Composers and songwriters Books

Book SynopsisTrade ReviewTimothy White Award for Musical Biography, ASCAP Foundation and Virgil Thomson Foundation, 2016 "Mr. Rimler tells an important story, and he presents musical analysis of Arlen’s compositional style in nonacademic terms, so that all readers can grasp how inventive Arlen really was."--Wall Street Journal"An endearing yet clear-eyed assessment of Harold Arlen. . . . For lovers of the Great American Songbook and for anyone who ever dreamed beyond the confines of practicality."--Library Journal "Highly readable, this could easily count as the perfect biography, well-researched but never overladen with detail, the always modest Arlen’s ‘bittersweet life’, in critic John Lahr’s words, elegantly conveyed.”--Peter Vacher, Jazzwise"To the point, simple to grasp, and an engaging read. I was fully drawn to Arlen the man and Arlen the songwriter and by the end sad to relinquish his acquaintance."--Stephen Banfield, author of Jerome Kern"There is still room for a short, stylish book aimed at general audiences, and Walter Rimler's The Man That Got Away: The Life and Songs of Harold Arlen fills that bill as well as it could possibly be filled. The author . . . offers pithy and readable accounts of Arlen's personal and professional lives. If you want to know what Harold Arlen was all about, you'll find it here."--Terry Teachout,The Weekly Standard"Required reading for those interested in American song. Recommended."--Choice"Rimler's study ensures that Arlen's story and his contributions to music will not be forgotten."--Publishers Weekly"Reading Mr. Rimler's sympathetic but unflinching account of Arlen's travails gives one an enhanced admiration for his productivity and the grit and determination that enabled him to produce such jewels amid such turmoil."--Washington Times “Fascinating. . . . Rimler provides countless pieces of information not previously known. . . . Rimler's work remains refreshingly unacademic and is a real pleasure to read."--ARSC Journal "The title of Walter Rimler's study of songwriter Harold Arlen's life and work says it all! Yet, despite Arlen's elusiveness as a man and an artist, Rimler does a fine job of conveying an appreciation for and the context of the composer's memorable musical output. In meticulously researched, cool, readable prose, the author admirably recreates the historical milieu of Arlen's world, placing the composer in the context of the 20th century Broadway and Hollywood songwriting traditions."--Fanfare "Walter Rimler's biography is not only chock-full of information, but with intimate, carefully researched, and heretofore unknown details, making it one of the most entertaining and readable portraits of the wizard Arlen--one of songdom's greatest composers--that has ever been written. This book does a remarkable thing--it allows words to describe music."--Martin Charnin, Tony Award–winning creator and director of Annie "Refreshingly down to earth. The Man That Got Away does what no other single volume has done: it combines a succinct account of Arlen's life with a nontechnical but useful description of his idiosyncratic songwriting style."--Larry Hamberlin, coauthor of Tin Pan Opera: Operatic Novelty Songs in the Ragtime Era

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Book SynopsisEthnomusicologists have journeyed from Bali to Morocco to the depths of Amazonia to chronicle humanity's relationship with music. Margaret Sarkissian and Ted Solis guide us into the field's last great undiscovered country: ethnomusicology itself. Drawing on fieldwork based on person-to-person interaction, the authors provide a first-ever ethnography of the discipline. The unique collaborations produce an ambitious exploration of ethnomusicology's formation, evolution, practice, and unique identity. In particular, the subjects discuss their early lives and influences and trace their varied career trajectories. They also draw on their own experiences to offer reflections on all aspects of the field. Pursuing practitioners not only from diverse backgrounds and specialties but from different eras, Sarkissian and Solis illuminate the many trails ethnomusicologists have blazed in the pursuit of knowledge. A bountiful resource on history and practice, Living Ethnomusicology is an enlighteningTrade Review"Living Ethnomusicology is unlike any book in its field to date. . . . Solis and Sarkissian offer an insightful ethnography of some of ethnomusicology's ethnographers, allowing readers to understand the history and nature of the discipline through a more three-dimensional, biographical lens." --Western Folklore"It is appropriate and logical that Margaret Sarkissian and Ted Solis used interviews to create Living Ethnomusicology, a sweeping and celebratory survey of the discipline." --Oral History Review"Living Ethnomusicology: Paths and Practices is ultimately an interesting and unique contribution to the discipline." --Journal of Folklore Research "I’ve had to admit that probably the world of ethnomusicologists--not a very large world at that--in their backgrounds, their education, and even their activities of research and teaching, are probably more diverse than members of other academic endeavors. It’s to these very questions, 'who are the ethnomusicologists,' and 'what are they like,' that this book, Living Ethnomusicology, provides answers in a unique and comprehensive way. And for this reason it is one of the most important books to have appeared in a long time--it identifies and defines us in a concrete way."--Bruno Nettl, from the foreword "This is a brilliant and original idea for a volume. The book focuses on nearly all aspects of the field, including most of the possible careers. As such, it is extraordinary and makes conclusive statements about what ethnomusicology is and who ethnomusicologists are."--David Harnish, author of Bridges to the Ancestors: Music, Myth, and Cultural Politics at an Indonesian Festival

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Book SynopsisTrade Review"Katherine Baber is to be commended for her careful research and deep analysis in Leonard Bernstein and the Language of Jazz . . . the patient and careful reader will discover that the challenge is a satisfying and rewarding one." --Jazz and Culture "Remarkable . . . Baber's work is a unique and important contribution to Bernstein scholarship, and can serve as a model for how to approach musical signification through style in a nuanced and thorough manner that considers wider cultural phenomena." --Music Reference Services Quarterly "While jazz has been discussed as a component in Bernstein's musical style before, Baber's focus is more on the potential meanings of Bernstein's use of that jazz, both in what it might have meant for Bernstein and for the audiences listening to the music. A strong contribution to the field."--Paul Laird, author of Leonard Bernstein: A Guide to ResearchTable of ContentsCoverTitleCopyrightContentsAcknowledgmentsIntroduction1. Bernstein’s Philosophy and the Language of Jazz2. Trading Fours: Bernstein, Copland, Gershwin, and Jazz3. A Jazz-Shaped America: Swing Styles in Fancy Free and On the Town4. Jazz as a Rhetoric of Conflict in Symphony no. 2: The Age of Anxiety5. West Side Story, Modern Jazz, and Musical Commitment6. “Red, White and Blues”: Bernstein’s Blues and the American SoulConclusionNotesBibliographyIndex

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Book SynopsisTrade Review"The book proves to be well worth the wait. Thoroughly documented and beautifully written, it tells the fascinating story of a woman who survived--and thrived--in the professional music world of New York City in the 1940s, 1950s, and 1960s." --Notes "Peggy Glanville-Hicks: Composer and Critic is strongly recommended for all collections, academic and public. It is accessible to all." --Fontes Artis Musicae "Engaging and exceptionally well-written . . . Recommended." --ChoiceTable of ContentsCoverTitleCopyrightContentsAcknowledgmentsIntroductionPART ONE1. Family and Childhood (1912–29)2. At the Albert Street Conservatorium (1930–32)3. At the Royal College of Music (1932–36)4. Vienna and Paris (1936–38)5. Mrs. Stanley Bate( 1938–41)PART TWO6. New York, New York!(1941–44)7. Paul Bowles (1944–47)8. At the New York Herald Tribune (1947–48)9. Virgil Thomson (1949–50)10. Rafael da Costa (1951–52)11. Letters from Morocco (1952–53)12. Hideaway in Jamaica (1953–54)13. Guggenheim Fellow (1955–56)14. The Transposed Heads in New York (1956–58)PART THREE15. Greece (1958–60)16. Nausicaa at the Athens Festival (1960–61)17. Mykonos (1961–63)18. Sappho (1963–66)19. A Season in Hell (1966–70)20. Farewell to Greece (1970–75)PART FOUR21. Sydney (1975–81)22. Honors (1981–90)AfterwordNotesSelected BibliographyGeneral IndexIndex of Glanville-Hicks’s WorksBack cover

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Book SynopsisThe all-embracing, whaddya got? nature of rebellion in Fifties America included pop music's unlikely challenge to entrenched notions of masculinity. Within that upheaval, four prominent artists dared to behave in ways that let the public assumebut not seetheir queerness. That these artists cultivated ambiguous sexual personas often reflected an understandable fear, but also a struggle to fulfill personal and professional expectations. Vincent L. Stephens confronts notions of the closetboth coming out and staying inby analyzing the careers of Liberace, Johnny Mathis, Johnnie Ray, and Little Richard. Appealing to audiences hungry for novelty and exoticism, the four pop icons used performance and queering techniques that ran the gamut. Liberace's flamboyance shared a spectrum with Mathis's intimate sensitivity while Ray's overwrought displays as Mr. Emotion seemed worlds apart from Little Richard's raise-the-roof joyousness. As Stephens shows, the quartet not only thrived in an era of graTrade Review"Scholars interested in queer history, music history, race, and American popular culture generally will therefore learn much from this excellent book." --Journal of the History of SexualityAn Advocate Best Queer Non-Fiction Book of 2019 "Stephen's Rocking the Closet investigates how contemporary queer stars such as Little Richard navigated the mid-twentieth-century popular music landscape and, as important, how observers reacted to their unconventional gender presentation. . . . Stephens should be commended for the diverse range of primary sources marshalled in his study. . . . Rocking the Closet presents students and practitioners of queer cultural history, as well as those studying post-war cultural history, with fresher methods of examining popular culture and its legacies." --Cultural History"Distinguished by excellent writing Rocking the Closet achieves the admirable goal of being both a sound scholarly work and accessible to readers from all walks of life. It raises provocative ideas and arguments, challenging entrenched ways of thinking about the history of queerness in postwar America." --Notes "Well-argued and thoughtful." --Arts Fuse "Rocking the Closet is a worthy contribution to better understanding the queering of postwar masculine identities and popular music. . . . As the barriers between folk and popular cultures continue to be dismantled, scholarship such as Rocking the Closet follows an interdisciplinary trajectory that will satisfy scholars across disciplines." --Western Folklore "The spirit of Rocking the Closet is enjoyed in how deftly Stephens illuminates those nuances. He is as lucid about the music as about the cultural moment, the entertainment business, and the lives of the musicians." --On the Seawall "The contemporary mainstream LGBT narrative claims that artists should out themselves for the greater good. But Rocking the Closet makes a persuasive case that 'open secrecy' helped make stars of Little Richard, Liberace, Johnny Mathis, and Johnny Ray in the decades prior to and after Stonewall. These (until now) academically under-examined, yet enormously successful and influential musicians used the surprising leeway of the glass closet to develop artistic personae that were both appealing and ambiguous, leading to commercial success that rivals that of our current musicians. Stephens' insightful intersectional book will liven the debate in identity and popular culture scholarship!"--Shana Goldin-Perschbacher, Temple University

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Book SynopsisTrade Review"Engaging and informative study of film scores by Aaron Copland and Hanns Eisler within the larger artistic, intellectual, musical, and political climate of midcentury America. Bick's work offers a significant contribution to the new wave of film music studies, which place equal emphasis on insightful and detailed music discussion."--Gayle Sherwood Magee, author of Robert Altman's Soundtracks: Film, Music, and Sound from M*A*S*H to A Prairie Home Companion

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Book SynopsisChicago blues musicians parlayed a genius for innovation and emotional honesty into a music revered around the world. As the blues evolves, it continues to provide a soundtrack to, and a dynamic commentary on, the African American experience: the legacy of slavery; historic promises and betrayals; opportunity and disenfranchisement; the ongoing struggle for freedom. Through it all, the blues remains steeped in survivorship and triumph, a music that dares to stare down life in all its injustice and iniquity and still laugh--and dance--in its face. David Whiteis delves into how the current and upcoming Chicago blues generations carry on this legacy. Drawing on in-person interviews, Whiteis places the artists within the ongoing social and cultural reality their work reflects and helps create. Beginning with James Cotton, Eddie Shaw, and other bequeathers, he moves through an all-star council of elders like Otis Rush and Buddy Guy and on to inheritors and today''s heirs apparent like RoTrade Review"[Whiteis's] spot-on assessments of the social and economic forces . . . are as essential as his encyclopedic knowledge of the artists’ backgrounds and discographies."--DownBeat"Whiteis's book offers a lively tour of the music that grew out of the streets and churches and clubs of Chicago and that continues to evolve and shape roots music around the world." --No Depression"Whiteis’ knowledge of and love for his subject is strong and unquestionable and the reader is sure to feel and share the author’s hope that the legacy continues." --Living Blues"Appealing to serious jazz fans, Whiteis’s history serves as a handy reference to Chicago blues." --Publishers Weekly"Whiteis understands the art of keeping readers engaged while he adds to their understanding of the current Chicago blues community. . . . A book well-worth reading." --Blues Blast Magazine"David Whiteis’ writing pulls you in exactly as sounds spilling out of a blues club on a summer night would pull you off the sidewalk to listen. He doesn’t divorce himself from the narrative, which gives this work an intimacy, never letting it dissolve into an academic assignment." --NewCity Lit"Even if you’ve previously read articles or heard interviews with the blues musicians profiled in Blues Legacy before, you are guaranteed to learn something new and interesting about them while reading this well-written and fastidiously researched book by Mr. Whiteis." --Chicago Blues Guide"It captures the changes that have confronted the Chicago blues community but also shows the continuity and affirmation of a viable, dynamic blues tradition. Whiteis remains one of the premier documentarians of the Chicago scene."--Barry Lee Pearson, author of Jook Right On: Blues Stories and Blues Storytellers "In his latest history on Chicago blues, Whiteis is as usual informative and stimulating, while addressing some considerably contentious issues. The author has long demonstrated that he is one of the best writers on blues. He has a way with words that can paint a vivid portrait of his subject or scene."--Robert Pruter, author of Chicago Soul "Whiteis' tale mirrors what fans and blues musicians alike have experienced. That hypnotic calling of the blues. These profiles are essential for all fans to understand the universal calling that these musicians felt." --Blues Music Magazine

