Composers and songwriters Books

Book SynopsisTrade Review"Maxine Gordon astutely frames the fiery daring of Dexter Gordon’s generation of bebop innovators in the context of rising black consciousness and creative agency in midcentury America…“Sophisticated Giant” is a work of considerable sophistication, the first-person testimony of its subject employed with affectionate discipline, smartly contextualized and augmented by material from interviews Maxine Gordon conducted with the tenor saxophone masters Sonny Rollins and Jimmy Heath, the record producers Bruce Lundvall and Michael Cucsuna, and others." -- David Hajdu, * The New York Times *“Dexter Gordon’s deep tone, relaxed delivery—even the frequent witty musical quotations—seemed like extensions of his gravely playful speaking voice. That voice carries over on the page too. You can hear it when you read his written testimony and extracts from letters included in Maxine Gordon’s illuminating biography.” -- Kevin Whitehead, * NPR's Fresh Air *“‘Affectionate, enjoyable and informative, painting a portrait of a handsome, elegant, easygoing person and artist who refused to agonize about his past.” * Wall Street Journal *“A particularly intimate look at . . . career highs in this wonderful biography of the iconic jazzman. . . . Most striking for this reader was how, through her intimate, first-hand knowledge of her husband’s life, Maxine was able to convey how the art of jazz was far more than a career path for Dexter and his colleagues. “ * The Austin Chronicle *"Gordon’s life has previously been chronicled, but not with so much of his own achingly personal, brutally honest voice. Sophisticated Giant is not a critical analysis of his music; instead, Maxine has interwoven Dexter’s own letters and poetry with a broad spectrum of anecdotal accounts, plus her own meticulous scholarship and adoring reflections, to craft a vivid life story. . . . This is a must-read for jazz fans." * Jazz Times *“A work that’s both scrupulously researched history and intimate memoir.” * MOJO *“An intimate, keenly-rendered new biography that will interest jazz enthusiasts and anyone with an interest in American popular culture. . . . It’s a warm, subjective story that trains an astute lens on the social and political circumstances that helped shape a career; and for that, it stand outs as a landmark contribution to the literature of the jazz.” * Seattle Times *"Throughout the book, Maxine provides rich descriptions of people, places, and events, often quoting from Dexter. Through her meticulous research, new information about him emerges. . . While meticulous about details, the author is also a good storyteller, so, aside from its scholarly discipline, the book is intriguing and leads the reader forward like an absorbing detective novel." * All About Jazz *"Blending forensic research with scholarly insight, Sophisticated Giant’s compelling story unfurls like one of Gordon’s sinuous sax solos. Essential reading for jazz fans." * Record Collector *“Dexter Gordon left us almost three decades ago, but his presence in 2018 has virtually brought him back to center stage." * All About Jazz *“When I say that this is essential reading for anyone interested in modern jazz from the late thirties on, you'd better believe it!. . . . Tell your own true love that, this year, you don't want any more partridges in a pear tree, lords a-leaping or even five golden rings. No, what you want for Christmas this year is (apart from him/her) a Sophisticated Giant.” * bebop spoken here *“Easy-to-read, well-written, superbly documented, much-anticipated. . . . One unique thing about the book is that it makes you feel like you are there with her listening to her talk, about her time in the jazz world with some of the best musicians on earth. But just when you get used to her writing like an excited jazz fan, she easily switches to a keen researcher and a solid scholar.” * Jazz Corner *"Exceptional. . . . Maxine Gordon believes that 'the story of Dexter's life is nothing less than a cultural history of creative Black Americans in the interwar and postwar years.' In Sophisticated Giant, she's written a book that reflects this important truth." * New York City Jazz Record *“Sophisticated Giant paints a convincing picture of an extremely charming, intelligent, resilient, and talented man." * Arts Fuse *“[Gordon] displays firsthand knowledge of the political economy of jazz playing and the discrimination and grievances musicians endured...her honesty and passion bleed into her prose to create a lively and valuable look at the jazz giant and his world. Verdict: For jazz lovers first but enjoyable for general readers, too.” * Library Journal *“This is a story that had to be told.” * KUVO/KVJZ *“An informative, well-paced, suite like literary work that chronicles the saxophonist’s family, influences, inspirations, zeniths, and nadirs, and documents his legacy as one of the most influential saxophonists in jazz history.” -- Eugene Holley Jr., * Publishers Weekly *“Maxine’s book shows us not only the world Dexter Gordon lived and breathed, but many other musicians we know, don’t know and should know. We see the reality of the Jazz world, the unthinkable hardships and struggles brought together through the common love of music. The book is incredible. Maxine Gordon is incredible. Her passion to share, explore and discuss the reality of the Jazz world is a true inspiration." * Jazz in Europe *“There’s a major new biography out of saxophonist Dexter Gordon, and it’s worth checking out.” * Stereogum *“Offers a rare vantage point into the life of one of jazz’s most cherished figures.” * Jazziz *“Maxine Gordon's recently released book ‘Sophisticated Giant: The Life and Times of Dexter Gordon’ is no ordinary jazz biography. It is a book that transports you into the reality of a Jazz musicians’ life, the highs and lows, the hardships and the inexplicable power of Jazz – beautifully written by an author whose passion for ensuring Dexter’s story is told honestly, is inspiring. Dexter Gordon was indeed a ‘Sophisticated Giant’ but when you read the book, you can’t help but feel there are actually two sophisticated giants here.” * The Jazz Room @ Style Quarterly Magazine *Table of Contents1. The Saga of Society Red 2. An Uncommon Family 3. Education of an Eastside Altar Boy 4. Leaving Home 5. Pops 6. Blowin’ the Blues Away 7. Business Lessons 8. Mischievous Lady 9. Central Avenue Bop 10. Trapped 11. Resurgence 12. New Life 13. Very Saxily Yours 14. Trouble in Paris 15. The Khalif of Valby 16. Homecoming 17. Bebop at Work 18. Round Midnight

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

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Book SynopsisTakes you behind the scenes of jazz history and introduces scores of legendary greats -Ella Fitzgerald, Oscar Peterson, Dizzy Gillespie, Dinah Washington, Doc Severinsen, Ray Charles, Thelonious Monk, Billie Holiday, Sarah Vaughan, Coleman Hawkins, Zoot Sims, and Dianne Reeves, among many others.Trade Review"'Clark' chronicles, in endearing prose, Terry's personal and professional journey... Onstage and in the backroom, Terry and his trumpet shared a front-row seat to jazz history. "Clark" is nothing short of that remarkable story." -- Alexander Heffner San Francisco Chronicle "Terry's wonderful book is a true labor of love." -- Peter Vacher Jazzwise "Informative, detailed, intimate, and throughly absorbing, "Clark" is very strongly recommended." The Midwest Book ReviewTable of ContentsPreface by Quincy Jones Foreword by Bill Cosby Introduction by David Demsey 1. Big Dreams 2. First Instruments 3. Kicked Out 4. The Vashon High Swingsters 5. First Road Gig 6. Nigga 7. Ida Cox 8. Stranded 9. Lincoln Inn 10. On the Road Again 11. Tennis Shoe Pimp 12. Jailed 13. Len Bowden 14. Navy Days 15. Gray Clouds 16. The Big Apple 17. George Hudson 18. The Club Plantation 19. Galloping Dominoes 20. Tempting Offers 21. Lionel Hampton 22. Road Lessons 23. Pauline 24. Charlie Barnet 25. Count Basie 26. Big Debt 27. Duke Ellington 28. Leaving Basie 29. The University of Ellingtonia 30. Working with Duke 31. Duke's Team 32. Duke's Management Arts 33. Miles and Bird 34. Billy Strayhorn 35. Endurances 36. Flugelhorn 37. Europe 38. Norman Granz 39. Norman's Battles 40. Q 41. NBC 42. Jim and Andy's 43. Johnny and Ed 44. Mumbles 45. First House 46. Big Bad Band 47. Carnegie Hall 48. Etoile 49. Jazz Education Arena 50. Those NBC Years 51. Storms 52. Black Clouds 53. Keep on Keepin' On 54. New Love 55. Whirlwinds 56. Through the Storm 57. Second Chance 58. The Biggest Surprise Acknowledgments Honors and Awards Original Compositions Selected Discography Index Photographs follow page 186

