like that of no other group; trailblazing live gigs based on improvisation. This is the legacy of Tangerine Dream, the legendary German group piloted by Edgar Froese, whose impact on music, and electronic music in particular, has been profound. Formed in the Summer of Love, and at the beginning a group of rock musicians who liked to improvise, they went on to record and release a series of ground-breaking synthesiser albums with their native Ohr Records and with Richard Branson's fledgling Virgin Records. With the support of underground DJ titan John Peel, their star ascended through the seventies. This book covers that glorious, extraordinary decade, focusing on the music but also telling the group's tale. Albums recording by the band included the classic Phaedra, it's hugely popular follow up Rubycon and they ended the decade with the powerful Force Majeure. The book includes new interviews with Steve Jolliffe and also with early member Steve Schroyder, who was there alongside Froese in those very early days.

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Book SynopsisBetween 1972 and their first break-up in 1976 (and then again following their 1979 reunion), Roxy Music were arguably the most exciting, ambitious and vivacious bans in the land - a core four piece of vocalist Bryan Ferry, guitarist Phil Manzanera, horn player Andy Mackay and drummer Phil Thompson (but also featuring, at different times, Brian Eno and Eddie Jobson) who emerged during 1972's long, hot summer of glam rock, but who could never be readily pigeonholed. The greatest records they made became, in turn, some of the greatest records of the age. 'Virginia Plain,' 'Pyjamarama,' 'Street Life,' 'All I Want Is You,' 'Love is the Drug,' 'Trash' and 'Dance Away' were the hits, but even the deepest cuts on the band's first five albums became anthems for a generation. Roxy were no ordinary band in other ways, too, as Ferry, Manzanera, Mackay and Eno all embarked upon solo careers - which, between them, were responsible for a complex catalogue of songs that stretches from the ballads of the 1930s to the electronica of the distant future, from Wagner's Valkyries to David Bowie's Low. This book encompasses all of that, documenting the histories of both band and band members, while analysing and detailing every album and single released by the Roxy family throughout the decade.

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Book SynopsisPrince's Purple Rain celebrates its 40th anniversary in 2024, and this book digs deeper into the writing and recording process of the diamond-certified album. Also discussing the stories behind the songs, and the host of B-sides to have followed over the years.

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Book SynopsisPhil Ochs was the 'The Prince of Protest' in the sixties. The only real rival to Bob Dylan, he was the archetypal Greenwich Village topical songwriter. Whether protesting the Vietnam War or campaigning for civil rights, workers' rights and social justice, Phil was always there.

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Book SynopsisSome albums are simply undeniable watersheds in an artist's career. Artistic or commercial triumphs (or sometimes both), but most importantly seen by both the fanbase and, to a greater or lesser degree the wider world, as a defining statement in their catalogue. Such was undoubtedly the case when Supertramp released Crime Of The Century in 1974.

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