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Book SynopsisRecorded in 1949, Foggy Mountain Breakdown changed the face of American music. Earl Scruggs's instrumental essentially transformed the folk culture that came before it while helping to energize bluegrass's entry into the mainstream in the 1960s. The song has become a gateway to bluegrass for musicians and fans alike as well as a happily inescapable track in film and television. Thomas Goldsmith explores the origins and influence of Foggy Mountain Breakdown against the backdrop of Scruggs's legendary career. Interviews with Scruggs, his wife Louise, disciple Bela Fleck, and sidemen like Curly Seckler, Mac Wiseman, and Jerry Douglas shed light on topics like Scruggs's musical evolution and his working relationship with Bill Monroe. As Goldsmith shows, the captivating sound of Foggy Mountain Breakdown helped bring back the banjo from obscurity and distinguished the low-key Scruggs as a principal figure in American acoustic music.Passionate and long overdue, Earl Scruggs and Foggy MountainTrade Review"Unexpectedly moving . . . Well-written and researched . . . Goldsmith's sweeping view of twentieth-century popular culture tells a fascinating story of how a regional banjo style journeyed from rural North Carolina to the American mainstream, and of the musician and his iconic composition that took it there." --Journal of American Folklore "Goldsmith packs his narrative with not only numerous facts but interesting anecdotal evidence. . . . All told, the author skillfully succeeds in weaving together an explanation of how Scruggs and his tune became legendary. " --North Carolina Historical Review "Those who are already fans of 'Earl' and his astounding banjo work will certainly want to own this volume. . . . Earl Scruggs and Foggy Mountain Breakdown is a worthy addition to the library of any bluegrass, country, and acoustic-music enthusiast." --Journal of Folklore ResearchTable of ContentsCoverTitleCopyrightContentsAcknowledgments1. Out to Follow Scruggs’s Path2. “I grew up around a banjo”3. The Piedmont’s Rich Musical Soil4. Early Professional Days5. Joining Bill Monroe6. Working as a Blue Grass Boy7. Flatt and Scruggs Build a Career8. Recording “Foggy Mountain Breakdown”9. “Like a Jackhammer” — How the Tune Works10. The Number-One Banjo Player11. The Beverly Hillbillies Welcomes the Banjo12. Riding with Bonnie and Clyde13. Scruggs without Flatt: A Period of Transition14. Scruggs’s Banjo Gains a Cult Following15. Reaping the HarvestNotesIndex

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Book SynopsisBorn into folk music''s first family, Peggy Seeger has blazed her own trail artistically and personally. Jean Freedman draws on a wealth of research and conversations with Seeger to tell the life story of one of music''s most charismatic performers and tireless advocates. Here is the story of Seeger''s multifaceted career, from her youth to her pivotal role in the American and British folk revivals, from her instrumental virtuosity to her tireless work on behalf of environmental and feminist causes, from wry reflections on the U.K. folk scene to decades as a songwriter. Freedman also delves into Seeger''s fruitful partnership with Ewan MacColl and a multitude of contributions which include creating the renowned Festivals of Fools, founding Blackthorne Records, masterminding the legendary Radio Ballads documentaries, and mentoring performers in the often-fraught atmosphere of The Critics Group. Bracingly candid and as passionate as its subject, Peggy Seeger is the first bookTrade Review”Peggy Seeger has lived her life at the sharp end of folk music. Jean Freedman tells the story of this free-spirited artist and agitator.”—Billy Bragg”Freedman, a professional folklorist, is the perfect biographer for the incomparable Peggy Seeger. She skillfully weaves together insights from the many interviews she conducted with family, friends, and Peggy herself, with her own expert observations about the musical gifts and accomplishments of the folk music icon. Those of us for whom Peggy Seeger and Ewan MacColl were living legends will especially savor this book, but everyone will be fascinated and moved by the life of a uniquely talented musician who bridged so many divides: classical and folk music, the British and American folk scenes, and her roots in one of America’s great musical families to the several lives she created in the UK and the US.”—Deborah Tannen, author of You Just Don't Understand and You're Wearing THAT?”O, how I love this book! It gives me everything I wanted to know about my friend, the salty and sweet Peggy Seeger and her unique and prolific family. All the pain is there, but so are the achievements and the joys. This book goes on my shelf next to The Mayor of MacDougal Street, and I can offer no higher praise than that.”—Tom Paxton”Freedman illuminates Seeger's life and career, creating a powerful, in-depth portrait of the woman, artist, activist, and champion of the folk music genre. . . . A must.”—Library Journal”An elaborately detailed investigation of Seeger's enduring musical legacy.”—Booklist"Jean R. Freedman's thoroughly researched book is the definitive biography--a masterpiece."--FolkWorks"This biography is at its best in evoking what it must have felt like to be Peggy Seeger, developing a political, feminist, consciousness while realizing her own loving and artistic self within a formidable family and political community. Recommended."--Choice"Her account will be welcomed by Seeger's perennial fan base while providing a fair, thoughtful introduction to new admirers."--Bookreporter

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Book SynopsisWomen performers played a vital role in the development of American and transatlantic entertainment, celebrity culture, and gender ideology. Sara E. Lampert examines the lives, careers, and fame of overlooked figures from Europe and the United States whose work in melodrama, ballet, and other stage shows shocked and excited early U.S. audiences. These women lived and performed the tensions and contradictions of nineteenth-century gender roles, sparking debates about women''s place in public life. Yet even their unprecedented wealth and prominence failed to break the patriarchal family structures that governed their lives and conditioned their careers. Inevitable contradictions arose. The burgeoning celebrity culture of the time forced women stage stars to don the costumes of domestic femininity even as the unsettled nature of life in the theater defied these ideals.A revealing foray into a lost time, Starring Women returns a generation of performers to their central placTrade Review"Starring Women: Celebrity, Patriarchy, and American Theater, 1790-1850 engagingly straddles celebrity theory and theater history research." --Journal of American Culture"As Sara A. Lampert ably shows, the most prominent female actors often outmatched their male peers in fame, reputation, and--most importantly--income. . . . Starring Women takes a deeply researched look at the lives and careers of the major actresses of the first half of the nineteenth century, most forgotten, even by theater historians. . . . This is a fascinating book." --Journal of American History"Highly recommended." --Choice​"Sara E. Lampert offers a valuable new study of women performers on the early American stage that brings the concerns of women's history to bear on histories of theater and drama in the early United States. . . . The insights of this fine work of scholarship open exciting new avenues in nineteenth-century theater history." --American Nineteenth Century History "Starring Women builds on much-needed expansion of the role women played in the development of North American theatre. These works all call for further examination of women and their role in early American theatre." --Theatre Survey​​"An excellent intervention in women's history and theater history, with significant new insights into the precarious gender politics that accompanied star female actors' appearance and the ways the economic underpinnings of the business of theater colored those politics. This is an important book."--Carolyn Eastman, author of A Nation of Speechifiers: Making an American Public after the Revolution"Starring Women illuminates how female celebrity culture bloomed within the newly forming middle-class structures of patriarchal America. With vivid prose and a keen sense of theory, Lampert establishes how early female stars employed 'public intimacy' to assert domestic femininity in the midst of what was an undeniably male world of entertainment. Lampert's book should be required reading for anyone interested in gender, early American history, celebrity, and the nineteenth-century stage."--Renée M. Sentilles, author of American Tomboys, 1850–1915Table of ContentsAcknowledgments Introduction Chapter 1. Between Stock and Star: Theater and Touring in the United States, 1790-1830 Chapter 2. Dis/Obedient Daughters and Devoted Wives: The Family Politics of Stock and Star Chapter 3. The Promise and Limits of Female Stage Celebrity: Fanny Kemble in America, 1832-1835 Chapter 4. Bringing Female Spectacle to the “Western Country,” 1835-1840 Chapter 5. Danger, Desire, and the Celebrity “Mania”: Fanny Elssler in America, 1840-1842 Chapter 6. The American Actress’ Starring Playbook, 1831-1857 Conclusion Notes Index

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Book SynopsisTrade Review"Lydia Hamessley's book Unlikely Angel: The Songs of Dolly Parton offers a welcome addition to the scholarly discussion of Parton's oeuvre." --Journal of American Folklore"Dolly Parton herself has said numerous times that she wants to be taken seriously for her music, and this book, well written by a musical expert with academic credentials provides convincing proof that she deserves to be. . . . Not one of those puff pieces." --Visual Parables"Hamessley focuses on Dolly Parton's songwriting, paying specific attention to the music. . . . Unlikely Angel is a unique look at a globally iconic figure. . . . An in-depth discussion of songwriting and thematic analysis." --Journal of Appalachian Studies​"Recommended." --Choice​"Parton's world-class skills as a songwriter have never been the subject of such a precise and unique analysis as this. . . . Hats off to Hamessley for shining a light on the less familiar but perhaps most important aspects of the timeless artistry of Dolly Parton." --The Nashville Musician"I’m so excited about the book Unlikely Angel: The Songs of Dolly Parton spotlighting Dolly's unmatched gift as a songwriter. Always honoring and forgiving, Dolly shines only the best light on circumstances that would've taken the rest of us out. She's the hero who continues to encourage those who wanted change or wished to go back, bringing to life a part of the country and an existence most of us didn't know or understand, all while making hard living seem like heaven on earth. Her magical combination of heart and genius is a most awe inspiring thing to witness, having a beauty and delivery like no other. Dolly's tales of family, faith, and romance have created an American treasure who has continued to enrapture the world for decades. What a gift for us to see life through hers." --Alison Krauss​​​​"A dazzling close reading of Parton's songs and identity as a songwriter." --No Depression​​"Hamessley is especially attuned to the subtle ways in which Ms. Parton interweaves old and new musical strands—for instance, by ornamenting her verses with archaic flourishes and stock phrases from centuries-old ballads." –Wall Street Journal "A persuasive argument for taking Dolly Parton seriously as an artist. For folk and country music scholars, musicians, and fans." --Library Journal ​"Serious Dolly Parton fans and country music aficionados will be delighted by this in-depth gander into an icon's creative process. " --Booklist "By examining [Dolly] thoroughly through her musical creations, author and music professor Lydia R. Hamessley gives a dynamic view of this remarkable star." --Bookreporter.com "Meticulously researched . . . The fine, affectionate attention Hamessley pays to Parton's music offers all sorts of revelations: the old-world strangeness of Parton's lyrical diction, the Appalachian roots of the stirringly beautiful chest voice she employs on her 2002 song 'These Old Bones,' or how much more eerie her critically maligned tearjerker 'Me and Little Andy' becomes when you consider it within the tradition of the ghost story." --Lindsay Zoladz, Bookforum "Detailed and savvy analysis of Parton's songwriting." --KCTV5 "What Hamessley adds to the current Dolly Parton cultural boom is a page-turning deep dive into Parton’s artistry, borne out in her choices as a composer and performer. Unlikely Angel insists on her complexity and seriousness as a songwriter, celebrating an indelible body of work." --Chapter 16 “Lydia Hamessley invites us on a deep dive into the world of Dolly Parton as songwriter. The book weaves together insightful analyses of the musical forms, cultural roots, and meanings found in Parton’s vast catalog, with Parton’s own accounts of her music. Hamessley unveils these songs as the heart and substance of Parton’s contributions to popular culture, and will inspire every reader to take yet another listen.”--Jocelyn R. Neal, author of Country Music: A Cultural and Stylistic HistoryTable of ContentsForeword by Steve Buckingham Preface and Acknowledgments Introduction: Hello, I’m Dolly 1. “In the Good Old Days (When Times Were Bad)”--Dolly’s Musical Life 2. “Coat of Many Colors”--Dolly’s Songwriting Workshop 3. “My Tennessee Mountain Home”--Dolly’s Appalachian Musical Heritage 4. “These Old Bones”--Dolly’s Mountain Identity and Voice 5. “I Will Always Love You”--Songs about Love 6. “Just Because I’m a Woman”--Songs about Women’s Lives 7. “Me and Little Andy”--Songs of Tragedy 8. “Light of a Clear Blue Morning”--Songs of Inspiration 9. “There’ll Always Be Music”--Final Thoughts Appendix A: Song List Appendix B: Timeline Appendix C: On Modes Appendix D: “Wayfaring Stranger” and Dolly’s Compositional Voice: A Case Study Notes Further Reading Index

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Book SynopsisTrade Review"Chen Yi is a remarkable addition to biographies of living women composers essential for any library's collection. The book's appeal to a variety of readers and its uses from score study to music appreciation present a wealth of musical, cultural, and personal context about the composer's life and artistic voice." --Music Reference Services Quarterly"The publication of Chen Yi, an illuminating book by American scholars Leta E. Miller and J. Michele Edwards, is by no means a small accomplishment. . . . Chen Yi presents a captivating narrative of the composer's career and highlights her unique musical identity through concise and insightful readings of nearly thirty selected works. . . . Miller and Edward's examination of Chen Yi's life journey and compositional strategies is quite informative and revealing, drawing on current scholarship, the authors' own research and analysis, and their own extensive interviews with Chen Yi conducted in 2015 and 2016." --Notes"Leta E. Miller and J. Michele Edwards's book Chen Yi is a much-needed study of the composer's music and provides an excellent guide for those interested in programming and engaging in further research on her work." --Bulletin of the Society for American Music"To say that Chen Yi is the definitive guide to the life and works of Chen Yi is to say something true but not nearly enough. Not only is it a fascinating and insightful account of the journey of one extraordinary woman composer and her music, but it is also a primer on the history of twentieth-century China, a resource on Chinese music, and a volume to which readers will return again and again for both its utility as a reference book and the pleasure of a good read." --International Alliance of Women in Music"Chen Yi is a remarkable addition to biographies of living women composers and is essential to any library's collection. The book's appeal to a variety of readers and its uses from score study to music appreciation present a wealth of musical, cultural, and personal context about the composer's life and artistic voice." --Music Reference Service Quarterly"An intimate picture of Chen’s life and music. The incredible details, nuanced discussion, and dynamic analyses have made Chen Yi an invaluable resource for scholars, students, and enthusiasts of contemporary music." --Kapralova Society Journal“This welcome contribution to UIP’s landmark series chronicles Chen Yi’s inspiring journey from her childhood in Guangzhou and Shimen to her musical studies in Beijing and New York to her position as an internationally renowned composer and educator. A touching portrait of a remarkable person and a worthy guide to her incomparable music.”--Ellie M. Hisama, author of Gendering Musical Modernism: The Music of Ruth Crawford, Marion Bauer, and Miriam GideonTable of ContentsChapter 1. Introduction Chapter 2. Biography and Framework Chapter 3. Compositional Processes Chapter 4. Solo and Chamber Music Works Chapter 5. Works for Large Instrumental Ensembles Chapter 6. Choral and Solo Vocal Works Chapter 7. Issues Glossary List of Works Notes References Index