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Book SynopsisThe "Treatise on Musical Objects" by Pierre Schaeffer is regarded as his most important work on music and its relationship with technology. Drawing on acoustics, physics, and physiology, but also philosophy and the relationship between subject and object, this book summarizes his theoretical and practical work in music composition.Trade Review"[Christine North and John Dack's] English translation is as effective as Schaeffer’s text, which in turn exercises its full correlative power to English readers to the extent that the translators have rendered it." * Association for Recorded Sound Collections Journal *Table of ContentsThe Treatise on Musical Objects and the GRM, by Daniel TeruggiTranslators’ Introduction, by Christine NorthPierre Schaeffer’s Treatise on Musical Objects and Music Theory, by John Dack Acknowledgments Preface Introductory Remarks: The Historical Situation of Music Book One. Making Music 1. The Instrumental Prerequisite 2. Playing an Instrument 3. Capturing Sounds 4. Acousmatics Book Two. Hearing 5. "What Can Be Heard" 6. The Four Listening Modes 7. Scientific Prejudice 8. The Hearing Intention Book Three. Correlations Between the Physical Signal and the Musical Object 9. Ambiguities in Musical Acoustics 10. Correlation between Spectra and Pitches 11. Threshold and Transients 12. Temporal Anamorphoses I: Timbres and Dynamics 13. Temporal Anamorphoses II: Timbre and Instrument 14. Time and Duration Book Four. Objects and Structures 15. Reduction to the Object 16. Perceptual Structures 17. Comparative Structures: Music and Language 18. The Conventional Musical System: Musicality and Sonority 19. Natural Sound Structures: Musicianly Listening 20. The Reduced Listening System: Musical Dualism 21. Musical Research Book Five. Morphology and Typology of Sound Objects 22. Morphology of Sound Objects 23. The Laboratory 24. Typology of Musical Objects (I): Classification Criteria 25. Typology of Musical Objects (II): Balanced and Redundant Objects 26. Typology of Musical Objects (III): Eccentric Sounds 27. Working at Our Instrument Book Six. Theory of Musical Objects 28. Musical Experience 29. Generalizing Music Theory 30. Theory of Homogenous Sounds: Criterion of Mass 31. Theory of Fixed Masses: Dynamic Criterion 32. Theory of Sustainment 33. Theory of Variations 34. Analysis of the Musical Object as It Generally Appears Book Seven. Music as a Discipline 35. Implementation 36. The Meaning of Music Penultimate Chapter: In the Search of Music Itself Postscript Index

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Book SynopsisA free ebook version of this title is available throughLuminos, University of California Press's Open Access publishing program. Visitwww.luminosoa.orgto learn more. Situated at the intersections of twentieth-century music history, historiography, and aesthetics,Middlebrow Modernismuses Benjamin Britten's operas to illustrate the ways in which composers, critics, and audiences mediated the great divide between modernism and mass culture. Reviving mid-century discussions of the middlebrow, Christopher Chowrimootoo demonstrates how Britten's works allowed audiences to have their modernist cake and eat it: to revel in the pleasures of consonance, lyricism, and theatrical spectacle even while enjoying the prestige that came from rejecting them. By focusing on moments when reigning aesthetic oppositions and hierarchies threatened to collapse, this study offers a powerful model for recovering shades of grey in the traditionally black-and-white historiographies of twentieth-century music.Trade Review“…an insightful study on the elusive concept of the middlebrow in the critical reception of Benjamin Britten’s stage works. … Importantly, Chowrimootoo confronts the ambiguities inherent in conceptions of the middlebrow, yet he does not seek to resolve them. Instead, he accepts that Britten identified as both a composer who valued accessibility and public service, and as one who advocated for the serious study and interpretation of his music.” * North American British Music Studies Association Reviews *Table of ContentsList of Illustrations Acknowledgments 1. Middlebrow Modernism 2. Sentimentality under Erasure in Peter Grimes 3. The Timely Traditions of Albert Herring 4. The Turn of the Screw, or: The Gothic Melodrama of Modernism 5. The Burning Fiery Furnace and the Redemption of Religious Kitsch 6. Death in Venice and the Aesthetics of SublimationNotes Bibliography Index

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Book SynopsisTable of ContentsList of Illustrations Acknowledgments List of Abbreviations Note on Transliteration Introduction 1. Double Narratives or Dukelsky’s The End of St. Petersburg 2. Soviet “méchanique” or the Bolshevik Temptation 3. Neoclassicism à la russe 1 or Reclaiming the Eighteenth Century in Nabokov’s Ode 4. Neoclassicism à la russe 2 or Stravinsky’s Version of Similia similibus curentur 5. 1937 or Pushkin Divided 6. A Feast in Time of Plague 7. Epilogue or Firebird to Phoenix Notes Selected Bibliography Index

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Book SynopsisIs The Marriage of Figaro just about Figaro? Is Don Giovanni's story the only oneor even the most interesting onein the opera that bears his name? For generations of critics, historians, and directors, it's Mozart's men who have mattered most. Too often, the female characters have been understood from the male protagonist's point of view or simply reduced on stage (and in print) to paper cutouts from the age of the powdered wig and the tightly cinched corset. It's time to give Mozart's womenand Mozart's multi-dimensional portrayals of feminine charactertheir due. In this lively book, Kristi Brown-Montesano offers a detailed exploration of the female roles in Mozart's four most frequently performed operas, Le nozze di Figaro, Don Giovanni, Così fan tutte, and Die Zauberflöte. Each chapter takes a close look at the music, libretto text, literary sources, and historical factors that give shape to a character, re-evaluating common assumptions and proposing fresh interpretations. Brown-Montesano views each character as the subject of a story, not merely the object of a hero's narrative or the stock figure of convention. From amiable Zerlina, to the awesome Queen of the Night, to calculating Despina, all of Mozart's women have something unique to say. These readings also tackle provocative social, political, and cultural issues, which are used in the operas to define positive and negative images of femininity: revenge, power, seduction, resistance, autonomy, sacrifice, faithfulness, class, maternity, and sisterhood. Keenly aware of the historical gap between the origins of these works and contemporary culture, Brown-Montesano discusses how attitudes about such conceptspast and currentinfluence our appreciation of these fascinating representations of women.Trade Review“An interesting, unique, well-written study.” * CHOICE *“Brown-Montesano has set out to write something that will be of value to directors and singers in search of a character and general opera lovers who simply want to understand more about Mozart. This lively, perceptive study succeeds brilliantly on all counts.” * Classical Music Magazine *Table of ContentsContentsAcknowledgmentsOvertureAct One: (Anti-)Heroines and Women on the Edge1. Feminine Vengeance I: The Assailed/AssailantDonna Anna2. Sisterhood and Seduction I: Abandonment and RescueDonna Elvira3. Class SurvivalZerlina4. Feminine Vengeance II: (Over)Powered PoliticsThe Queen of the Night5. Good Daughter, Good WifePamina6. Woman’s Identity I: Sacred and ProfaneThe Three Ladies and PapagenaAct Two: Sisterly Alliances and Sisters Subverted7. Sisterhood and Seduction II: Friendship and ClassCountess Almaviva and Susanna8. Woman’s Identity II: Loss and LegitimacyMarcellina and Barbarina9. Sisterhood and Seduction III: Intimacy and InfluenceFiordiligi and Dorabella10. Survival ClassDespinaNotesWorks CitedIndex

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Book SynopsisProposing that Arnold Schoenberg has been more discussed than heard, more tolerated than loved, Allen Shawn puts aside ultimate judgments about Schoenberg's place in music history to explore the composer's fascinating world in a series of linked essayssoundingsthat are both searching and wonderfully suggestive.Trade ReviewA collection of elegant and persuasive essays: analytic discussions of single works and vivid accounts of phases and facets of Schoenberg’s life...Shawn is an engaging writer. -- Anthony Tommasini * New York Times *One of the best things to have happened to the composer in a long time. Allen Shawn, a composer himself, is an admirer of Schoenberg. He gives us the whole man seen from within his cultural environment and from within his music too...Shawn invites us to share with him a spontaneous and warm response to Schoenberg’s music rather than a purely analytical one...Shawn is exceptionally felicitous at finding words for music, which makes him an ideal companion on this journey of discovery. -- George Perle * Wall Street Journal *Nothing in recent years has filled me with an urgent desire to re-engage with [Schoenberg’s music] so much as this sensitive and personal book. -- Bayan Northcott * BBC Music Magazine *Table of ContentsForeword Introduction: Six Little Piano Pieces BRIDGE PASSAGE, 1874-1908 1. First Loves 2. Transfigured Night 3. Dawn: The Gurre-Lieder 4. Berlin Cabaret 5. Coming Apart 6. An Inner Compulsion A NEW FORM OF EXPRESSION, 1909-13 7. Farben 8. Listening to Five Pieces for Orchestra 9. Paths to (and in) Erwartung 10. Wrong Notes 11. Six Little Pieces 12. Theory of Harmony 13. Pierrot 14. Die gluckliche Hand SILENCE, ORDER, AND TERROR, 1914-33 15. Incident at Mattsee 16. Critics and Disciples 17. A Clearing in the Forest: Twelve-Tone Music 18. Satires 19. Catastrophe 20. Moses and Arnold AMERICA, 1933-51 21. Exodus 22. 1940: Stravinsky and Schoenberg 23. Games 24. On Being Short 25. Piano Concerto 26. Death and Rebirth 27. Seventy-fifth Birthday AFTERLIFE 28. Death and Rebirth II 29. Writings about Schoenberg 30. Last Notes: Portrait in Retrograde Suggested Readings Notes Acknowledgments Index