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Book SynopsisTrade ReviewDottie Dodgion was honored during the "In Memoriam" segment of the Grammy Awards 2022 "Dodgion had a fascinating story to relate. She and Enstice produced a book that flows naturally and always maintains the reader's interest." --Jersey Jazz"This highly readable history says much about the demands upon someone determined to be a performer. . . . This book also contains an audio companion illustrating Dodgion's insufficiently celebrated playing, and she certainly knows how to tell a story, musically and verbally. " --Jazzwise"The Lady Swings undulates as much with dynamic rhythm as it does with delicious drama and laugh-out-loud storylines." --JazzTimes"Written in a breathtaking, breezy narrative that takes the reader on a musical journey that is reflected as if in the mirror of Ms Dodgion’s life itself. . . . This is what makes the book so exciting: the mere fact that you will discover a musician who gave – and continues to give – her life to the music she fell in love with as a child and one who remains its guardian, keeping the flame aglow even in the sunset of her life." --JazzdaGama"A pioneering woman in jazz and swinging drummer, Dottie Dodgion played with some of the great musicians of her time. She has a unique story to tell."--Quincy Jones​​"When I first caught Dottie Dodgion in action I was bowled over. I didn’t hear a great female drummer but a truly great jazz drummer, period, able, as you’ll be happy to learn from the story she tells with such insight, humor and complete honesty, to please both Charles Mingus and Wild Bill Davison. The lady's words swing as hard as her ride cymbal, and will keep your foot tapping all the way through."--Dan Morgenstern, Director Emeritus, Institute of Jazz Studies, Rutgers University​​​"Dottie Dodgion not only takes you on a dizzying ride through her incredible life, she teaches you some of the great secrets of jazz and unmasks the archaic attitudes toward female musicians that have marginalized great talents like hers. What a wonderful journey she’s had. What a wonderful book this is!"--Judy Chaikin, director and cowriter of The Girls in the Band“A unique and important contribution to the history of jazz."--Dee Spencer, composer, performer, educator ​​"An interesting book about an eventful life in music." --New York City Jazz Record "The Lady Swings belongs on the short list of essential jazz autobiographies." --All About Jazz "The Lady Swings is an entertaining and informative book, one that is easily recommended." --Syncopated Times "A full portrait of the obstacles American women faced in the 20th century jazz scene . . . Dodgion's pull-no-punches style and determination in the face of daunting situations bring an obscure figure to vivid life." --Library Journal "A compelling tale of a groundbreaking person from a memorable time in American cultural history." --FraNoi "A swinging tale that is more than a fascinating footnote in the annals of jazz." --Kirkus Finalist, Book of the Year About Jazz: Biography and Autobiography, Jazz Journalists Association (JJA), 2022 Table of ContentsForeword Acknowledgments Prefatory Notes Introduction Part I. The California Years Scene One: On the Road Scene Two: Spot Behind The Scenes One: The Giaimos Scene Three: Eleanor Powell’s Shoes Behind The Scenes Two: The Tiptons Scene Four: The Eight-Day Clock Scene Five: Polio Scene Six: Jail Bait Scene Seven: TD&L Scene Eight: Mingus Scene Nine: Apple Pie, Apple Pie, Apple Pie Scene Ten: A Little Help from My Friends Scene Eleven: The Drummer Was Always Late Scene Twelve: Monty Scene Thirteen: Jerry Scene Fourteen: 176 Steps Behind The Scenes Three: Eugene’s Lessons Scene Fifteen: First Time in Vegas Scene Sixteen: Followed by Myself in the Moonlight Scene Seventeen: The IT Club Scene Eighteen: Thunderbird Part II. The New York and East Coast Years Scene Nineteen: 14 Drummers Scene Twenty: Mount Airy Lodge Scene Twenty-One: Strollers Scene Twenty-Two: The Village Stompers Scene Twenty-Three: Eddie Condon’s Behind The Scenes Four: Pearls to Swine Scene Twenty-Four: Park Ridge Scene Twenty-Five: Piano Party Behind The Scenes Five: Ruby Scene Twenty-Six: Suburban Housewife Scene Twenty-Seven: In the Middle of the Brook Scene Twenty-Eight: Harold’s Rogue and Jar Scene Twenty-Nine: Melba Liston And Company Scene Thirty: Fazee Cakes Part III. California Redux Scene Thirty-One: The Best Kept Secret in Town Scene Thirty-Two: A Leader at Sixty-Five Scene Thirty-Three: Pacific Grove Scene Thirty-Four: Octogenarian Postscript Notes Discography Inde

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Book SynopsisFirst time in paperback and e-book! The jazz musician-composer-arranger Mary Lou Williams spent her sixty-year career working in—and stretching beyond—a dizzying range of musical styles. Her integration of classical music into her works helped expand jazz''s compositional language. Her generosity made her a valued friend and mentor to the likes of Thelonious Monk, Charlie Parker, and Dizzy Gillespie. Her late-in-life flowering of faith saw her embrace a spiritual jazz oriented toward advancing the civil rights struggle and helping wounded souls. Tammy L. Kernodle details Williams''s life in music against the backdrop of controversies over women''s place in jazz and bitter arguments over the music''s evolution. Williams repeatedly asserted her artistic and personal independence to carve out a place despite widespread bafflement that a woman exhibited such genius. Embracing Williams''s contradictions and complexities, Kernodle also explores a personal liTrade Review"Recommended." --Choice "Diligently chronicles the life and times of the extraordinary innovator."--Jazz Times "Kernodle’s Soul on Soul serves as an essential text, working to set the record straight on one of the genre’s most significant—and conspicuously ignored—composers." --DownBeatTable of ContentsCoverTitleCopyrightContentsList of illustrationsAcknowledgmentsPrefae to the New EditionIntroduction1. I Dream a World2. Take Me to Froggy Bottom: The Early Musical Years3. From East Liberty (Pittsburgh) to Beale Street (Memphis) to Eighteenth and Vine (Kansas City)4. Until the Real Thing Comes Along: The Andy Kirk Years (1931– 42)5. How Do You Keep the Music Playing?6. Love on a Two-Way Street: Barney Josephson and Moe Asch7. Under the Signs of the Zodiac8. The Calm before the Storm9. The Crossroads10. The Long Journey Back Home11. What a Difference a Day Makes12. A Season of Change13. The Fruits of One’s LaborNotesBibliographySelected DiscographyIndexBack cover

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Book SynopsisServing Genius tells the life story of Carlo Maria Giulini, one of the most renowned and beloved conductors of the twentieth century. Detailing Giulini's extraordinary professional career, Thomas D. Saler also chronicles Giulini's personal life, including his musical awakening while growing up amid the spectacular beauty of the Dolomite mountains, his years as a student in Rome's Academy of St. Cecilia, his conscription into the Italian army during World War II, his nine months in hiding for his anti-fascist and pacifist beliefs, and his selfless devotion to his wife, Marcella. A humble master who shunned the limelight, Giulini took a deeply emotional and subjective approach to making music. Saler provides uniquely detailed analysis of Giulini's nuanced musicianship and the way he conveyed that musicianship to the orchestra through physical gestures. Meditating on the very art of conducting at which Giulini excelled, Saler discusses each of the conductor's major musical appointments, iTrade Review"A thorough, balanced and illuminating portrait of the charismatic Italian as man and maestro."--Chicago Tribune"It was wonderful to get to know the man we have met so often in his music-making."--American Record Guide"A fascinating full account."--Los Angeles Times"[A] highly illuminating biography."--The Spectator"Highly readable and musically substantive. Strongly recommended."--Classical.Net"This engaging and extensive biography shows why Carlo Maria Giulini stood apart from other maestri, and above the fray: because of his gentle humanity, his spiritual resonance with music, and his uncompromising seriousness of purpose. This is certainly a book I will recommend to all the conductors I encounter, as well as others because it captures the essence of an uncommonly inspired and inspiring human being."--Kenneth Kiesler, conductor, director of orchestras at the University of Michigan, and director of the Conductors Retreat at Medomak and Conductors Programme at the National Arts Centre of Canada"Thomas D. Saler's biography of the conductor Carlo Maria Giulini is worthy of the noble, deceptively complex subject. Saler paints an extraodinarily sensitive, comprehensive and illuminating portrait of an artist who was selflessly dedicated to his art. The author's enthusiasm is palpable, his reportage elevated by rare knowledge and passion."--Martin Bernheimer, 1982 Pulitzer Prize Winner for CriticismTable of ContentsPreface — ix Acknowledgments — xiii Abbreviations — xv 1. Beauty and Betrayal — 1 2. Mastering the Melodrama — 15 3. Prometheus in London — 33 4. Amore: The Chicago Years — 52 5. Molto, Molto, Espressivo — 87 6. Out of Eden — 117 7. Peace, Love, and Pleated Pants — 126 8. Days of Wine and Roses — 139 9. Wearing the Garment of Tragedy — 173 Notes — 189 Interview List — 213 Index — 215 Illustrations follow page — 86

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Book SynopsisFrom tent revivals to radio and records with a gospel music innovator Homer Rodeheaver merged evangelical hymns and African American spirituals with popular music to create a potent gospel style. Kevin Mungons and Douglas Yeo examine his enormous influence on gospel music against the backdrop of Christian music history and Rodeheaver's impact as a cultural and business figure. Rodeheaver rose to fame as the trombone-playing song leader for evangelist Billy Sunday. As revivalism declined after World War I, Rodeheaver leveraged his place in America's newborn celebrity culture to start the first gospel record label and launch a nationwide radio program. His groundbreaking combination of hymnal publishing and recording technology helped define the early Christian music industry. In his later years, he influenced figures like Billy Graham and witnessed the music's split into southern gospel and black gospel. Clear-eyed and revealing, Homer Rodeheaver and the Rise of the Gospel Music IndustTrade Review"Well-written, thoroughly researched, and altogether engaging. . . Homer Rodeheaver and the Rise of the Gospel Music Industry is a work of substantial scholarship, which will come as no surprise to those familiar with Yeo's previous work." --Historic Brass Society "Well-written, thoroughly researched, and all together engaging. . . Homer Rodeheaver and the Rise of the Gospel Music Industry is a work of substantial scholarship, which will come as no surprise to those familiar with Yeo's previous work." --Historic Brass Society Journal "Mungons and Yeo's book, Homer Rodeheaver and the Rise of the Gospel Music Industry, combines painstaking research with insightful sociological and musicological analysis. Although co-authored, the book has a unified narrative. . . . Even if one has only marginal interest in Home Rodeheaver as a person, this scholarly description of American society at the turn of the 20th century proves fascinating and illuminating." --International Trombone Association "Refreshingly free of academic speak. . . . Homer Rodeheaver and the Rise of the Gospel Music Industry is more than a tale about the emergence of gospel singing and revivalism, it's a quintessentially American story about a quintessential American." --ARSC Journal "Like virtually all books in the University of Illinois's much-honored Music in American Life series, Homer Rodeheaver and the Rise of the Gospel Music Industry fills in significant blanks in our understanding of different aspects of music history. Mungons and Yeo elevate their contribution with meticulous detail and research; a penchant for finding fascinating, revealing stories and anecdotes; and a sparkling, highly readable prose style that's all too rare in most academic books. " --Robert Darden, Christianity Today"Kevin Mungons and Douglas Yeo’s biography of Homer Rodeheaver brightens an important corner of gospel music history that has gone unexplored for far too long. What they reveal in their remarkable portrait of 'Reverend Trombone' is a man both of his time and ahead of his time. It’s more than a tale of the emergence of gospel singing and revivalism, it’s a quintessentially American story about a quintessential American."--Robert Marovich, author of A City Called Heaven: Chicago and the Birth of Gospel Music"I am truly taken by the book. It is good, informative, comprehensive, and free of the usual assortment of clichés, academic hems and haws, and over-spiritualization. It takes the often over-simplified view of music and revivalism and exposes it to a fascinating cross-weave of thought, content, and context which, to my embarrassment, I thought I had already had a handle on. I recommend it without reservation. There is no doubt in my mind that general readers and specialists alike will benefit from reading this book."--Harold Best, emeritus professor of music and dean emeritus of the Wheaton College Conservatory of Music"Mungons and Yeo have rescued a former icon of American religious life from undeserved historical obscurity, placing Homer Rodeheaver in the complex context of his times. . . . If you care about the Christian music industry and an era largely lost to history, you’ll want to read this book." --Stan Guthrie

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Book SynopsisAcclaimed composer, sought-after conductor, esteemed educator, tireless advocate for the arts--Tania León's achievements encompass but also stretch far beyond contemporary classical music. Alejandro L. Madrid draws on oral history, archival work, and ethnography to offer the first in-depth biography of the artist. Breaking from a chronological account, Madrid looks at León through the issues that have informed and defined moments in her life and her professional works. León's words become a starting ground--but also a counterpoint--to the accounts of the people in her orbit. What emerges is more than an extraordinary portrait of an artist''s journey. It is a story of how a human being reacts to the challenges thrown at her by history itself, be it the Cuban revolution or the struggle for civil and individual rights. Nuanced and multifaceted, Tania León''s Stride looks at the life, legacy, and milieu that created and sustained one of the most important figures in American clasTrade Review"This books is well conceived, well written, and a great companion text to Robin Moore's books on Cuban music. . . . A major contribution to the scholarship of Afro-Cuban and Afro-Latin women composers and musicians, but also transcends these categories by showing how a woman of color navigated exile and migration to make a new life while maintaining her identity and growing personally and artistically." --New West Indian GuideWinner of the Bronze Medal in the category of Best Biography in English at the 2022 International Latin Book Awards "The story Madrid tells is not only coherent, but also captivating, opening new avenues of scholarly inquiry about Léon's life, work, and the worlds she has inhabited. I look forward to seeing those kernels sprout in different and unexpected directions and develop into still more fascinating narratives." --Journal for the International Alliance of Women in Music"Madrid's biographical counterpoint masterfully portrays the polyrhythmic life of Tania León. His use of photos and personal interviews vividly tells León's life story. The prevalence of this intimacy adds flavor -- a taste of memoir -- inviting readers to devour the book like linear notes. The juxtaposition of firsthand accounts with historical context and political drama creates a page turner -- a biography containing strides that many outside of music will find illuminating." --Notes"Highly recommended." --Choice"There is incredible beauty and power in the way this book attends to aesthetics and artists with rigor and care. What sets it apart are Madrid's stunning interviews conducted over several years with León and her family, peers, and students. An essential document about an extraordinary artist."--Alexandra T. Vazquez, author of Listening in Detail: Performances of Cuban MusicTable of ContentsList of Figures ix List of Music Examples xiAcknowledgments xiiiIntroductionNotes on a Biographical Counterpoint 1Chapter 1 Tonic: The House on Salud Street 11Chapter 2 Modulation and Displacement: cubana de adentro . . . cubana de afuera 33Chapter 3 Syncopation and Color: Adapting to New Life Rhythms 59Chapter 4 Direction: Leading in Music, Leading in Life 93Chapter 5 Voice: Style and Idea in the Music of Tania León 126Chapter 6 Canon: Representation, Identity, and Legacy 166Epilogue Tania León’s Stride: An Echo that Reaches Our Ears 181Appendix A List of Works 185Appendix B Tania León’s Life 193Notes 203Bibliography 229Index 241

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Book SynopsisVenerated for his lyrics, Bob Dylan in fact is a songwriting musician with a unique mastery of merging his words with music and performance. Larry Starr cuts through pretention and myth to provide a refreshingly holistic appreciation of Dylan's music. Ranging from celebrated classics to less familiar compositions, Starr invites readers to reinvigorate their listening experiences by sharing his ownsometimes approaching a song from a fresh perspective, sometimes reeling in surprise at discoveries found in well-known favorites. Starr breaks down often-overlooked aspects of the works, from Dylan's many vocal styles to his evocative harmonica playing to his choices as a composer. The result is a guide that allows listeners to follow their own passionate love of music into hearing these songsand personal favoritesin new ways. Reader-friendly and revealing, Listening to Bob Dylan encourages hardcore fans and Dylan-curious seekers alike to rediscover the music legend.Trade Review"Starr's approach is fresh and stimulating. . . . Highly recommended." --Choice"Starr’s deep passion for helping listeners hear the intricate musical patterns of Dylan’s songs and albums provides the foundation for this out-of-the-ordinary guide to Dylan. The best way to read this book, of course, is to have Dylan’s music playing in the background to hear the patterns and sounds Starr encourages us to hear." --No Depression "Compact and cogent, Listening to Bob Dylan is directed to the general public, not musicologists. Starr describes Dylan’s sophisticated development of nuances, musical stress points that shift the tone of his performance and the meaning of his words. " --Shepherd Express "A fascinating, worthwhile study of Bob Dylan as poet, vocalist, composer, and performer. If you’re looking for a guide to Dylan’s methods, his genius, and what’s on the tracks, don’t think twice." --Library Journal (starred review) ​​“In this fresh and expansive book, Starr invites us to reach beyond the Nobel-winning lyrics and finally hear the brilliance of Dylan's work as a performer, arranger, composer, and vocal stylist. Each chapter is a lively, accessible masterclass that will make you return again to even the most familiar songs with a sense of wonder and surprise.”--Sean Latham, editor of The World of Bob Dylan “Larry Starr’s Listening to Bob Dylan is a refreshing addition to the ever-growing literature about Bob Dylan. Unlike most books on the subject, which tend toward extensive biography, exhaustive lyrical analysis, or trivia-based one-upmanship, Starr takes a relatively novel tack: he approaches Dylan as a musician. Drawing upon his decades of popular music study and pedagogy, Starr deftly navigates Dylan’s six-decade career in a manner that is both informative and accessible, but most of all it is a pure joy to read.”--Mark A. Davidson, Archives Director, The Bob Dylan ArchiveTable of ContentsPreface vii 1 Not by Words Alone 1 2 Folksinger, Bluesman, Rocker, Crooner: The Many Voices of Bob Dylan 11 3 His Other Voice: Bob Dylan’s Essential Harmonica 33 4 Bob Dylan as Composer, I: Melody, Harmony, and Rhythm 47 5 Bob Dylan as Composer, II: Musical Form 65 6 Accompanying Bob Dylan: Instruments, Instrumentalists, Singers 81 7 Arranging an Album 89 8 Bob Dylan in Live Performance: Documenting a Musical Shape-Shifter 97 9 Bringing It All Back Home (Pulling It All Together) 111 Acknowledgments 121 A Very Selective Bibliography 123 Subject Index 125 Song Index 131

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Book SynopsisA No Depression Most Memorable Music Book of 2022 Roland White’s long career has taken him from membership in Bill Monroe’s Blue Grass Boys and Lester Flatt’s Nashville Grass to success with his own Roland White Band. A master of the mandolin and acclaimed multi-instrumentalist, White has mentored a host of bluegrass musicians and inspired countless others. Bob Black draws on extensive interviews with White and his peers and friends to provide the first in-depth biography of the pioneering bluegrass figure. Born into a musical family, White found early success with the Kentucky Colonels during the 1960s folk revival. The many stops and collaborations that marked White''s subsequent musical journey trace the history of modern bluegrass. But Black also delves into the seldom-told tale of White''s life as a working musician, one who endured professional and music industry ups-and-downs to become a legendary artist and beloved teacherTrade Review"Mandolin Man: The Bluegrass Life of Roland White tells of Roland White's musical life, from his youth as a member of a musical family through his days as a bluegrass band performer. The book successfully weaves together family, friendship, the bluegrass business and culture. The depiction of the life of Roland White and the descriptions of bluegrass players' constructed world combine to make Mandolin Man an important contribution to writing about bluegrass music." --Journal of Folklore Research Reviews"A warm and appreciative book that keeps White's presence alive." --No Depression"Black’s own relevant musical experience, alongside his interviews with White, his family, and country music icons such as Marty Stuart, make this biography a must-read for bluegrass aficionados. Although White may not be a household name to those outside the bluegrass scene, he richly deserves this long-awaited tribute." --Library Journal "Superb. . . . Bob Black has delivered another instant classic biography of one of bluegrass music’s most valuable, but perhaps under-appreciated, influencers and torch-bearers. If you read but one bluegrass history or biography this year, make it Mandolin Man: The Bluegrass Life of Roland White." --Bluegrass Unlimited​​"This book has many memorable stories and insights into the life of one of the most modest virtuosos you could ever meet. Kudos to Bob Black for shining a light on a great musician and even better person, and thanks to Roland White for all the great music. " --Nashville Musician"Roland White is bluegrass music royalty. He is, without question, the most dedicated soul I have ever known when it comes to playing and inspiring people to look into the beauty of the music Bill Monroe called 'the ancient tones.' Roland is especially gifted at encouraging young musicians to look deep into their hearts and play what they hear inside. He is a great professor. I know. He was mine. In reality, I owe my entire career to Roland White."--Marty Stuart, Congress of Country Music​"Bob Black tells how a musician of humble beginnings successfully rose to the top of the bluegrass music business. Roland White's story differs from other bluegrass biographies and autobiographies in its extended discussions of recordings, the deep historical era covered--from the postwar years to the present, and the depiction of a musician's working experiences."--Neil V. Rosenberg, author of Bluegrass Generation: A Memoir"In Mandolin Man: The Bluegrass Life of Roland White author and banjo player Bob Black gives us a book about a musician in which the music rings out--and is never drowned out." --Chapter 16 "Bluegrass is a musical genre, yes, but it is also a community, the beauty of which resides in the very details that Mr. Black, like any good storyteller, generously shares. Roland White picked his way through life with a singularity of purpose, not to mention a sense of timing and work ethic to match, that made him a colorful piece of the bluegrass community quilt. He was an accomplished, innovative musician, steady hand, and respected mentor." --NewCityLit

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Book SynopsisTrade ReviewAwarded the ASCAP Deems Taylor Award (2007).— ASCAP Deems Taylor AwardTable of ContentsEditor's Acknowledgments xi Introduction xi Bob Gilmore Ben Johnston: A Chronology xxv Bob Gilmore 1. ON MUSIC THEORY Aesthetic Theory; Philosophical Background for Mathematical Theory; Musical Background for Application of Mathematical Theory 3 Scalar Order as a Compositional Resource 10 Proportionality and Expanded Musical Pitch Relations 32 Microtonal Resources 41 Tonality Regained 46 Music Theory 53 Rational Structure in Music 62 A Notation System for Extended Just Intonation 77 2. ON MUSICAL AESTHETICS AND CULTURE Musical Intelligibility: Where Are We? 91 A Talk on Contemporary Music 103 Festivals and New Music 107 Three Attacks on a Problem 109 On Context 118 Contribution to IMC Panel 122 How to Cook an Albatross 126 Art and Survival 134 On Bridge-Building 143 Seventeen Items 149 Art and Religion 151 Extended Just Intonation: A Position Paper 153 A.S.U.C. Keynote Address 156 Just Intonation and Mere Intonation 163 Without Improvement 166 Maximum Clarity 171 3. SOME COMPOSITIONS On String Quartet No. 2 183 On Sonata for Microtonal Piano 185 The Genesis of Knocking Piece 187 Quintet for Groups: A Reminiscence 192 On Carmilla 196 On Crossings (String Quartet No. 3 and String Quartet No. 4) 199 On The Age of Surveillance 201 On String Quartet No. 5 203 On String Quartet No. 6 204 On Journeys 205 On Sleep and Waking 207 4. ON OTHER COMPOSERS Letter from Urbana 211 To Perspectives of New Music re. John Cage 216 The Corporealism of Harry Partch 219 Harry Partch/John Cage 232 Harry Partch's Cloud-Chamber Music 235 Beyond Harry Partch 243 Regarding La Monte Young 251 Notes on Sources 259 Bibliography 263 Discography 267 Index 271

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Book SynopsisNow available in paperback, William C. Banfield’s acclaimed collection of interviews delves into the lives and work of forty-one Black composers. Each of the profiled artists offers a candid self-portrait that explores areas from training and compositional techniques to working in a exclusive canon that has existed for a very long time. At the same time, Banfield draws on sociology, Western concepts of art and taste, and vernacular musical forms like blues and jazz to provide a frame for the artists’ achievements and help to illuminate the ongoing progress and struggles against industry barriers. Expanded illustrations and a new preface by the author provide invaluable added context, making this new edition an essential companion for anyone interested in Black composers or contemporary classical music. Composers featured: Michael Abels, H. Leslie Adams, Lettie Beckon Alston, Thomas J. Anderson, Dwight Andrews, Regina Harris Baiocchi, David Baker, William C. Ban?eld, YsayTrade Review"If you are intrigued by the mystery of artistic creativity, this is your book. If you want to know where these musicians believe they stand among their white peers, read on. If you are curious about how non-commercial composers and performers thrive or survive in our warped economy, there is much here to consider." --On the Seawall"Traversing a richly diverse gamut of Black culture and heritage across classical and jazz-- which many here agree is in effect ‘the classical music of America’—the crucial contribution of Black composers in and far beyond the US becomes clear. Wise, moving, and thought-provoking, it's a timely reiteration of the continued need for their wider acknowledgment." --BBC Music Magazine“A valuable guide to the repertoire.”--Times Union"While some composers are familiar (including Herbie Hancock and Bobby McFerrin), the overwhelming impression is how many unsung Black composers have contributed so much pleasure to music lovers. It’s abundantly clear their work has enriched and expanded the world’s musical palette. . . . A book that should be in every music lover’s library." --Library Journal, Starred ReviewTable of ContentsDedication Foreword Preface: Black Beethovens: Essential Conversations with American Composers In Loving Memory Acknowledgments Introduction Part 1: Laying the Foundations Part 2: The Arrived and the Acknowledged, Part 1 (1922–1936) H. Leslie Adams Thomas J. Anderson David Baker Noel DaCosta George Russell Hale Smith Frederick C. Tillis George Walker Part 3: The Arrived and the Acknowledged, Part 2 (1937–1945) Adolphus Hailstork Wendell Logan Dorothy Rudd Moore Olly Wilson Part 4: Perspectives on Spirituality, Jazz, and Contemporary Popular Languages Dwight Andrews Ysaye Maria Barnwell Billy Childs George Duke Jester Hairston Herbie Hancock Stephen Newby Michael Powell Billy Taylor Tony Williams Michael Woods Part 5: The Composer as Conductor and Composer Leslie Dunner Bobby McFerrin Coleridge-Taylor Perkinson Patrice Rushen Kevin Scott Julius Williams Part 6: Generation X and Beyond (1950–1965) Michael Abels Lettie Beckon Alston William C. Banfield Regina Harris Baiocchi Anthony Davis Donal Fox Jonathan Holland Anthony Kelley Jeffrey Mumford Gary Powell Nash Evelyn Simpson-Curenton James Kimo Williams Postlude: Extensions of the Tradition—Linkages and Canon Index About the Author