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Book SynopsisPerhaps no twentieth-century composer has provoked a varied reaction among the music-loving public than Jean Sibelius (1865-1957). This book focuses on the position occupied by Sibelius in the Western musical tradition.Trade Review"The connection between Sibelius and the Russian tradition--an influence that went in both directions--is the subject of an excellent essay by Philip Ross Bullock in the book accompanying the festival, Jean Sibelius and His World, from Princeton University Press."--Zachary Woolfe, New York Times "As this collection shows, there is a resurgence of interest in the music of Jean Sibelius... [T]he book is full of useful information."--Choice "Jean Sibelius and His World ends with English translations of a number of important primary documents... Perhaps the most important document is Theodor Adorno's critique 'Goss on Sibelius.' I have read about these documents in many Sibelius essays, here and elsewhere, so we owe a debt of gratitude to Daniel Grimley for making them available in translation. This book represents the high level of current Sibelius scholarship and should be a welcome addition to academic music libraries."--Carl Rafikonen, Notes "[T]his is a fine collection of essays that advances Sibelius research significantly. It bears the title Sibelius and his World, but it also does an excellent job of alerting the reader to Sibelius's relevance to our world."--Derek B. Scott, Music and LettersTable of ContentsAcknowledgments and Permissions vii Sibelius, Finland, and the Idea of Landscape ix PART I: ESSAYS Sibelius and the Russian Traditions by PHILIP ROSS BULLOCK 3 From Heaven's Floor to the Composer's Desk: Sibelius's Musical Manuscripts and Compositional Process by TIMO VIRTANEN 58 Theatrical Sibelius: The Melodramatic Lizard by JEFFREY KALLBERG 74 The Wings of a Butterfly: Sibelius and the Problems of Musical Modernity by TOMI MAKELA 89 "Thor's Hammer": Sibelius and British Music Critics, 1905-1957 by BYRON ADAMS 125 Jean Sibelius and His American Connections by GLENDA DAWN GOSS 158 Art and the Ideology of Nature: Sibelius, Hamsun, Adorno by MAX PADDISON 173 Storms, Symphonies, Silence: Sibelius's Tempest Music 186 and the Invention of Late Style by DANIEL M. GRIMLEY 186 Waving from the Periphery: Sibelius, Aalto, and the Finnish Pavilions SARAH MENIN 227 Old Masters: Jean Sibelius and Richard Strauss in the Twentieth Century by LEON BOTSTEIN PART II: DOCUMENTS 256 Selections from Adolf Paul's A Book About a Human Being 307 TRANSLATED BY ANNIKA LINDSKOG INTRODUCED BY DANIEL M. GRIMLEY Some Viewpoints Concerning Folk Music and Its Influence on the Musical Arts by JEAN SIBELIUS 315 TRANSLATED FROM THE SWEDISH BY MARGARETA MARTIN INTRODUCED BY DANIEL M. GRIMLEY Selection from Erik Furuhjelm's Jean Sibelius: A Survey of His Life and Music 326 TRANSLATED BY MARGARETA MARTIN INTRODUCED BY DANIEL M. GRIMLEY Adorno on Sibelius 331 TRANSLATED BY SUSAN H. GILLESPIE INTRODUCED BY DANIEL M. GRIMLEY Monumentalizing Sibelius: Eila Hiltunen and the Sibelius Memorial Controversy 338 INTRODUCED AND TRANSLATED BY DANIEL M. GRIMLEY Index 355 Notes on the Contributors 368

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Book SynopsisDuring his short lifetime, Franz Schubert (1797-1828) contributed to a wide variety of musical genres, from intimate songs and dances to ambitious chamber pieces, symphonies, and operas. The essays and translated documents in Franz Schubert and His World examine his compositions and ties to the Viennese cultural context, revealing surprising and ovTrade Review"The historical background provided by these essays often sheds light on the music. A thorough index makes this a valuable reference work as well as a good read."--Stephen Matthews, The SchubertianTable of ContentsPreface and Acknowledgments vii Permissions and Credits xvii Schubert: The Nonsense Society Revisited 1 RITA STEBLIN Excerpts from Beytrage zur Bildung fur Junglinge, 1817-1818 39 ANTON VON SPAUN AND JOHANN MAYRHOFER TRANSLATED, INTRODUCED, AND ANNOTATED BY DAVID GRAMIT "Those of us who found our life in art": The Second-Generation 67 Romanticism of the Schubert-Schober Circle, 1820-1825 JOHN M. GINGERICH Schubert's Kosegarten Settings of 1815: A Forgotten Liederspiel 115 MORTEN SOLVIK The Queen of Golconda, the Ashman, and the Shepherd on a Rock: Schubert and the Vienna Volkstheater 157 LISA FEURZEIG Liszt on Schubert's Alfonso und Estrella 183 INTRODUCED AND TRANSLATED BY ALLAN KEILER Schubert's Freedom of Song, If Not Speech 201 KRISTINA MUXFELDT Schubert's Tombeau de Beethoven: Decrypting the Piano Trio in E-flat Major, Op. 100 241 CHRISTOPHER H. GIBBS Schubert in History 299 LEON BOTSTEIN Index 349 Notes on Contributors 363

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Book SynopsisCarlos Chavez (1899-1978) is the central figure in Mexican music of the twentieth century and among the most eminent of all Latin American modernist composers. An enfant terrible in his own country, Chavez was an integral part of the emerging music scene in the United States in the 1920s. His highly individual style--diatonic, dissonant, contrapuntTrade Review"An insightful volume."--William Robin, The New York TimesTable of ContentsPreface ix Acknowledgments xvii Permissions and Credits xviii PART 1 CHAVEZ'S MUSICAL WORLD Chavez, Modern Music, and the New York Scene 2 CHRISTINA TAYLOR GIBSON The Pan/American Modernisms of Carlos Chavez and Henry Cowell 28 STEPHANIE N. STALLINGS "The heartbeat of an intense life": Mexican Music and Carlos Chavez's Orquesta Sinfonica de Mexico, 1928-1948 46 RICARDO MIRANDA Carlos Chavez's Symphonies 62 JULIAN ORBON, TRANSLATED, INTRODUCED, AND ANNOTATED BY LEONORA SAAVEDRA Carlos Chavez and Silvestre Revueltas: Retracing an Ignored Dialogue 76 ROBERTO KOLB-NEUHAUS Aaron Copland, Carlos Chavez, and Silvestre Revueltas 99 HOWARD POLLACK PART II BIOGRAPHICAL AND ANALYTICAL PERSPECTIVES Chavez and the Autonomy of the Musical Work: The Piano Music 112 LUISA VILAR-PAYA Carlos Chavez and the Myth of the Aztec Renaissance 134 LEONORA SAAVEDRA Non-Repetition and Personal Style in the Inventions and Solis 165 AMY BAUER Music and the Marketplace: On the Backstory of Carlos Chavez's Violin Concerto178 DAVID BRODBECK PART III CHAVEZ'S GREATER WORLD Carlos Chavez and the Mexican "Vogue," 1925-1940 204 HELEN DELPAR Carlos Chavez and Paul Strand 220 JAMES KRIPPNER Masters Carlos Chavez and Miguel Covarrubias: A Puppet Show 237 ANTONIO SABORIT, TRANSLATED BY REBECCA LEVI The Literary Affinities and Poetic Friendships of Carlos Chavez 255 SUSANA GONZALEZ AKTORIES, TRANSLATED BY REBECCA LEVI The Composer as Intellectual: Carlos Chavez and El Colegio Nacional 273 ANA R. ALONSO-MINUTTI Portraits of Carlos Chavez: Testimonies of Collaboration 295 ANNA INDYCH-LOPEZ The Modernist Invention of Mexico: Carlos Chavez, the Mexican Revolution, and the Cultural Politics of Music 306 LEON BOTSTEIN Index 339 Notes on the Contributors 357

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Book SynopsisTrade Review"The collection is an amazing potpourri of Puccini scholarship."--ChoiceTable of ContentsAcknowledgments vii Permissions viii Introduction: Puccini, His World, and Ours 1 EMANUELE SENICI PART I: Essays Realism and Skepticism in Puccini's Early Operas 29 ARMAN SCHWARTZ Madama Butterfly Between East and West 49 ARTHUR GROOS Laggiu nel Soledad: Indexing and Archiving the Operatic West 85 ELLEN LOCKHART The Swallow and the Lark: La rondine and Viennese Operetta 111 MICAELA BARANELLO Puccini's Things: Materials and Media in Il trittico 133 ALESSANDRA CAMPANA AND CHRISTOPHER MORRIS Puccini, Fascism, and the Case of Turandot 159 BEN EARLE Music, Language, and Meaning in Opera: Puccini and His Contemporaries 183 LEON BOTSTEIN PART II: Documents Puccini on His Interpreters 229 INTRODUCTION, TRANSLATION, AND COMMENTARY BY EMANUELE SENICI The Verismo Debate 261 INTRODUCTION, TRANSLATION, AND COMMENTARY BY ARMAN SCHWARTZ Leoncavallo's Pagliacci and Modern-Realistic Opera 273 by Hans Merian INTRODUCTION BY WALTER FRISCH, TRANSLATION AND NOTES BY ELAINE FITZ GIBBON Albert Carre's Staging Manual for Madama Butterfly (1906) 291 INTRODUCTION BY MICHELE GIRARDI, TRANSLATION BY DELIA CASADEI; STAGING MANUAL TRANSLATION BY STEVEN HUEBNER Selections from Fausto Torrefranca's Giacomo Puccini and International Opera 323 INTRODUCTION BY ALEXANDRA WILSON, TRANSLATION BY DELIA CASADEI Index 337 Notes on Contributors 347