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Book SynopsisBetween 1941 and 1963, Aaron Copland made four government-sponsored tours of Latin America that drew extensive attention at home and abroad. Interviews with eyewitnesses, previously untapped Latin American press accounts, and Copland’s diaries inform Carol A. Hess’s in-depth examination of the composer’s approach to cultural diplomacy. As Hess shows, Copland’s tours facilitated an exchange of music and ideas with Latin American composers while capturing the tenor of United States diplomatic efforts at various points in history. In Latin America, Copland’s introduced works by U.S. composers (including himself) through lectures, radio broadcasts, live performance, and conversations. Back at home, he used his celebrity to draw attention to regional composers he admired. Hess’s focus on Latin America’s reception of Copland provides a variety of outside perspectives on the composer and his mission. She also teases out the broader meanings behind revTrade Review“Among its many achievements, Aaron Copland in Latin America is a vital contribution to the study of U.S. cultural diplomacy. Carol Hess’s meticulously researched, beautifully written book is not only an essential work of history and biography; it chronicles and illuminates longstanding debates about the politicization and weaponization of music that inform policy to this day. As both a scholar and practitioner of cultural diplomacy, I will continue to turn to Aaron Copland in Latin America for edification and inspiration.”--Mark Katz, author of Build: The Power of Hip Hop Diplomacy in a Divided World“A noted scholar of classical composers in Latin America, Carol Hess once again delivers a deeply researched perspective on hemispheric history--this time focusing on the cultural diplomacy in Latin America of the composer Aaron Copland. With Copland’s internationalist spirit at center stage, his commitments to world peace are explored, as are his gifts as an open-minded cultural ambassador. Hess offers a richly contextualized and eminently readable book.”--Carol J. Oja, author of Bernstein Meets Broadway: Collaborative Art in a Time of WarTable of ContentsPART I. A Citizen Diplomat PreparesChapter 1. IntroductionChapter 2. Copland and the Beginnings of U.S. Cultural DiplomacyChapter 3. Copland as Good Neighbor: A Musical Diplomat and the OIAAPART II. Copland, Latin America, and World War IIChapter 4. Diplomat “in the Field”Chapter 5. Copland in ArgentinaChapter 6. Copland in BrazilChapter 7. Copland in ChileChapter 8. “The Fiery Trial Through Which We Pass”: The Americas at WarPART III.Copland, Latin America, and the Postwar Chapter 9. Copland, Latin America, and the Early Cold WarChapter 10. Shifting Ground: Copland, Latin America, and the Crisis of ModernismChapter 11. A “Living Refutation to Communist-Inspired Lies”: Copland in Latin America in the SixtiesChapter 12. Latin American Classical Music and MemoryRecommended ReadingIndex

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Book SynopsisAs a member of Poster Children, Rose Marshack took part in entwined revolutions. Marshack and other women seized a much-elevated profile in music during the indie rock breakthrough while the advent of new digital technologies transformed the recording and marketing of music. Touring in a van, meeting your idols, juggling a programming job with music, keeping control and credibility, the perils of an independent record label (and the greater perils of a major)—Marshack chronicles the band’s day-to-day life and punctuates her account with excerpts from her tour reports and hard-learned lessons on how to rock, program, and teach while female. She also details the ways Poster Children applied punk’s DIY ethos to digital tech as a way to connect with fans via then-new media like pkids listservs, internet radio, and enhanced CDs. An inside look at a scene and a career, Play Like a Man is the evocative and humorous tale of one woman’s life in the trenches andTrade Review"Following decades of fan engagement through road diaries and groundbreaking podcast predecessor Radio Zero, Poster Children bassist Rose Marshack has gathered stories and experience for this fast-paced and wide-ranging, but well-balanced rock/tech/spiritual memoir. Hard-won lessons, road stories, tech geekery, entertaining anecdotes and lessons from the Buddha are plentiful. . . . [A] stirring memoir." --Illinois Entertainer"For music fans in Central Illinois, I highly recommend Marshack’s book, which she finished after five years of writing and editing. It’s a phenomenal model of what music journalism should be, exemplified by comprehensive documentation and peer review — plus just enough swear words to keep you chuckling as you reach for the next page." --Pantagraph"For readers interested in the indie music scene, touring life, and female rockers." --Booklist"Reflective, humorous, and rousing, Play Like a Man is an exuberant memoir—a musical and feminist testament." --Foreword Reviews"A funny, warm, honest, and brilliant memoir from the bassist of American indie rock band Poster Children — a work to which all other music memoirs could aspire. . . . One of the all-time best music memoirs." --Louder than War"An inspirational account of changing times. " --Big Takeover“This kind of tour report from a female musician is so rare and essential in documenting women’s role in punk and music history. At the same time, the work that Poster Children did in contributing to the early use of the internet and social media and web design is important to think about around independent music and punk--really, around the music industry in general.”--Rebekah Buchanan, author of Writing a Riot: Riot Grrrl Zines and Feminist Rhetorics“The Poster Children were a smart, stubborn, self-reliant independent band that suddenly found itself surrounded by the ambitious puffery of hopeful tourist musicians. They navigated the problematic ocean of ‘Alternative Music’ that rose up in the 1990s and lived to tell the tale. Rose was central to that mission and should be considered a trustworthy and experienced reporter!”--Ian MacKaye, Fugazi and Minor Threat “I have seen Rose Marshack play with her band the Poster Children many times, and her presence onstage is precisely like her writing, energetic, warm, and completely involved. This memoir is beautiful and frank, and does a fantastic job of bringing the reader into the private thoughts of a woman coming of age in a vibrant music community, immediately finding things to cling to and battles that need fighting. Her story will resonate not just with everyone who lived through this era, but anyone who's ever found their passion and community in music. I admire Rose tremendously and I'm glad she decided to tell us her story.” --Steve AlbiniTable of ContentsList of Tour Reports PrefaceAcknowledgmentsPart One. 1980s: CollegeChapter 1. Origin StoryChapter 2. The Scene at CollegeChapter 3. Punk Bands in DormsChapter 4. ComputersChapter 5. Play Like a ManPart Two. 1987-1992: Pre-major Label LifeChapter 6. The Indie Code of EthicsChapter 7. LocalChapter 8. RegionalChapter 9. NationalPart Three. 1993-1996: Major Label LifeChapter 10. Mashed PotatoesChapter 11. RecordingChapter 12. TouringChapter 13. Radio SucksChapter 14. Computer ExperimentsChapter 15. ExpectationsChapter 16. Big ChangesPart Four. 1997: Post Major LabelChapter 17. Online ParticipationChapter 18. Life as a WomanChapter 19. How to Look at ThingsChapter 20. TeachingAppendix: List of Poster Children AlumniNotesIndex

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Book SynopsisA traveling salesman with little formal education, Max Hunter gravitated to song catching and ballad hunting while on business trips in the Ozarks. Hunter recorded nearly 1600 traditional songs by more than 200 singers from the mid-1950s through the mid-1970s, all the while focused on preserving the music in its unaltered form. Sarah Jane Nelson chronicles Hunter’s song collecting adventures alongside portraits of the singers and mentors he met along the way. The guitar-strumming Hunter picked up the recording habit to expand his repertoire but almost immediately embraced the role of song preservationist. Being a local allowed Hunter to merge his native Ozark earthiness with sharp observational skills to connect--often more than once--with his singers. Hunter’s own ability to be present added to that sense of connection. Despite his painstaking approach, ballad collecting was also a source of pleasure for Hunter. Ultimately, his dedication to capturing Ozarks song culturTrade Review"Hunter recorded nearly 1600 songs from more than 200 singers over a period of several decades. Because he was not directly connected to academia or to the publishing world, his work might not be as familiar as are the works of other Ozark folklorists, but we learn through the determined research of Sarah Jane Nelson that his life as a collector was rich with stories of fascinating musicians, folkloristic debates, shifting attitudes, and relationships with folklorists and folklore-related institutions throughout the country." --OzarksWatch"Vividly illuminates the efforts of a remarkable ballad-hunter, festival impresario, and personality, while offering attention to nationwide folksong currents intersecting with the Ozarks. There is an audience of scholars, folksong performers and enthusiasts, and Ozarks residents and aficionados awaiting this book."--James P. Leary, author of Folklores of Another America: Field Recordings from the Upper Midwest, 1937–1946"I appreciate that Ms. Nelson took the time and energy to write about Max Hunter's life, his quest for ballads, and the family and singers who helped him along the way. Her writing style is clean and unpretentious." --Missouri Historical ReviewTable of ContentsForeword: The Singer in Me Robert CochranPrefaceAcknowledgmentsIntroduction: Max Hunter and the Ballad Field Singing on the Way to Church A Traveling Salesman in Eureka<> Rules of Collecting and How Hunter Got His Songs The Child Ballads and Other Bounty Singing Grandmas and the Musical Tribes of Stone County Circle of Friends The Importance of Columbia More Than a Hobby Max Hunter’s Map of the Ozarks Max Hunter and the Festival Circuit One Eye on the Past and One on the Future Notes Selected BibliographyIndex

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Book SynopsisThe artist’s impact on country music and how his death changed the genre A beloved member of the country music community, David “Stringbean” Akeman found nationwide fame as a cast member of Hee Haw. The 1973 murder of Stringbean and his wife forever changed Nashville’s sense of itself. Millions of others mourned not only the slain couple but the passing of the way of life that country music had long represented. Taylor Hagood merges the story of Stringbean’s life with an account of murder and courtroom drama. Mentored by Uncle Dave Macon and Bill Monroe, Stringbean was a bridge to country’s early days. His instrumental savvy and old-time singing style drew upon a deep love for traditional country music that, along with his humor and humanity, won him the reverence of younger artists and made his violent death all the more shocking. Hagood delves into the unexpected questions and uneasy resolutions raised by the atmosphere of Trade Review"The story about the life of the man and the details of his life's tragic end is expertly covered in this new book. . . . After reading this book, I feel as though I got to know David "Stringbean" Akeman and his story very well. Highly recommended!" --Dan Miller, Bluegrass Unlimited“Stringbean was one of the very first friends Doolittle, my husband, and I made when we first came to Nashville in 1960. He and his wife Estelle were some of the nicest folks you could find anywhere. . . . It was heartbreaking when we lost him and his wife.”--Loretta Lynn“Stringbean and Estelle would be like your favorite aunt and uncle, or your favorite cousin. Any time we had a celebration, they were always there, and most of the time cooked for everybody. Those were precious times.”--Lulu Roman, Hee Haw star"This tale will appeal to readers curious about the formative years of the United States' country-music scene." --Library Journal"Get your orders in! You will like this book. Thanks, Taylor Hagood, for filling in so many blanks, even those you filled in from your remote closeness to the gentle and genuine spirit of Stringbean. Stringbean is still a vital part of our music. Stringbean shows us that." --Bluegrass Standard"Stringbean: The Life and Murder of a Country Legend by Talyor Hagood, not only serves to remind and establish Stringbean’s often overlooked musical legacy, but also serves as a true crime thriller with a highly detailed account of the murder and ensuing trial. Hagood expertly details Stringbean’s long career and gives new meaning to both him and his music." --Americana UK"Hagood, who writes with an appealingly loose and earnest style, has genuine affection for Stringbean. Perhaps the most moving passages are those in which Hagood reflects on the symbiotic relationship between the man and his trusty Vega No. 9 Tubaphone banjo. " --NewCity "Almost as soon as I picked up Taylor Hagood's biography of David Akeman, I knew I could put aside my instinct to find fault in order to luxuriate in a well-documented, carefully constructed combination of biography and true crime story. . . . I highly recommend this well-researched and highly readable book." --Ted Lehmann “It was always a rare treat to get to see the hat flipping, banjo picking man from ole Kentucky on the television or old video tape. Stringbean was one of my first musical heroes as a kid while learning to play the banjo. I'm very excited to get this book! I can never get enough of Ole String! Thank you, Taylor!”--Leroy Troy, Grand Ole Opry star and 1996 National Old-Time Banjo Champion "Taylor Hagood is a gifted writer, and I'm truly pleased with the book he wrote about my uncle, David Akemon."--Phillip AkemonTable of ContentsA Note on Names Prologue. Short Life and Trouble: November 11, 1973 Chapter 1. Way Back in the Hills of Old Kentucky: 1915-1935 Chapter 2. Stringbean and His Banjo: 1935-1942 Chapter 3. Goin’ to the Grand Ole Opry to Make Myself a Name: 1942-1945 Chapter 4. Big Ball in Nashville: 1945-1952 Chapter 5. Herdin’ Cattle in a Cadillac Coupe de Ville: 1953-1959 Chapter 6. Pretty Polly: 1960-1965 Chapter 7. Me and My Old Crow (Got a Good Thing Going): 1966-1973 Interlude. Goodbye Sweet Thing: Stringbean’s Final Day of Life, November 10, 1973 Chapter 8. Sinner Man, Where You Gonna Hide: November 1973, January 1974 Chapter 9. You Can’t Do Wrong and Get By: January, November 1974 Epilogue. Forgetting to Forget You: 1975-2014 Acknowledgments Notes Selected Bibliography Index