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Book SynopsisTrade Review"Rimskii-Korsakov and His World is to be welcomed not just for the many riches within it, but for its implicit call to continue the work of reconsidering the composer to whom it is so devoted."---Philip Ross Bullock, Slavonic and East European Review

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Book SynopsisWe know Robert Schumann in many ways: as a visionary composer, a seasoned journalist, a cultured man of letters, and a genius who, having passed his mantle on to the young Brahms, succumbed to mental illness in 1856. Drawing on recent pathbreaking research, this collection offers new perspectives on this seminal nineteenth-century figure. In PartTrade Review"The seven studies of [Robert Schumann] and his music cover the composer's inspirations, his sources, and his relations with numerous interesting people... [a] well-rounded and interesting picture of the composer and his times."--Library Journal "This volume ... edited by the American scholar Larry R. Todd, contains a substantial essay on the composer's cultural background, ... a comparably comprehensive piece ... linking sociological to psychological motives, ... and a fascinating account by the editor of Schumann's use of quotation and self-quotation... Parts 2 and 3 of the book reprint letters, memoirs and critical commentaries by Schumann's contemporaries and successors."--Times Literary Supplement "Rich in new ideas."--ChoiceTable of ContentsPrefaceAcknowledgmentsHistory, Rhetoric, and the Self: Robert Schumann and Music Making in German-Speaking Europe, 1800-18603Schumann's Homelessness47On Quotation in Schumann's Music80Schumann's Symphonic Finales113Schumann's "New Genre for the Concert Hall": Das Paradies und die Peri in the Eyes of a Contemporary129The Intentional Tourist: Romantic Irony in the Eichendorff Liederkreis of Robert Schumann156"Actually, Taken Directly from Family Life": Robert Schumann's Album fur die Jugend171The Correspondence between Clara Wieck Schumann and Felix and Paul Mendelssohn205Reminiscences of Robert Schumann (1878)233Robert Schumann in Endenich (1899)268Schumanniana (1925)288On Robert Schumann's Piano Compositions (1844)303Robert Schumann with Reference to Mendelssohn-Bartholdy and the Development of Modern Music in General (1845)317Robert Schumann (1855)338Schumanniana No. 4: The Present Musical Epoch and Robert Schumann's Position in Music History (1861)362On Schumann as Symphonist (1904-1906)375Index of Names and Compositions385List of Contributors395

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Book SynopsisIn this book, Celia Applegate asks why the 1829 performance of Bach's St. Matthew Passion crystallized the hitherto inchoate notion that music was central to Germans' collective identity.Trade ReviewBach in Berlin is a wonderful piece of scholarship from a leading historian of German national identity.... It is not so much an account of the revival itself, but instead an examination of how educated Germans (the Bildungsbürgertum) learned to view music as a fundamental component of German culture and how they saw Bach, especially in his vocal music, as the epitome of German music: serious, profound, religious. Applegate tells the story brilliantly, traversing disciplinary boundaries with virtuosic ease.... Stunningly original, well-written, and judicious in its handling of historical and musicological controversies, Bach in Berlin is an engaging, first-rate book that should be on the reading list of anyone with interests in nineteenth-century music and German history. -- Anthony J. Steinhoff * H-Germany, H-Net Reviews *Applegate brings together the personnel and circumstances around an event famous in all music history books. Her confident handling of written sources reveals Berlin as a burgeoning city of culture and, let us not forget, military power, both of which were to impinge so radically on Europe that all kinds of historians will find much of interest in Bach in Berlin. I particularly appreciated the excerpts from the day's musical journals, pleased to see that, for example, Bach’s recitative was already admired by the discriminating. * Musical Times *Exemplary.... Applegate arranges her material elegantly around an account of the 1829 performance itself, supported by a detailed examination of the circumstances in which it took shape, and discusses how these illuminate an emerging German culture.... The story of the revival of the St. Matthew Passion is people by vivid characters. Among the principals are Mendelssohn, Schinkel and Goethe, supported by Zelter and Fasch and the actor Eduard Devrient, but the evocation of place and period is made more lively by Applegate's fascination with the coteries surrounding them. -- Richard Coles * Times Literary Supplement *It is easy to enjoy Applegate's fascinating and flawlessly written book, which abounds in colorful prose and into which a myriad of well-chosen and superbly translated quotations are woven. Every page is engaging. -- Mark-Daniel Schmid * Nations and Nationalism *Table of ContentsIntroductionChapter One. Great Expectations: Mendelssohn and the St. Matthew PassionChapter Two. Toward a Music Aesthetics of the NationChapter Three. Music Journalism and the Formation of JudgmentChapter Four. Musical Amateurism and the Exercise of TasteChapter Five. The St. Matthew Passion in Concert: Protestantism, Historicism, and Sacred MusicChapter Six. Beyond 1829: Musical Culture, National CultureBibliography Index

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Book SynopsisThis is a pioneering attempt to rearticulate the relationship between music and the problem of mimesis, of presentation and re-presentation. Four "scenes" compose this book, all four of them responses to Wagner: two by French poets (Baudelaire and Mallarmé), two by German philosophers (Heidegger and Adorno).Trade Review"This is a remarkable book. Not since Theodor Adorno has a theoretical work approached music in as broad, incisive and provocative a way as does Lacoue-Labarthe's Musica Ficta. The book opens up an entirely new perspective for reinterpreting the relations between music, theater, literature, and the philosophical-aesthetical tradition that has largely governed our understanding of those media. For the first time, to my knowledge, recent analyses of representation are brought to bear on the function of music, revealing its particular affinities to theatricality. Musica Ficta breaks new ground." -- Samuel Weber * University of California, Los Angeles *"A remarkable book. Not since Theodor Adorno has a theoretical work approached music in as broad, incisive, and provocative a way. The book opens up an entirely new perspective for reinterpreting the relations between music, theater, literature, and the philosophical-aesthet ic tradition that has largely governed our understanding of those media." -- Samuel Weber * University of California, Los Angeles *"Lacoue-Labarthe's work is a thought-provoking book: the reader embarks on an intellectual journey that draws connections between music, theater, aesthetics, philosophy, and history from ancient Greece to the present. . . . Lacoue-Labarthe offers a point of departure for a new aesthetic of art, one appropriate to the philosophical problems of the 20th Century." -- Wagner NotesTable of ContentsContents 1 2 3 4

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Book SynopsisThis is a pioneering attempt to rearticulate the relationship between music and the problem of mimesis, of presentation and re-presentation. Four "scenes" compose this book, all four of them responses to Wagner: two by French poets (Baudelaire and Mallarmé), two by German philosophers (Heidegger and Adorno).Trade Review"This is a remarkable book. Not since Theodor Adorno has a theoretical work approached music in as broad, incisive and provocative a way as does Lacoue-Labarthe's Musica Ficta. The book opens up an entirely new perspective for reinterpreting the relations between music, theater, literature, and the philosophical-aesthetical tradition that has largely governed our understanding of those media. For the first time, to my knowledge, recent analyses of representation are brought to bear on the function of music, revealing its particular affinities to theatricality. Musica Ficta breaks new ground." -- Samuel Weber * University of California, Los Angeles *"A remarkable book. Not since Theodor Adorno has a theoretical work approached music in as broad, incisive, and provocative a way. The book opens up an entirely new perspective for reinterpreting the relations between music, theater, literature, and the philosophical-aesthet ic tradition that has largely governed our understanding of those media." -- Samuel Weber * University of California, Los Angeles *"Lacoue-Labarthe's work is a thought-provoking book: the reader embarks on an intellectual journey that draws connections between music, theater, aesthetics, philosophy, and history from ancient Greece to the present. . . . Lacoue-Labarthe offers a point of departure for a new aesthetic of art, one appropriate to the philosophical problems of the 20th Century." -- Wagner NotesTable of ContentsContents 1 2 3 4

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Book SynopsisOne of America’s most beloved folk singers, Arlo Guthrie was at the pinnacle of his fame in the late 1960s and early 1970s. Yet Guthrie’s career extends far beyond his years in the celebrity spotlight. Rising Son, written by Hank Reineke, recounts the veteran musician’s second act, from the early 1980s to the present.Trade Review“An elegantly written, well-researched listening companion for fans. The passages of Arlo Guthrie’s own words add a lot of texture to the book.”—Gustavus Stadler, author of Woody Guthrie: An Intimate Life “This book concludes Hank Reineke’s chronicle of Arlo Guthrie’s recording and performing career, following on from his previous volume, Arlo Guthrie: The Warner/Reprise Years. Taken together, these two volumes provide the most detailed account of the professional career of one of the most important singer-songwriters of the American twentieth and twenty-first centuries.”—Will Kaufman, author of Woody Guthrie, American Radical, Woody Guthrie’s Modern World Blues, and Mapping Woody Guthrie

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Book SynopsisLouisiana's unique multicultural history has led to the development of more styles of American music than anywhere else in the country. Encyclopedia of Louisiana Musicians compiles over 1,600 native creators, performers, and recorders of the state's indigenous musical genres.