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Book SynopsisNot only the life story of a jazz musician and spokesman but also a commentary on racism and jazz as a social forceTrade ReviewThe Jazz Life of Dr. Billy Taylor . . . does his high esteem justice. Without sacrificing the man's integrity, the book captures Dr. Taylor's wide-eyed enthusiasm for jazz and for his missions to further the music's tradition and expand its audience. * JazzTimes *...Those of us who had the privilege of hearing him speak will recognize how accurately Reed captures his spirit and his enthusiasm for the music to which he dedicated his life. * NPR *This must-read collaboration weaves not only the story of a highly esteemed jazz great and genre ambassador, but it is also a narrative on racism and the social influence of jazz. * Smooth Jazz News *This book (including Dr. Teresa L. Reed's eloquent introduction) captures with great clarity and accuracy the character of this man. Taylor not only always aspired to excellence, he was also humble and generous of word and deed. The Jazz Life of Dr. Billy Taylor provides the backstory of why he must be remembered as one of the major leading lights of America's classical music. * New York City Jazz Record *[C]o-author Reed has done an exemlary job of making the story flow in Taylor's own words. * Jazzwise *Table of ContentsIntroductionChronology of the Life of William Edward Taylor Jr.1. Beginnings: 1921–19382. College Years: 1938–19423. Making Waves: 1943–19464. The Subject Is Jazz: 1946–19585. From "Tobacco Tags" to the Urban Airwaves: 1959–19686. How It Feels to Be Free: 1969–19907. ReflectionsDiscographySelected Publications Authored by Dr. Billy TaylorIndex

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Book SynopsisDiscusses the band's influence on popular culture and why many consider Thick as a Brick and A Passion Play to be two of the greatest concept albums in rock history.Trade Review[D]elves deep into the past in this new work to bring us the story of these two albums as well as a painstaking analysis that allows us to see not only the particular genius of Tull but the important role both records played in shaping '70s rock. . . . Smolko's passion for the subject matter and ability to wax enthusiastic about the smallest details makes this volume worth reading. . . . A volume that excites with its intelligence and sense of observation, two of the many qualities that will actually find you giv[ing] this book more than one read. * PopMatters *[R]ather than offering yet another biography, Smolko takes a musicological—as well as a cultural— approach to just two of Tull's albums [] an endorsement from such a notebale authority [as Adrian Stone-Mason] surely makes this worth reading for those of a scholarly bent. * Rock n' Reel *Table of ContentsPrefaceAcknowledgements1: Providing a Context for Thick as a Brick and A Passion Play2: Galliards and Lute Songs: The Influence of Early Music in Jethro Tull3: Geared Toward the Exceptional Rather than the Average: The Album Cover and Lyrics of Thick as a Brick4: The Music of Thick as a Brick: Form and Thematic Development5: The Music of Thick as a Brick: Other Features6: The Château d'Isaster Tapes and the Album Cover and Lyrics of A Passion Play7: The Music of A Passion Play8: Monty Python, Reception, and Live VersionsConclusionsEpilogue: Whatever Happened to Gerald Bostock?Appendix 1: The Complete Lyrics to Thick as a BrickAppendix 2: The Complete Lyrics to A Passion PlayAppendix 3: Analysis of the Instrumental PassagesNotesBibliography Index

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Book SynopsisUnderscores the lives of artists in Russia's "Silver Age" - an explosion of artistic activity amid the rapid social and political changes of the early 20th century.Trade ReviewThis wonderful book is a fascinating, well-written and well-presented history of one of the greatest violinists of the twentieth century – indeed, for many listeners, the greatest such practitioner of the art. It is a book which we have looked forward to for decades [] There have been conflicting early biographical claims regarding Heifetz [] but Galina Kopytova has delved deeply (often for the first time) into archives in Lithuania, Russia, Berlin and Warsaw [] Here is a compelling story about the early life of a musical genius threaded through with the artistic atmosphere and general milieu of the era in which he was born and brought up. It's a great book, much of which will be a revelation to many. * International Record Review *Galina Kopytova has performed an excellent job in researching numerous archives in order to piece together an account that was first published in St Petersburg in 2004, and now appears in English, somewhat expanded and refined, for the first time. This well-illustrated book should interest many musicians and music lovers as well as offering a detailed portrait of the cultural, especially Jewish, life of Russia in the early twentieth century. It is unlikely to be superseded in the foreseeable future. * Slavonic and East European Review *[T]his book is really about much more than the early life of this extraordinary musician: it is about the full tapestry of late Imperial Russian life, with its huge talents and personalities adding warmth to the mindless bureaucracy and anti-Semitism that dogged the Heifetz family. Alexandra Sarlo and Dario Sarlo have done a fine job of translating Kopytova's book, bringing to the English-speaking world a treasury of information about this fascinating historical figure about whom we previously knew so little. * Russian Review *Since Heifetz spoke little about his formative years in Russia, this wide-ranging study by Kopytova and her collaborators will be eagerly welcomed by Heifetz enthusiasts, violin aficionados, and those interested in Russian musical culture more generally. * Oral History Review *Scholar and archivist Kopytova has filled this void [on Heifetz's Russian childhood] admirably...A fascinating look at the early career of a prodigy who fulfilled the promise of his early success, this book will appeal to musicians (violinists in particular), as well as those interested in the culture and history of the early 20th century, especially as it relates to Tsarist and World War I-era Russia.No biography of Heifetz I have come across has dealt in detail with this period of his life, one which he viewed with discomfort and as having 'a dark side'. This outstanding volume corrects that omission and provides us with an accurate and exhaustively researched narrative of how one of the most amazing musical prodigies became one of the greatest violinists in history. * Gramophone *This is a very valuable book, lovingly researched, well written and translated, and presented with many evocative photos. * The Strad *A fascinating account, giving a vivid view into a half-forgotten world. * Classical Music *Regrettably, a satisfactory, comprehensive biography of Heifetz has not appeared. However, Kopytova has filled the gap vis-a-vis Heifetz's childhood. . . Recommended. * Choice *Table of ContentsAuthor's PrefaceEditors' IntroductionForeign Words ListList of Abbreviations1. Early Roots of the Heifetz Family2. 1901-1906: Vilnius3. 1906-1909: Music School4. 1910: St. Petersburg Conservatory and Nalbandian5. First Performances in St. Petersburg6. Summer 1911: Concerts in Pavlovsk and Odessa7. Fall 1911: In the Class of Professor Auer8. The Beginning of 19129. 1912: First Trip to Germany10. 1912: A German Tour11. The Beginning of 191312. Summer-Fall 1913: Loschwitz13. Winter 1913-1914: Bar Mitzvah14. Spring 191415. Summer-Fall 1914: War16. January-September 191517. The End of 191518. The First Half of 191619. The Second Half of 1916: Norway and Denmark20. The First Half of 1917: February Revolution21. Summer 1917: Departure for AmericaAppendix 1: Reviews of Jascha Heifetz's Debut at Carnegie Hall, October 27, 1917Appendix 2: Jascha Heifetz's Repertoire in RussiaNotesSelected BibliographyIndex

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Book SynopsisThe piano works of Dmitri Shostakovich (1906-1975) are among the most treasured musical compositions of the twentieth century. This book provides analyses of ten major piano solo works by Shostakovich, carefully noting important stylistic details and specific ways to overcome the numerous musical and technical challenges presented by the music.Trade ReviewThis excellent, comprehensive study of Shostakovich's piano music is a gift to performers and teachers. . . . Highly recommended. * Choice *Moshevich's book is a much needed comprehensive study as well as a guide to learning how to perform Shostakovich's solo piano music. . . . With curious details, such as Shostakovich's being a devoted soccer fan. . . , Moshevich enlivens the otherwise specialized focus of her book, and turns it into a must-have for every music school library. * Music Reference Services Qtly *Table of ContentsAcknowledgementsIntroduction1. Early Works Five Preludes Three Fantastic Dances, op. 5 Piano Sonata no. 1, op. 12 Aphorisms, op. 13 Polka, op. 22a, from The Golden Age2. Mature Works Twenty-four Preludes, op. 34. Piano Sonata No. 2, op. 61.3. The Masterpiece Twenty-four Preludes and Fugues, op. 87.4. Works for Children Children's Notebook, op. 69. Dances of the DollsNotesSelected BibliographyIndex

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Book SynopsisIn Italy during the late cinquecento, printed music could be found not only in the homes of the wealthy or the music professional, but in lay homes, courts, and academies as well. This book examines these new musical forms through a study of the music books of Italian priest, poet, and composer, Orazio Vecchi.Trade Review[This] very well written and researched book illuminates the repertory of an individual composer and expands our understanding of what game-playing could have meant for Italian recreational singers in the last decades of the 16th century. * Early Music *Singing Games in Early Modern Italy is a brilliant work that helps us to broaden our understanding of the dynamics—both social and individual—that dominated music in early modern Italy. * Fontes Artis Musicae *Elegantly written and illustrated with many, though not excessive, examples and tables, Schleuse's monograph is an important contribution to scholarship on late sixteenth-century music. It sheds light on the work of one of the most notable—if underestimated—authors of this period, Orazio Vecchi, and, most importantly, it restores the centrality of recreational singing, placing it in the context of the fascinating early modern discourse on games and entertainment. It is strongly recommended to anyone with an interest in the music and culture of early modern Italy. * Notes *The wide range of avenues for further study opened by Paul Schleuse's volume is a testimony to its impressive depth and richness. Singing Games in Early Modern Italy is a well-argued, well-written work that offers new understandings of the music of one of the most important composers of the early modern era. * Music and Letters *[T]he author's purpose is to separate Vecchi's importance as a precursor to early opera and illustrate his success as an experimental composer who had control over the printing, dissemination, and understanding of his own works, as well as his innovations in relation to the cultural focus on social play and drama in his music.5/21/16 * Music Reference Services Quarterly *Table of ContentsIntroduction1. The Four-Voice Canzonetta as (and in) Recreational Polyphony2. Intertextuality in Vecchi's Canzonettas and Madrigals, 1583-15903. Forest and Feast: The Music Book as Metaphor4. L'Amfiparnaso: Picturing Theatre & The Problem of the "Madrigal Comedy"5. Competition and Conversation: Games as Music6. Representation and Identity in Musical PerformanceAppendix: Vecchi, L'hore di recreatione from Madrigali a sei (1583).NotesWorks CitedIndex

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Book SynopsisTrade Review[T]his book is a serious and muchneeded intellectual examination of these two composers and the impact of literary, philosophical, and spiritual interests on their music. * Journal of Aesthetics and Art Criticism *Mahler and Strauss is an important and engaging study that will speak volumes not just to admirers of two consummate artists, but to anyone interested in Austro-German culture around 1900 and its aftermath. * Austrian Studies *Mahler and Strauss takes us on a journey that traverses the broader historical and cultural climate of German-speaking Europe at the turn of the twentieth century (with a brief excursion to America along the way). And throughout this journey we are offered a succession of fresh and imaginative readings of the source material that provide us with new ways of understanding the fundamental importance of a profoundly meaningful friendship between two remarkable musicians. * Nineteenth-Century Music Review *Thanks to Youmans's lucid style and easy mastery of often dense material, it works well, and the high aesthetic stakes involved are established early. * The Musical Times *A fascinating volume . . . It's also an impressive achievement in terms of its scholarship and casts a great deal of light on these two composers, both individually and together. * Grammophone *"Along the way, Mahler and Strauss in Dialogue tells a compelling story of the unexpected ways that their worlds overlapped. In so doing, it provides a model for comparative analysis that enriches our understanding of a relationship that indelibly shaped the musical world of their time and continues to fascinate us today." * German Studies Review *Table of ContentsPrefaceAcknowledgementsNote on TranslationIntroduction: Friends1. Children2. Conductors3. Husbands4. Wagnerians5. Businessmen6. Literati7. Autobiographers8. Programmmusiker9. Imports10. Allusionists11. Ironists12. MetaphysiciansEpilogue: IndividualsBibliographyIndex

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Book SynopsisTrade ReviewThis is a fascinating look into the more abstract aspects of 19th-century musical attitudes and how it has fueled long standing conversations on the value of poetic interiority over overt technical virtuosity. * American Music Teacher *Among the most distinguished results of Stefaniak's study is to have reminded us of...the challenges of scholarly engagement with complex, often contradictory manifestations of lived experience. * Die Musikforschung *Schumann's Virtuosity is thoughtfully organized and loosely chronological, with in-depth, elegant analyses of relevant examples. * Nineteenth-Century Music Review *Stefaniak's book remains a valuable resource for musicologists, theorists, pianists, and aestheticians interested in reading about Schumann's views on virtuosity. * Notes *It is refreshing to read a contemporary scholarly book that embraces aesthetics so forcefully. * Choice *Stefaniak's book is commendable as a rational, appealing introduction to an important aspect of nineteenth-century music praxis as explored and articulated by a major composer and leader of the early Romantic movement. * Journal of the American Musicological Society *Table of ContentsAcknowledgmentsIntroduction: The Virtuosity DiscoursePart I: Schumann and the Piano Virtuosity of the 1830sPart I Introduction1. Florestan among the Revelers: Postclassical Virtuosity and Schumann's Critique of Pleasure2. Florestan's Wine, Clara Wieck's Spirit: Postclassical Virtuosity and Poetic Interiority3. Poetic Showpieces in the Cultivated Salon4. Virtuosity and the Rhetoric of the SublimePart II: The Virtuoso on Mount Parnassus: Schumann and the Culture of the Work ConceptPart II Introduction5. Steps to Parnassus? Schumann's Equivocal Work Concept6. Festivals of the Virtuoso Priesthood: Collaborating with Clara Schumann and Joseph JoachimEpilogueList of Endnote AbbreviationsNotesBibliographyIndex