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Book SynopsisA contribution to the history of the blues and of Afro-American culture in general. Writing from a black/feminist standpoint, Harrison shows the joys, trials, heartbreaks and enduring influence of such singers as Victoria Spivey and Alberta Hunter.Table of ContentsList of Illustrations Acknowledgments Introduction 1. Riding "Toby" to the Big Time 2. "Crazy Blues" Starts a New Craze 3. "Wild Women Don't Have the Blues": Blues from the Black Woman's Perspective 4. "Up the Country..." and Still Singing the Blues: Sippie Wallace 5. Blue Was Her Business: Victoria Spivey 6. "He Used to Be Your Man..." But He's Edith Wilson's Now 7. She's Got a Mind to Ramble: Alberta Hunter Conclusion Other Blues Singers Selected Blues Titles by Women Notes Glossary of Colloquialisms Selected Discography Bibliography Subject Index Index of Song Titles

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Book SynopsisTrade ReviewFrom Library JournalThis new collection of scholarly articles on Bob Dylan proves that there are new angles from which to approach his life, his artistic evolution, and his unmatched influence on music and culture. Dylan is inarguably one of the most dissected and discussed artists, musical or otherwise, of the last half-century, and these 20 distinctive, thoughtful, and erudite essays by, e.g., Greil Marcus and international academics from a variety of disciplines such as linguistics, music theory, and African American studies are all welcome additions. As Sheehy (director & CEO, Plains Art Museum) and Swiss (coeditor, New Media Poetics) explain, the articles here do not attempt to solve the myriad puzzles surrounding Dylan; rather, the book poses familiar questions in a fresh manner. Contributions about how Bobby Zimmerman from rural Minnesota became international cultural icon Bob Dylan, what influences his songwriting, and how his songs are having a global impact will be of strong interest to scholars and fans alike. —Douglas King, Univ. of South Carolina Lib., Columbia

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Book SynopsisNeither a true biography in the Boswellian sense nor a work of cultural studies, although it combines elements of both. Even as biographer Jerry Grillo has investigated and pursued the facts, this life history of Col. Bruce reads like a novel-one full of amazing and hard-to-believe tales of a musical life lived on and off the road.

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Book SynopsisPresents the biography of Ernest Tubb. Tracing a career that began in the 1930s and continued until just a few years before Tubb's death in 1984, this title also presents the long and legendary life of the Texas Troubadour and also an unparalleled view of the world of country music in which Ernest Tubb played an essential part.Trade Review“Ernest Tubb . . . he was always bigger than life to me. Every time I sang with him, it was always the same . . . he is immortal. His life and helping hand touched mine and many more in a special way. Ronnie Pugh captured the heart and soul of Ernest Tubb in Ernest Tubb: The Texas Troubadour. This book should be a part of every country music fan’s library.”—Loretta Lynn“In many ways, Tubb is the father of modern country music, and this book is the definitive account of his career. It chronicles an age of country music that has too often been ignored by earlier writers in the field, a terra incognita in which are found the wellsprings of modern country music and the methods of presenting it. This is the best biography of any modern country music artist I have read. It will become a definitive book on American culture.”—Charles Wolfe, author of Kentucky Country, Tennessee Strings and co-author of The Life and Legend of Leadbelly“Ronnie Pugh has spent years studying and researching the life and career of my father, Ernest Tubb . . . and the picture he has painted is right on the money! It’s all here, the good and the bad. Reading the book was like having my dad back for a little while.”—Justin Tubb“The first phonograph record I ever purchased was by Ernest Tubb. He was my hero long before he became my friend. Country music has never produced a kinder, gentler, more caring humanitarian than the Texas Troubadour. Ronnie Pugh’s book is a vivid and touching portrayal of a gifted entertainer and a marvelous human being.”—Bill Anderson“This book takes its place as a standard in country music studies. Ronnie Pugh’s outstanding scholarship goes very far beyond much that remains tawdry in pop culture hype. He stands with Bill Malone, Bob Pinson, Joe Dan Boyd, Dave Whisnant, and fellow ‘natives’ who loved ‘their’ music in childhood and, as adults, paid it the dues of critical respect.”—Archie Green, author of Only a Miner and Wobblies, Pile Butts, and Other Heroes

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Book SynopsisWith the exception of a few dance recordings, including "Is It All Over My Face?" and "Go Bang! numbered 5", Arthur Russell's pioneering music was largely forgotten until the issue of two albums in 2004 triggered a revival of interest. This title presents the life Russell.Trade Review“[A] sensitive and thorough biography. . . . In a sense, Arthur Russell was so much a part of his times that he tended to disappear into them, blending in with so many different scenes that the camouflage seemed at times to have taken over. Lawrence notes, for example, how many previous accounts of the New York downtown scene fail to notice him at all. With Hold On to Your Dreams, the outline of an outstanding and prescient artist can now be more clearly made out.” - Ken Hollings, The Wire“[W]hat makes this book valuable is that Russell’s shadowy ubiquity turns an ostensible biography into a first draft of that elusive comprehensive history of the downtown performing arts. Hold On to Your Dreams has to go everywhere, because that’s where Russell went. . . . [E]ven if you didn’t know about Russell and are not yet persuaded to pursue him further, this is still a book worth reading. . . . Psychologically, Russell emerges as indeed fascinating, more fascinating than his music, as a maverick without, Lawrence notes, the feisty self-righteousness such figures often embody. . . . Russell has inspired a book that helps us understand a thrilling twenty-five years of American cultural history.” - John Rockwell, Bookforum“[An exhaustive, often spellbinding account of the life of one of music’s true maverick enigmas. . . . While the book provides many fresh insights into the 80s downtown hotbed, Russell emerges as a strange, fragile figure, in a monumental work. Hold On To Your Dreams is a captivating record of a true original’s all-too-brief life.” - Kris Needs, Record Collector“The passionate, revelatory anecdotes collected here follow Russell through those liminal downtown nightclubs, loft spaces, and recording studios that made his life and music possible.” - Carol Cooper, Village Voice“[A]n exemplary demonstration of exactly what a biography should do. In his rigorously researched investigation of musician and composer Arthur Russell, cultural theory lecturer Tim Lawrence effortlessly explores his subject and in so doing shines fresh light on the darkened recesses of both New York's downtown music scene and the popular cultural landscape of Russell's times. And despite Russell's relative obscurity, the book leaves you in no doubt as to how influential this maverick music figure has been.” - Martin James, Times Higher Education Supplement“Hold On to Your Dreams tells the story of an artist whose life becomes more intriguing with every turn. Inspiring and written with love, this book takes us to the roots of Arthur Russell’s music, from the streets of New York to the cornfields of Iowa.”—Jens Lekman, musician“Tim Lawrence has written a fascinating and insightful biography of a sensitive and searching soul. Arthur Russell was a personal artist whose musical vision led him to coexist in seemingly incompatible worlds. Through the lens of Arthur Russell’s life (never clouded with material success or celebrity), Tim Lawrence gives us a sharp and singular portrait of late-twentieth-century American life. A fine read, with a depth and detail that resonate with Arthur Russell’s sparkle and wit.”—Peter Gordon, Love of Life Orchestra“With rich and animated detail, Tim Lawrence tracks Arthur Russell’s insatiable drive to integrate so-called serious music and pop. This definitive biography is both an engrossing record of Russell’s musical ambitions and a compelling account of the fertile downtown scene that supported his admirable dreams.”—Matt Wolf, director of Wild Combination: A Portrait of Arthur Russell“[A] sensitive and thorough biography. . . . In a sense, Arthur Russell was so much a part of his times that he tended to disappear into them, blending in with so many different scenes that the camouflage seemed at times to have taken over. Lawrence notes, for example, how many previous accounts of the New York downtown scene fail to notice him at all. With Hold On to Your Dreams, the outline of an outstanding and prescient artist can now be more clearly made out.” -- Ken Hollings * The Wire *“[A]n exemplary demonstration of exactly what a biography should do. In his rigorously researched investigation of musician and composer Arthur Russell, cultural theory lecturer Tim Lawrence effortlessly explores his subject and in so doing shines fresh light on the darkened recesses of both New York's downtown music scene and the popular cultural landscape of Russell's times. And despite Russell's relative obscurity, the book leaves you in no doubt as to how influential this maverick music figure has been.” -- Martin James * Times Higher Education *“[An exhaustive, often spellbinding account of the life of one of music’s true maverick enigmas. . . . While the book provides many fresh insights into the 80s downtown hotbed, Russell emerges as a strange, fragile figure, in a monumental work. Hold On To Your Dreams is a captivating record of a true original’s all-too-brief life.” -- Kris Needs * Record Collector *“[W]hat makes this book valuable is that Russell’s shadowy ubiquity turns an ostensible biography into a first draft of that elusive comprehensive history of the downtown performing arts. Hold On to Your Dreams has to go everywhere, because that’s where Russell went. . . . [E]ven if you didn’t know about Russell and are not yet persuaded to pursue him further, this is still a book worth reading. . . . Psychologically, Russell emerges as indeed fascinating, more fascinating than his music, as a maverick without, Lawrence notes, the feisty self-righteousness such figures often embody. . . . Russell has inspired a book that helps us understand a thrilling twenty-five years of American cultural history.” -- John Rockwell * Bookforum *“The passionate, revelatory anecdotes collected here follow Russell through those liminal downtown nightclubs, loft spaces, and recording studios that made his life and music possible.” -- Carol Cooper * Village Voice *Table of ContentsIllustrations xi Preface xv Acknowledgments xxiii Introduction 1 1. Formations (1951–1973) 11 2. Explorations (1973–1975) 47 3. Alternatives (1975–1977) 83 4. Intensities (1977–1980) 125 5. Variations (1980–1984) 179 6. Reverberations (1984–1987) 247 7. Tangents (1987–1992) 293 Epilogue 341 Notes 359 Discography 377 Bibliography 387 Index 393

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Book SynopsisPaying particular attention to hula performances that toured throughout the U.S. beginning in the late nineteenth century, Adria L. Imada investigates the role of hula in the American colonization of Hawai'i.Trade Review"Attentive to global forces of U.S. imperialism and to the agency of discrete cultural producers, Adria L. Imada conceives of Hawaiian hula as constitutive of colonial relations involving collaboration and resistance. Moreover and significantly, 'hula circuits' outside of Hawai`i, she suggests, sustained Hawaiian culture (and hence nationhood) even as they transformed it—an astute and provocative contention."—Gary Y. Okihiro, author of Island World: A History of Hawai’i and the United States"In Aloha America, Adria L. Imada shows how U.S. elites used a blend of tropicalism and orientalism to facilitate U.S. domination over Hawai'i. By foregrounding the eroticized bodies of Hawaiian women hula dancers, these elites created what Imada calls an 'imagined intimacy' between the U.S. public and the subjugated Hawaiians. The sexualized images of Hawaiian women helped to occlude resistance to U.S. imperialism in the Pacific and to make Hawai'i suitable for statehood by shifting Americans' attention away from its large Asian immigrant population. At the same time, hula served as a countercolonial archive of collective Hawaiian memory, preserving preconquest histories, epistemologies, and ontologies."—George Lipsitz, author of How Racism Takes Place“[An] extensively researched history. . . . Archival digs brought Imada into contact with surviving dancers and their families, whose stories she wove with her own experiences to produce a comprehensive account of how the “adaptive and resilient practice” of hula works in conjunction with tourism. . . .Fascinating photographs of the dancers—with careful commentary on poses and dress—illuminate the mannerisms and views of the performers. “ * Publishers Weekly *“For a reader who is not deeply familiar with hula and its culture, and may be guilty of watching hula simply for the entertainment factor, Aloha America is a refreshing page-turner. Albeit the moderate level of scholarly information, Imada makes the text easy to digest, also injecting touching anecdotes of hula life behind the stage lights. The final product is a book that is more an interesting field study than strict academic rhetoric.” -- Jamie Noguchi * Honolulu Weekly *“Well written and beautifully illustrated with archival photographs, the book provides dynamic portrayals of individual Hawaiians…With chapter 3, on world exhibitions in the United States, as the book’s centerpiece, Imada tells a lively and layered history of hula circuits in the U.S. empire, an important story about hula practices and people operating beyond Hawaii but never outside its politics.” -- Cristina Bacchilega * Journal of American History *“Aloha America is an impressive and provocative book. It will command a broad readership among scholars of American studies, colonial and postcolonial studies, gender studies, indigenous studies, performance studies, and U.S. history.” -- Christine Skwiot * American Historical Review *“In Aloha America, Adria L. Imada offers a nuanced and detailed study of how hula performers from Hawai’i negotiated the objectifying gaze of audiences...Imada writes in a clear and engaging style, breaking down the theoretical concepts she draws from in concise and digestible fashion.” -- Vernadette V. Gonzalez * Hawaiian Journal of History *“Aloha America is an original, important contribution to Asian American studies as it foregrounds Hawaiian cultural movements, U.S. imperialism in the Pacific, and the embodied and emotional intimacies that shape gendered and sexualized relations between colonized and colonizer. It is theoretically sophisticated, empirically robust, and highly engaging...” -- Miliann Kang * Journal of Asian American Studies *“Aloha America is a richly textured and engaging narrative of the fraught relationship between the United States and Hawai’i as seen through the lens of hula, the region’s most recognizable and widely circulated cultural practice…. This is an utterly engaging and thorough work of scholarship, and it is a welcome contribution to the fields of dance, theatre, and performance studies, one that also deeply engages indigenous studies, gender studies, and American studies frameworks…. What Imada provides is a deep understanding of racially mixed, commoner-status, (mostly) female artists’ lives as they navigated the globe, imperial politics, and their own modern desires.” -- Angela K. Ahlgren * Theatre Journal *Table of ContentsNote on Language ix Acknowledgments xi Introduction. Aloha America 1 1. Lady Jane at the Boathouse: The Intercultural World of Hula 29 2. Modern Desires and Counter-Colonial Tactics: Gender, Performance, and the Erotics of Empire 59 3. Impresarios on the Midway: World's Fairs and Colonial Politics 103 4. "Hula Queens" and "Cinderella": Imagined Intimacy in the Empire 153 5. The Troupes Meet the Troops: Imperial Hospitality and Military Photography in the Pacific Theater 213 Epilogue. New Hula Movements 255 Chronology. Hawai'i Exhibits at International Expositions, 1894–1915 269 Abbreviations of Collections, Libraries, and Archives 271 Notes 273 Glossary 337 Bibliography 339 Index 357

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Book SynopsisTony Allen is the autobiography of legendary Nigerian drummer Tony Allen, the rhythmic engine of Fela Kuti's Afrobeat.Trade Review“There’s a sentence in the introduction where Veal, a Yale professor, uses the phrase ‘indigenization of jazz drumming’, but don’t let that put you off. The academic is present primarily to transcribe and edit, while Allen reflects on 50 years at the coalface. . . One of the great sidemen, Allen here cuts mercilessly through the bullshit.” -- David Hutcheon * Mojo *“Allen bring us his inspirational biography. Written together with Michael Veal, author of Fela Kuti’s biography, this is the most accessible Afrobeat book of them all. . . . Highly recommended for anyone with an interest in the history of West-African popular music.” * AfrobeatMusic.net *“Tony Allen is a fascinating insider’s view of how a musician and a musical style developed over time. Allen is a compelling storyteller and sharp observer whose memories bring forth a stream of ideas, anecdotes, humor, and life lessons that add up to an insightful auto-ethnography. Well-organized and concise, the book flows as a story of one of the most important West African musicians of the past 50 years, a narrative of creativity in post-colonial African popular music, and sound advice on how to have a long and productive career in music.” -- Thomas Brett * Popular Music and Society *“This master drummer’s account is enriched by unstinting critical appraisal, whether evaluating Fela’s most loved recordings or his own subsequent solo efforts. Tony Allen, ever restless, retains the enthusiasm of an absolute beginner, tempered with a survivor’s wisdom. His life obviously a work in progress, one anticipates music yet to come and the stories that surface in its wake.” -- Richard Henderson * The Wire *“[D]rummers are going to love this book. With so few autobiographies of drummers in print, the publication of Tony Allen: An Autobiography of the Master Drummer of Afrobeat is a cause for celebration. . . . Most importantly, the book is a hell of a lot of fun to read, although Allen's first-hand accounts of his struggles with shamanistic bandleader and Nigeria's adopted ‘black president’ Fela Anikulapo-Kuti will piss off any musician who has had to fight to get paid for playing a gig." -- Chris Becker * All About Jazz *“After decades of being underpaid and underappreciated for his contributions with Kuti and beyond, it’s satisfying to see Tony Allen: An Autobiography of the Master Drummer of Afrobeat in print. Drummers, fans of African music, and lovers of music more generally will find a lot to love in this book.” -- Zachary Stockill * Popmatters *"There is much to enjoy from his account of growing up and becoming part of 'swinging Lagos' pre 1978, before it was unsafe to venture out at night. The part describing his musical influences and relationship with Fela Kuti is illuminating. Tony, one of the originators of Afrobeat, still plays to sellout crowds in his seventies . . . demonstrating that age is just a number. Allen's autobiography is a gem." * The Voice *“Anyone who knows their Afrobeat will tell you how pivotal the kit drummer Tony Allen was to the genre’s development. Indeed, as . . . Michael Veal points out in this important, deftly crafted book, the pairing of Allen and the late great Fela Anikulapo Kuti could be likened to partnerships between such jazz supernovas as Coltrane and Elvin Jones; Miles and Philly Joe Jones; Ornette and Billy Higgins.” -- Jane Cornwel * Jazzwise *“This is not a slice of dry academia, what we get in this incredibly fruitful collaboration is 160 pages of rich revealing narrative that is so engrossing that I missed my stop on the tube. . . . Basically, I couldn’t put the book down and it had me sifting through the records to provide a soundtrack to the narrative.” -- Paul Brad * Ancient to Future *“This is a much needed, truly fascinating book. . . . Allen spins the tale of his life, and of the evolution of one of the great popular musical styles of the 20th century, like the great storyteller he is. It’s a narrative filled with tasty anecdotes and twinkling details, which just add to its momentum. You can almost see the wry smile on his face as he challenges you to make up his own mind . . . Allen’s totally absorbing narrative was edited and shaped by Michael E. Veal. . . . In his introduction he treats us to an unbeatably succinct, lucidly accurate contextual analysis of Allen as a ‘Yoruba modernist’. He also gets to grips with how the Allen technique works. . . . This is highly readable and highly recommended.” -- Max Reinhardt * Songlines *Table of ContentsAcknowledgments ix Introduction / Michael E. Veal 1 1. Right in the Center of Lagos 21 2. Highlife Time 36 3. The Sky was the Limit 47 4. God's Own Country 68 5. Swinging Like Hell! 85 6. Everything Scatter 108 7. Progress 128 8. When One Road Closes . . . 146 9. Paris Blues 162 10. No End to Business 175 Selected References 187 Index 193