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Book SynopsisTrade ReviewA superb new biography -- Alex Ross * The New Yorker *In this new biography, Bill Alves and Brett Campbell share a thorough overview of Harrison's life in the form of a dense, chronological narrative, rich in details meticulously cited, and interwoven with insightful details about his music. -- John MacInnis * Notes, the journal of the Music Library Association *An illuminating and engrossing new biography * Los Angeles Times *In this new biography, Bill Alves and Brett Campbell share a thorough overview of Harrison's life in the form of a dense, chronological narrative, interwoven with insightful details about his music. * Notes *Readers who are willing to take a deep dive will be well rewarded. Harrison's life story was an inspiring one, as Alves and Campbell demonstrate. . . . Through the authors' research, we see the complex network of connections between composers—the camaraderie, and the occasional infighting and drama. * 4Columns *Comprehensive and engrossing * The New York Times *This scrupulously researched, lovingly written biography provides a comprehensive overview of the man, his life and times, and the music he made. * Songlines *Table of ContentsForeword: Hail, Lou! / Mark MorrisPreface: Lou's WorldAcknowledgmentsPart I: Oregon Trails1. The Silver Court (1917-1934)Part II: The Vast Acreage2. A Wonderful Whirligig (1935-1936)3. The Ultramodernist (1935-1936)4. The Grand Manner (1936-1937)5. Changing World (1937-1938)6. Double Music (1938-1939)7. Drums Along the Pacific (1939-1941)8. Into the Labyrinth (1941-1942)9. Western Dance (1942-1943)Part III: A Hell of a Town10. The Lonesome Isle (1943-1945)11. New York Waltzes (1945-1946)12. Praises for the Archangel (1946)13. Day of Ascension (1946-1947)14. Tears of the Angel (1947-1948)15. The Perilous Chapel (1948-1949)16. Pastorales (1949-1950)17. The White Goddess (1951)18. A Great Playground (1951-1952)19. Lake Eden (1952-1953)Part IV: Full Circle20. A Paradise Garden of Delights (1953-1955)21. Free Style (1955-1957)22. Wild Rights (1957-1961)Part V: Pacifica23. The Human Music (1961)24. Pacific Rounds (1962-1963)25. The Family of the Court (1963-1966)26. Stars Upon his Face (1967-1969)27. Young Caesar and Old Granddad (1969-1974)28. Elegies (1973-1975)Part VI: The Great Melody29. Golden Rain (1975-1977)30. Playing Together (1977-1979)31. Showers of Beauty (1978-1982)32. Paradisal Music (1982-1984)33. Stampede (1983-1987)34. New Moon (1986-1990)35. Book Music (1991-1995)36. An Eden of Music and Mountains (1995-1997)37. Asian Artistry (1997-2002)38. White Ashes (2003)NotesAppendix A: Glossary of Musical TermsAppendix B: List of Harrison's CompositionsBibliographyIndex

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Book SynopsisTrade ReviewA superb new biography -- Alex Ross * The New Yorker *In this new biography, Bill Alves and Brett Campbell share a thorough overview of Harrison's life in the form of a dense, chronological narrative, rich in details meticulously cited, and interwoven with insightful details about his music. -- John MacInnis * Notes, the journal of the Music Library Association *An illuminating and engrossing new biography * Los Angeles Times *In this new biography, Bill Alves and Brett Campbell share a thorough overview of Harrison's life in the form of a dense, chronological narrative, interwoven with insightful details about his music. * Notes *Readers who are willing to take a deep dive will be well rewarded. Harrison's life story was an inspiring one, as Alves and Campbell demonstrate. . . . Through the authors' research, we see the complex network of connections between composers—the camaraderie, and the occasional infighting and drama. * 4Columns *Comprehensive and engrossing * The New York Times *This scrupulously researched, lovingly written biography provides a comprehensive overview of the man, his life and times, and the music he made. * Songlines *Table of ContentsForeword: Hail, Lou! / Mark MorrisPreface: Lou's WorldAcknowledgmentsPart I: Oregon Trails1. The Silver Court (1917-1934)Part II: The Vast Acreage2. A Wonderful Whirligig (1935-1936)3. The Ultramodernist (1935-1936)4. The Grand Manner (1936-1937)5. Changing World (1937-1938)6. Double Music (1938-1939)7. Drums Along the Pacific (1939-1941)8. Into the Labyrinth (1941-1942)9. Western Dance (1942-1943)Part III: A Hell of a Town10. The Lonesome Isle (1943-1945)11. New York Waltzes (1945-1946)12. Praises for the Archangel (1946)13. Day of Ascension (1946-1947)14. Tears of the Angel (1947-1948)15. The Perilous Chapel (1948-1949)16. Pastorales (1949-1950)17. The White Goddess (1951)18. A Great Playground (1951-1952)19. Lake Eden (1952-1953)Part IV: Full Circle20. A Paradise Garden of Delights (1953-1955)21. Free Style (1955-1957)22. Wild Rights (1957-1961)Part V: Pacifica23. The Human Music (1961)24. Pacific Rounds (1962-1963)25. The Family of the Court (1963-1966)26. Stars Upon his Face (1967-1969)27. Young Caesar and Old Granddad (1969-1974)28. Elegies (1973-1975)Part VI: The Great Melody29. Golden Rain (1975-1977)30. Playing Together (1977-1979)31. Showers of Beauty (1978-1982)32. Paradisal Music (1982-1984)33. Stampede (1983-1987)34. New Moon (1986-1990)35. Book Music (1991-1995)36. An Eden of Music and Mountains (1995-1997)37. Asian Artistry (1997-2002)38. White Ashes (2003)NotesAppendix A: Glossary of Musical TermsAppendix B: List of Harrison's CompositionsBibliographyIndex

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Book SynopsisTrade ReviewErinn Knyt's Ferruccio Busoni and His Legacy is a most welcome addition to the literature on Busoni as a fine example of research based on primary sources. * Bach *Table of ContentsAcknowledgmentsIntroduction1. Unconventional Maestro2. Janus-Faced Modernism3. New Instruments, New Sounds, and New Musical Laws4. From Opera to Film5. New Sonic Landscapes5. New Music of the Weimar Republic 7. Conclusions: "Passing the Torch"Selected BibliographyIndex

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Book SynopsisTrade ReviewErinn Knyt's Ferruccio Busoni and His Legacy is a most welcome addition to the literature on Busoni as a fine example of research based on primary sources. * Bach *Table of ContentsAcknowledgmentsIntroduction1. Unconventional Maestro2. Janus-Faced Modernism3. New Instruments, New Sounds, and New Musical Laws4. From Opera to Film5. New Sonic Landscapes5. New Music of the Weimar Republic 7. Conclusions: "Passing the Torch"Selected BibliographyIndex

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Book SynopsisLeigh H. Edwards explores Partons roles as musician, actor, author, philanthropist, and entrepreneur to show how her gender subversion highlights the challenges that can be found even in the most seemingly traditional form of American popular music. As Parton depicts herself as simultaneously "real" and "fake," she offers new perspectives on country music's claims of authenticity.Trade ReviewA stellar exploration of how Parton deftly balanced traditional country aesthetics with her willingness to rebel against those same trappings by completely owning her image and how she performed her femininity. Thanks to thorough research that digs into Parton's personal statements across her autobiography, social media outlets, and interviews in a variety of mediums, the reader is presented with a woman completely in control of who she is, her art, and how people interact with her. -- Adam P. Newton * BeardedGentlemenMusic.com *With her generous, comprehensive examination of Parton's image and career, Edwards makes a valuable contribution to studies of celebrity, gender, music, media, and popular culture that should be useful to scholars working in any of these areas. -- Jennifer Lynn Jones * Celebrity Studies *"The new book Dolly Parton, Gender, and Country Music investigates the character behind the chart-topping musician we've come to know and love." * Shondaland *Dolly Parton, Gender, and Country Music is a timely full-length monograph on a figure who has endured on the national and international scene for more than one-half century. Fittingly, this study is authored by a leading scholar of contemporary popular culture. The keyword in Dolly Parton, Gender, and Country Music is 'transgression,' for Professor Edwards demonstrates the terms by which, over decades, Parton's personae both conform to well-established patterns of identity and simultaneously subvert them. -- Cecelia Tichi, Journal of Popular Music Studies The book moves seamlessly from the mythology of Dolly Parton and the crafting of her gender persona to the singer's performance within different types of frameworks through Hollywood, crossover markets, and the digital stage. Edwards has allowed us to look deeper into how that combination of femininity has been a platform of change for both Parton and our perception of her persona, while opening the door for exploration of how Parton's influence may help craft the careers of future performers. * The Journal of Popular Culture *The book is full of solid arguments for the worthiness of Parton as a scholarly subject, including the complexities and juxtapositions of her life as a media figure with an enduring career. * Music Reference Services Quarterly *Overall, Dolly Parton, Gender, and Country Music examines Parton's trailblazing career in the male-dominated world of country music through the lens of gender themes and identity, including the expansion of her media empire of music, movies, theme park, and numerous other efforts. * Communication Booknotes Quarterly *Deftly introduces the public and private Dolly Parton in this well-researched study of a cultural phenomenon. * AudioFile *Table of ContentsAcknowledgmentsIntroduction: Dolly Mythology1. "Backwoods Barbie": Dolly Parton's Gender Performance2. My Tennessee Mountain Home: Early Parton and Authenticity Narratives3. Parton's Crossover and Film Stardom: The "Hillbilly Mae West"4. Hungry Again: Reclaiming Country Authenticity Narratives5. "Digital Dolly" and New Media FandomsConclusion: Brand Evolution and DollywoodWorks CitedIndex

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Book SynopsisTrade ReviewThis book will be informative, interesting, and beneficial for anyone who is involved with the performance of music in the United States, whether in the field or in academe.June 2009 -- Lois Kuyper-Rushing * Louisiana State University *Laila Storch . . . is generous in her admiration of [Marcel Tabuteau's] compelling artistry. She has produced a monumental tribute to an extraordinary musician whose influence remains alive in each generation of American oboists.87 Summer 2009 -- Anthony McColl * Double Reed News *[This biography is] movingly personal . . . . may prove to be one of the most accomplished and important musical biographies of the 21st century.8/1/10 -- Christopher Brodersen * Fanfare *Laila Storch's biography of Marcel Tabuteau provides a detailed and intimate portrait of the life and artistry of the man widely considered to be the father of the American school of oboe playing. Vol. 33, No. 2, Summer 2010 * The Double Reed *Storch's intriguing book will appeal to a broad audience, not just oboists. Anyone interested in music will find Tabuteau's philosophies and Storch's research beneficial and applicable.January 2009 * Choice *Table of ContentsPrefaceAcknowledgmentsIntroductionAccessing the Audio Files1. Compiègne and the Tabuteau Family2. Paris Conservatoire: Tabuteau's Studies with Georges Gillet, 1902-19043. Arrival in America: Walter Damrosch and the New York Symphony Orchestra, 1905-19084. The Metropolitan Opera: Singers and Conductors of the "Golden Age," 1908-19145. San Francisco Interlude: The Panama-Pacific International Exposition Orchestra, 19156. The Philadelphia Orchestra: The Stokowski Years, 1915-19407. Tabuteau as Soloist with the Philadelphia Orchestra: 1915-19548. Tabuteau at the Curtis Institute of Music: 1924-19469. Lessons with Tabuteau: My Arrival in Philadelphia, January 194310. My First Year with Tabuteau at the Curtis Institute: October 1943-May 194411. Tabuteau Conducts the Curtis Orchestra: Fall 1944-Spring 194512. Tabuteau's Summers in Canada: Salmon Fishing in Nova Scotia13. Another Year of Study with Tabuteau: 1945-194614. Summers in France: The Pingouinette; Back to Philadelphia, 194815. Tabuteau's Last Years at the Curtis Institute: 1946-195416. The Casals Festivals in Prades and Perpignan: 1950, 1951, and 195317. Tabuteau as Seen by His Philadelphia Orchestra Colleagues18. Retirement in France: La Coustiéro, 1954-195919. Tabuteau's Final Years in Nice: 1959-196620. Philadelphia Postlude: Tabuteau's Playing; His Musical Ideas and InfluenceAppendix 1. Introduction and Text Transcription for the Tabuteau-Wolsing Audio FilesAppendix 2. The Students of Marcel Tabuteau at the Curtis Institute of MusicAppendix 3. The Tabuteau System: Essay and Outline by Marc MostovoyGlossary of Terms Used by OboistsNotesSelected BibliographyIndex

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Book SynopsisThis close reading of Stravinsky's The Rake's Progress examines the cultural context of its creation and explores its place in the broader history of opera.Trade Review...Carter's excellent addition certainly should find a place in academic libraries and in the collections of music scholars everywhere. -- Barry Zaslow * Music Reference Services Quarterly. *Table of ContentsAcknowledgmentsPart I: The Cultural MomentPreludePart II: The Drama1. A Convergence of Minds2. A Happy Collaboration3. Deeper MeaningsPart III: The Music4. Stravinsky's "Special Sense" 5. Displacement, Text Setting and Stravinsky's Evolving Aesthetic6. Stravinsky's Truths and Mozart's Lies—Music, Emotion and Theatrical Distance7. The Structure of Scenes8. Ruin, Disaster, ... Saving Grace Part IV: Performance9. Venice10. How The Rake became a MasterpieceEpilogue: "Good people, just a moment" BibliographyIndex

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Book SynopsisThis close reading of Stravinsky's The Rake's Progress examines the cultural context of its creation and explores its place in the broader history of opera.Trade Review...Carter's excellent addition certainly should find a place in academic libraries and in the collections of music scholars everywhere. -- Barry Zaslow * Music Reference Services Quarterly. *Table of ContentsAcknowledgmentsPart I: The Cultural MomentPreludePart II: The Drama1. A Convergence of Minds2. A Happy Collaboration3. Deeper MeaningsPart III: The Music4. Stravinsky's "Special Sense" 5. Displacement, Text Setting and Stravinsky's Evolving Aesthetic6. Stravinsky's Truths and Mozart's Lies—Music, Emotion and Theatrical Distance7. The Structure of Scenes8. Ruin, Disaster, ... Saving Grace Part IV: Performance9. Venice10. How The Rake became a MasterpieceEpilogue: "Good people, just a moment" BibliographyIndex