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Book SynopsisPart ethnography, part biography, and part Caribbean music history, Roy Cape is about the making of reputation and circulation, and about the meaning of labor and work ethics. An experiment in storytelling, it joins Roy's voice with that of ethnomusicologist Jocelyne Guilbault.Trade Review“The book is rich in the details of Cape’s life and his times. . . .Recommended.” -- T. E. Miller * Choice *“This is a superb book on a much-neglected area of world music: the pivotal role played by the bandleader, who for too long has remained in the shadows.” -- Charles de Ledesma * Songlines *"The unique style of interweaving storytelling and anthropological research with the voices of Roy Cape, the subject of this work, and Jocelyne Guilbault, an astute ethnomusicologist, is both refreshing and exciting.... Roy Cape: A Life on the Calypso and Soca Bandstand is a mustread for all researchers, students, aspiring musicians, and aficionados of popular music in general and of Caribbean music and popular music culture in particular." -- Donna P. Hope * Journal of Anthropological Research *"Jocelyne Guilbault... is one of the few non-Caribbean ethnomusicologists who has researched Eastern Caribbean music as if she is an insider, particularly from the perspective of band members rather than headline singers. Together in unique collaboration, this matched pair has created a short book that both illuminates the career of a pivotal musician and constructs a refreshing approach to narrative, diologic ethnomusicology." -- Donald Hill * American Anthropologist *“Roy Cape: A Life on the Calypso and Soca Bandstand is a successful path finding experiment in terms of its content as well as of its form…. In departing from traditional or conventional biography towards the multivocal, multimodal presentation of Roy Cape, the book alters researchers to the fact that they, like Nobel-Prize winner Derek Walcott, need to create new metaphors for and forms of communicating our collective (musical) experience.” -- Louis Regis * World of Music *"[A]n admirable collaboration, both in producing new perspectives to existing Caribbean scholarship and in demonstrating that there is still much to learn from 'behind the scenes' of the West Indian carnival music industry." -- Amelia K. Ingram * Latin American Music Review *"[W]hile reading Roy Cape, readers may end up feeling as though they are sitting around a coffee table in Trinidad with Guilbault and Cape, passing around old pictures and telling school stories or reminiscing about bands, sometimes with friends dropping by to lime (laugh, joke, drink, and tell stories)." -- Gage Averill * Musicultures *Table of ContentsList of Illustrations ix Acknowledgments xi Notes on the Text xv Introduction 1 1. For the Love of Music: Up from the Panyards and at the Orphanage 23 2. Working as a Bandsman 42 3. Listening to Roy Sounding 76 4. Leading the Band 99 5. Remembering with Pictures 135 6. Working with Roy: Musicians and Friends Speak 183 7. Circulation: Summarizing a Career 207 Afterword. Writing Voices 229 Notes 233 Select Discography 259 References 261 About the Companion CD 277 Index 279

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Book SynopsisPart ethnography, part biography, and part Caribbean music history, Roy Cape is about the making of reputation and circulation, and about the meaning of labor and work ethics. An experiment in storytelling, it joins Roy's voice with that of ethnomusicologist Jocelyne Guilbault.Trade Review“The book is rich in the details of Cape’s life and his times. . . .Recommended.” -- T. E. Miller * Choice *“This is a superb book on a much-neglected area of world music: the pivotal role played by the bandleader, who for too long has remained in the shadows.” -- Charles de Ledesma * Songlines *"The unique style of interweaving storytelling and anthropological research with the voices of Roy Cape, the subject of this work, and Jocelyne Guilbault, an astute ethnomusicologist, is both refreshing and exciting.... Roy Cape: A Life on the Calypso and Soca Bandstand is a mustread for all researchers, students, aspiring musicians, and aficionados of popular music in general and of Caribbean music and popular music culture in particular." -- Donna P. Hope * Journal of Anthropological Research *"Jocelyne Guilbault... is one of the few non-Caribbean ethnomusicologists who has researched Eastern Caribbean music as if she is an insider, particularly from the perspective of band members rather than headline singers. Together in unique collaboration, this matched pair has created a short book that both illuminates the career of a pivotal musician and constructs a refreshing approach to narrative, diologic ethnomusicology." -- Donald Hill * American Anthropologist *“Roy Cape: A Life on the Calypso and Soca Bandstand is a successful path finding experiment in terms of its content as well as of its form…. In departing from traditional or conventional biography towards the multivocal, multimodal presentation of Roy Cape, the book alters researchers to the fact that they, like Nobel-Prize winner Derek Walcott, need to create new metaphors for and forms of communicating our collective (musical) experience.” -- Louis Regis * World of Music *"[A]n admirable collaboration, both in producing new perspectives to existing Caribbean scholarship and in demonstrating that there is still much to learn from 'behind the scenes' of the West Indian carnival music industry." -- Amelia K. Ingram * Latin American Music Review *"[W]hile reading Roy Cape, readers may end up feeling as though they are sitting around a coffee table in Trinidad with Guilbault and Cape, passing around old pictures and telling school stories or reminiscing about bands, sometimes with friends dropping by to lime (laugh, joke, drink, and tell stories)." -- Gage Averill * Musicultures *Table of ContentsList of Illustrations ix Acknowledgments xi Notes on the Text xv Introduction 1 1. For the Love of Music: Up from the Panyards and at the Orphanage 23 2. Working as a Bandsman 42 3. Listening to Roy Sounding 76 4. Leading the Band 99 5. Remembering with Pictures 135 6. Working with Roy: Musicians and Friends Speak 183 7. Circulation: Summarizing a Career 207 Afterword. Writing Voices 229 Notes 233 Select Discography 259 References 261 About the Companion CD 277 Index 279

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a huge range and FREE tracked UK delivery on ALL orders.

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a huge range and FREE tracked UK delivery on ALL orders.

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Book SynopsisChronically associates artistic maturity either with transcendence, degeneration, or irrelevance. This volume looks to the non-representational arts of music, abstract painting and sculpture, and architecture for fresh insight into the juncture of aesthetics and mortality.

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Book SynopsisPresents for the first time the complete surviving correspondence of the outstanding Brazilian composer Heitor Villa-Lobos [1887-1959], one of the most colourful figures in twentieth-century music.This complete edition of the letters of the Brazilian composer Heitor Villa-Lobos, collected for the first time in any language, details his stay in the Paris of the 1920s, his work in Brazil and the 1930s and `40s and his international travels as conductor of his own music. The letters also discuss commissions for ballets, concertos and other works. Lisa M. Peppercorn, who knew Villa-Lobos, is the acknowledged expert on the life and music of this colourful figure, and she gives a detailed commentary on the events giving rise to the letters. A chronology gives a detailed account of Villa-Lobos' life, which is thoroughly illustrated with photographs of the persons and places associated with Villa-Lobos, facsimiles of works and concert programmes, and so on. The letters thus form a guide to the most productive years of his life.