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Book SynopsisIn this companion to his first book, Menahem Pressler: Artistry in Piano Teaching, William Brown brings together world-renowned piano soloist Menahem Pressler's teachings on 37 piano masterworks by Johann Sebastian Bach, Samuel Barber, Ludwig van Beethoven, and more.Trade ReviewPressler is insightful and amusing in equal doses, as lionised astutely by his former student, William Brown. * International Piano *A recommended resource for every pianist's bookshelf, this volume serves as an instructional guide to studying standard piano repertoire with a little help from master piano pedagogue Menahem Pressler. -- Treshani Perera * Music References Service Quarterly *Table of ContentsA Few Words BeforeAcknowledgementsA Brief BiographyMaster Classes and LessonsInterlude I. Master Classes1. Johann Sebastian BachPartita No. 6 in E Minor, BWV 8302. Samuel BarberSonata, Op. 26Interlude II. Page Turners3. Ludwig van BeethovenThirty-Two Variations in C Minor, WoO 80Piano Sonata in A-flat Major, Op. 26Piano Sonata in E-flat Major, Op. 31, No. 3Piano Sonata in C Major, Op. 53, WaldsteinPiano Sonata in A-flat Major, Op. 1104. Johannes BrahmsVariations on a Theme by Paganini, Op. 35, Bk. 1Klavierstücke, Op. 76Intermezzo in A Major, Op. 118, No. 2Interlude III. Poor Pianos5. Frédéric ChopinAndante Spianato and Grande Polonaise Brillante, Op. 22 Deux Nocturnes, Op. 27Scherzo No. 3 in C-sharp Minor, Op. 39 Ballade No. 4 in F Minor, Op. 52Berceuse, Op. 57Barcarolle, Op. 60Interlude IV. Hotel Stories6. Claude DebussyReflets dans l'eau, from Images, Book 1Poisson d'or, from Images, Book II7. George Frideric HandelChaconne in G Major, HWV 442Interlude V. Missed Concerts8. Franz Joseph HaydnPiano Sonata in E-flat Major, HOB. XVI:52, Mvt. 19. Franz LisztGrandes Études de Paganini, S. 141Piano Sonata in B Minor, S. 178Interlude VI. Funny Stories10. Felix MendelssohnRondo Capriccioso, Op. 1411. Wolfgang Amadeus MozartPiano Sonata in B-flat Major, K. 281Piano Concerto in C Minor, K. 491Piano Sonata in D Major, K. 576Interlude VII. Stories about Pianists12. Serge ProkofievPiano Sonata No. 4 in C Minor, Op. 2913. Sergei RachmaninoffÉtude-Tableau in A Minor, Op. 39, No. 6Interlude VIII. Honorary Citizenship in Magdeburg, Germany14. Maurice RavelSonatineMiroirsInterlude IX. Through Hell and Back15. Franz SchubertSonata in A minor, D. 784, Op. 143Sonata in A minor, D. 845, Op. 42Impromptus, D. 899, Op. 90Interlude X. A New Love16. Robert SchumannPiano Sonata No. 1 in F-sharp Minor, Op. 11, Grosse SonateFaschingschwank aus Wien, Op. 26Appendix A. Menahem Pressler's Musical AncestryAppendix B. Tributes from Former Students and Other MusiciansBibliographyIndex of CompositionsIndex of Names and Concepts

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Book SynopsisFeatures work by 10 contributors on "Queen Bey" Examines Beyoncé's career, and her involvement in current issues Uses accessible language that will appeal to both a general and scholarly audience interested in social justice, Black Lives Matter, and feminism Builds on editors' previous volume on Lady Gaga from RoutledgeTrade Review"Iddon and Marshall's Beyoncé is poised to expand critical conversations about the biggest and most influential pop star of the 21st century."—Daphne Brooks, author of Bodies in Dissent: Spectacular Performances of Race and FreedomTable of ContentsIntroductionPart I: Beyoncé at Work, Making Beyoncé1. Surviving the Hustle: Beyoncé's Performance of Work2. "A Scientist of Songs": Beyoncé's Recording Studio Music Making and the Problem of Authorship in Popular Music3. "Singing All The Time": Constructions of Cultural Identity in Beyoncé's I am... Sasha FiercePart II: Beyoncé On Screen, Reading Beyoncé4. Beyoncé's Mixed Media Feminism: Sounding, Staging, and Sampling Gender Politics in "***Flawless"5. "At Last a Dream That I Can Call My Own": Beyoncé and the Performance of Stardom in Dreamgirls and Cadillac Records6. For the Texas Bama Femme: A Black Queer Femme-inist Reading of Beyoncé's "Sorry"7. Gypsying Beyoncé: The Latin Crossover through Hispanic StereotypesPart III: Beyoncé Online, Re-presenting Beyoncé8. Unlikely Resemblances: "Single Ladies," and Comparative Judgment of Popular Dance9. "I See Music": Beyoncé, YouTube, and the Question of Signed-Songs10. "Girl I'm Tryna Kick It With Ya": Tracing the Reception of "7/11"'s Embodiment of Girl/Bedroom Culture Through YouTube Reaction VideosBibliographyIndex

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Book SynopsisFeatures work by 10 contributors on "Queen Bey" Examines Beyoncé's career, and her involvement in current issues Uses accessible language that will appeal to both a general and scholarly audience interested in social justice, Black Lives Matter, and feminism Builds on editors' previous volume on Lady Gaga from RoutledgeTrade Review"Iddon and Marshall's Beyoncé is poised to expand critical conversations about the biggest and most influential pop star of the 21st century."—Daphne Brooks, author of Bodies in Dissent: Spectacular Performances of Race and FreedomTable of ContentsIntroductionPart I: Beyoncé at Work, Making Beyoncé1. Surviving the Hustle: Beyoncé's Performance of Work2. "A Scientist of Songs": Beyoncé's Recording Studio Music Making and the Problem of Authorship in Popular Music3. "Singing All The Time": Constructions of Cultural Identity in Beyoncé's I am... Sasha FiercePart II: Beyoncé On Screen, Reading Beyoncé4. Beyoncé's Mixed Media Feminism: Sounding, Staging, and Sampling Gender Politics in "***Flawless"5. "At Last a Dream That I Can Call My Own": Beyoncé and the Performance of Stardom in Dreamgirls and Cadillac Records6. For the Texas Bama Femme: A Black Queer Femme-inist Reading of Beyoncé's "Sorry"7. Gypsying Beyoncé: The Latin Crossover through Hispanic StereotypesPart III: Beyoncé Online, Re-presenting Beyoncé8. Unlikely Resemblances: "Single Ladies," and Comparative Judgment of Popular Dance9. "I See Music": Beyoncé, YouTube, and the Question of Signed-Songs10. "Girl I'm Tryna Kick It With Ya": Tracing the Reception of "7/11"'s Embodiment of Girl/Bedroom Culture Through YouTube Reaction VideosBibliographyIndex

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Book SynopsisAs waves of composers migrated from Russia in the 20th century, they grappled with the complex struggle between their own traditions and those of their adopted homes. Russian Composers Abroad explores the self-identity of these émigrés, especially those who left from the 1970s on, and how aspects of their diasporic identities played out in their music. Elena Dubinets provides a journey through the complexities of identity formation and cultural production under globalization and migration, elucidating sociological perspectives of the post-Soviet world that have caused changes in composers' outlooks, strategies, and rankings. Russian Composers Abroad is an illuminating study of creative ideas that are often shaped by the exigencies of financing and advancement rather than just by the vision of the creators and the demands of the public.Trade ReviewThis book is far more than an ethnography of the Russian musical diaspora: it investigates the stages of emigration of Russian composers as manifested in the music they actually composed. The wide range of composers and compositions examined makes this volume an excellent addition to the shelf that includes more general histories of 20th– and 21st–century Russian music, such as work by Malcolm Brown and Richard Taruskin. . . . Highly recommended. -- W. E. Grim, Strayer University * Choice *Russian Composers Abroad: How They Left, Stayed, Returned examines the movement of both Soviet and post-Soviet composers within the greater paradigm of socio-political identities, ones which shifted and morphed, or not, according to geography and circumstance. Connections in and around these inner and outer realities are ones Dubinets takes particular care with; such investigations have pointed resonance to the current, perilous displacements and journeys being made by so very many. Utilizing a myriad of references and quotations from a variety of sources (including composers Boris Filanovsky, Anton Batagov, Serge Newski and Dmitri Kourliandski) Dubinets examines the 20th and 21st-century diasporic musical landscapes through wonderfully contextualized lenses of history, culture, finance, socio-religious beliefs and practices, and old and current politics, as well as the ways in which identity can and does change according to a combination of these factors. -- Catherine Kustanczy * The Opera Queen *This weighty 388-page-long musicological work by Elena Dubinets is clearly a work of love. Love for her own country of origin, love for the music, and last but not least, love for the achievements that many of the composers Ms. Dubinets has known personally have reached. . . . Elena Dubinets follows the history, fate, and success of many composers, their initial struggle to adapt to a new and mostly-unknown ambiente. She does so in a sincere and partly hard way, describing the noble but also selfish aspects of each of her subjects. -- Giorgio Koukl * EarRelevant *Table of ContentsPrefaceAcknowledgmentsNote on TransliterationIntroductionPart I: National versus Global1. The "Universal": Globalizing the Local2. The National: Super-Icons3. National Identification versus Cultural Affiliation: Non-Russian Composers4. Cultural Affiliation versus Citizenship: Russian DiasporaPart II: How to: Perspectives of Music Creation5. The "Social" Perspective6. The "Production" PerspectivePart III: How they left7. A Brief History of Russian Diaspora Through Music8. "Kolbasa Emigration": a New Cultural Mythology?Part IV: How they stayed9. The Trauma of Migration10. The Many Professions11. Supporters and ConnectorsPart V: How they returned12. Homecoming and Reception at Home13. Russia under Putin: to stay or to go?ConclusionBibliographyIndex

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

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

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Book Synopsis. . . a valuable book of scholarly yet highly readable studies . . . every organist and anyone interested in the music of J. S. Bach should have it. Early Keyboard Journal . . . a very perceptive and informative guide . . . Early Music . . . this book is a must. The American Organist . . . invaluable and entertaining . . . American Music Teacher . . . among the most important and accomplished studies on eighteenth-century performance. Its comprehensiveness, clarity, and scholarship make it indispensable. Performance Practice ReviewIn J. S. Bach as Organist, specialists from six countries explore Bach's relationship to his favorite instrument during all periods of his career. J. S. Bach as Organist is a book for scholars, performers, and students. Authoritative and wide-ranging.Table of ContentsPrefaceAbbreviations*The Instruments Used by BachUlrich Dähnert, "Organs Played and Tested by J. S. Bach"Hartmut Haupt, "Bach Organs in Thuringia"Harald Vogel, "North German Organ Building of the Late Seventeenth Century: Registration and Tuning"John Brombaugh, "Bach's Influence on Late Twentieth-Century Armerican Organ Building"Marie-Claire Alain, "Why an Acquaintance with Early Organs Is Essential for Playing Bach"*Bach's Organ MusicChristoph Wolff, "Johann Adam Reinken and Johann Sebastian Bach: On the Context of Bach's Early Works"Ernest May, "The Types, Uses, and Historical Position of Bach's Organ Chorales"Werner Breig, "The 'Great Eighteen' Chorales: Bach's Revisional Process and the Genesis of the Work"Christoph Wolff, "Bach's Personal Copy of the Schübler Chorales"George Stauffer, "Fugue Types in Bach's Free Organ Works"Friedhelm Krummacher, "Bach's Free Organ Works and the Stylus Phantasticus"Laurence Dreyfus, "The Metaphorical Soloist: Concerted Organ Parts in Bach's Cantatas"*Matters of Performance PracticeGeorge Stauffer, "Bach's Organ Registration Reconsidered"Robert L. Marshall, "Organ or 'Klavier'? Instrumental Prescriptions in the Sources of Bach's Keyboard Works"Luigi Ferninando Tagliavini, "Bach's Organ Transcription of Vivaldi's 'Grosso Mogul'"Victoria Horn, "French Influence in Bach's Organ Works"Peter Williams, "The Snares and Delusions of Notation: Bach's Early Organ Works"Calendar of Events in Bach's Life as OrganistIndex

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Book SynopsisPresents an award-winning examination of Beethoven's music.Trade ReviewThis remarkable book should be seized upon by everyone looking to brush up their Ludwig. . . . Written so well, and with so little resort to classical music jargon, that it can be read in short amusing stretchesor long, engrossing sections. Read a few pages and you, too, can be humming him now. * huffingtonpost.com *Table of ContentsForeword by David LidovPrefaceIntroductionPart I. Interpretation and TheoryI. A Case Study for InterpretationThe Third Movement of Op. 106 (Hammerklavier)II. Correlation, Interpretation, and the Markedness of OppositionsIII. From Topic to Expressive GenreIV. The Pastoral Expressive GenreThe Four Movements of Op. 101V. The Thematic Level and the Markedness of Classical MaterialVI. Thematic MarkednessThe First Movements of Op. 130 and Op. 131VII. Beyond the Hierarchies of CorrelationTroping, Irony, Levels of Discourse, and IntertextualityVIII. Analysis and SynthesisThe Cavatina from Op. 130IX. From the Aesthetic to me SemioticX. Further Perspectives on Musical Meaning and CognitionConclusionAppendix: Abnegation and the New GenreGlossaryNotesBibliographyIndex of ConceptsIndex of Names and Works

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