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Book SynopsisThis first volume of a projected two volume study of the music of John Jenkins concentrates exclusively on his consorts for viols.John Jenkins (1592-1678) was both the most prolific and most esteemed of English composers between the death of Byrd and the rise of Purcell. During his long life he was employed as a resident musician in East Anglian noble households and became a court musician to Charles II in his later years.This is the first in a two-volume study of Jenkins and his music. It presents a biographical introduction to the composer then concerns itself exclusively with the superb consorts for viols which dominate the early part of the composer's career. It is profusely illustrated with music examples and discusses virtually every work in this form. ANDREW ASHBEE is an internationally renowned expert on C17th English instrumental music, has edited a number of volumes of music from the period, and is an author, broadcaster and lecturer.Trade ReviewAshbee's...scholarship is exemplary and his book is easy to read...an extremely important contribution to our knowledge of English music of the seventeenth century, and will no doubt be the standard work on Jenkins for some time to come. * LUTE SOCIETY JOURNAL *One could not have a more sure-footed guide. * JOURNAL OF THE VIOLA DA GAMBA SOCIETY *

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Book SynopsisOffers a unique perspective in to what it takes to perform Richard Wagner's operas.Performing Wagner studies each of the iconic Wagnerian heldentenor roles from the unique perspective of the performer. Stephen Gould studied and acted them hundreds of times in scores of productions around the world prior to his passing in 2023. In this thoughtful book, he offers insights to building a character, understanding the dramatic arc of each role, analysing each scene for cogency and dramatic structure, and finding the clues embedded in the music and the words. His intelligence and eloquence offer perspectives that only a performer can experience. The book is unique in opera literature. Neither a memoir nor a musical analysis, Performing Wagner is a practical guide to preparing for, and performing, these roles. Stephen Gould hoped to share his experiences with enthusiasts of Wagner's works, as well as opera audiences more generally who seek to learn what singing actors do in performance. It is invaluable to young artists approaching this repertoire and to scholars studying Wagner's dramaturgy. More broadly, this volume speaks to the condition of every opera fan who has ever been floored by a great performance and wondered, 'how did they do that?'A chapter is devoted to each role, and a foreword is provided by Katharina Wagner, the composer's great-granddaughter and Director of the Wagner Festival in Bayreuth, Germany.

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Book SynopsisThe writings of David Cairns have played a major part in the relatively recent acceptance of Berlioz as a central figure in western classical music. Discovering Berlioz collects articles, lectures and other texts from several decades of advocacy, throwing new light on this outsize personality - the Romantic composer par excellence.For the past half-century and more David Cairns has been one of the world's pre-eminent Berlioz scholars, translating Berlioz's freewheeling memoirs and writing a monumental biography of the composer that earned a procession of awards. But many of Cairns' writings on Berlioz were intended for particular audiences - the Berlioz Society Bulletin, articles in books and journals, contributions to newspapers (he was a critic for The Sunday Times for 25 years) and lectures - and have never been collected between a single set of covers. Discovering Berlioz presents nearly 40 essays from the past five decades that even now throw unexpected light on this most quixotic and profound of composers - firebrand and philosopher almost in the same breath. These articles follow the chronology of Berlioz's life, examining the influences of his provincial childhood on his music, the revelations of Virgil, Gluck, Shakespeare and Beethoven, the tribulations of his professional life in Paris, when the pressure to earn a living as a reviewer and writer robbed him of the time he should have spent on composition, and finally focusing on the masterpiece that crowned Berlioz's difficult life, the operatic epic Les Troyens. Discovering Berlioz also charts the history of Berlioz reception: the composer who in the mid-twentieth century was regarded as aneccentric outsider is now seen as one of the most vital figures in the history of western music - a re-assessment for which David Cairns himself deserves much of the credit.Trade ReviewInterest and diversity are maintained throughout...crammed full of useful, relevant and readable insights. For readers both familiar and unfamiliar with the biographical and musical material that occupy Cairns's first three Berlioz volumes, not to mention complete beginners with this composer, this should be an essential purchase. * GRAMOPHONE *Full of reminiscences, rich in appreciation of the great Berlioz conductors and scholars of the past and present, Cairns's book is a goldmine of analysis and memories. * MUSICAL OPINION *

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Book SynopsisThe Polish-born, British-based pianist André Tchaikowsky (1935-82) saw himself principally as a composer- one of several conflicting elements in his personality, charted by the diaries he kept between 1974 and 1982.André Tchaikowsky was only 46 when he died, internationally renowned as a pianist - and he made the headlines after his death when he left his skull to the Royal Shakespeare Company for use in performances of Hamlet. Yet for all his facility at the keyboard Tchaikowsky's real passion was composition. The internal conflict between pianist and composer compounded an already complex character. A Polish Jew and Holocaust survivor, Tchaikowsky was also a homosexual. The diaries he kept between 1974 and his death chronicle the struggles that ran through his life. Debt kept driving him back to the concert platform when his true wish was to find the time to compose. His spirited writing details the joys and vicissitudes of his life with striking candour. The diaries are introduced and annotated by Anastasia Belina-Johnson, who also provides a chronology of Tchaikowsky's life and a survey of his music. Includes a CDof the pianist in recital.Anastasia Belina-Johnson is Head of Classical Music at the Leeds College of Music.Trade ReviewAn absorbing read and a significant step in Tchaikowsky studies. * MUSIC & LETTERS *A valuable book in rediscovering a vital talent undeservedly overlooked for too long. * CLASSICAL MUSIC *This is a very well-researched 'biography'. The edited diaries [are] especially revealing, and I came away from them feeling I had really got under the skin of this fascinating character ... If [Belina-Johnson's] intentions were to reawaken an interest in this almost forgotten musician, she has truly succeeded. , January 2014 * MUSICWEB INTERNATIONAL, January 2014 *

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Book SynopsisMoira Bennett casts her perceptive, wry and amused eye over a childhood and adolescence in South Africa and her years raising sponsorship for the Aldeburgh Festival, the Barbican Centre and the London Symphony Orchestra.In her early fifties, Moira Bennett was widowed with a school-age son and in need of a job. With virtually no previous working experience but full of energy and determination, she found herself working at the Britten-Pears Schoolat Snape, helping to run masterclasses for young professional musicians studying with artists such as Peter Pears, Galina Vishnevskaya, Mstislav Rostropovich, Hugues Cuénod and William Pleeth. Her gift for arts administration - understanding the needs of performers and audiences - was soon to become highly valued at Aldeburgh, as she became the Registrar at the Britten-Pears School and went on to create the post of Development Director in the early days ofcommercial sponsorship of the arts. She was later invited to take on a similar role at the Barbican Centre, supporting a series of international arts festivals, before going on to work with the London Symphony Orchestra.In 2012 the Bittern Press published Moira Bennett's history of the Britten-Pears School, Making Musicians, which Classical Music magazine made one its Books of the Year. Now in her early nineties, Moira Bennett has written an extraordinary autobiography, casting an astute eye over her childhood and adolescence in South Africa, the impact of the Second World War and the Apartheid years on the country, and her second, 'unexpected', life in the arts.

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Book Synopsis Joe Wilder set the table. His struggles made it easier for me and many others.--From the Foreword by Wynton Marsalis Trumpeter Joe Wilder is distinguished for his achievements in both the jazz and classical worlds. He was a founding member of the Symphony of the New World, where he played first trumpet, and he performed as lead trumpet and soloist with Lionel Hampton, Jimmy Lunceford, Dizzy Gillespie, and Count Basie. Yet Wilder is also known as a pioneer who broke down racial barriers, the first African American to hold a principal chair in a Broadway show orchestra, and one of the first African Americans to join a network studio orchestra. In Softly, with Feeling, Edward Berger tells Wilder''s remarkable story-from his growing up in working-class Philadelphia to becoming one of the first 1,000 black Marines during World War II-with tremendous feeling and extensive reminiscences by Wilder and his colleagues, including renowned PhiladelphTable of ContentsForeword by Wynton Marsalis Preface Acknowledgments 1 The Making of a Musician: Philadelphia (1922–1938) Musical Beginnings Colored Kiddies of the Air: “Little Louis” Meets Pops William T. Tilden Junior High School 2 From Student to Pro (1938–1943) Mastbaum The Harlem Dictators Leaving Home: Les Hite Lionel Hampton 3 Integration of the Armed Forces: The Montford Point Marines (1943–1946) 4 Big Band Odyssey (1946–1950) Hampton Redux Jimmie Lunceford Dizzy Gillespie Lucky Millinder Sam Donahue Herbie Fields 5 New York (1950–1953) Noble Sissle and the Diamond Horseshoe Breaking Barriers on Broadway Wilder on Broadway Manhattan School of Music 6 On the Road Again: Count Basie (1953–1954) 7 Back on Broadway and into the Studios (1954–1957) Silk Stockings and Most Happy Fella The Urban League: Integrating the Music Industry Developing a Style: Recordings in the 1950s From Mainstream to Third Stream 8 On Staff: African American Musicians and the Network Orchestras (1957–1964) Wilder Joins ABC The Studio Life The Urban League: Integrating the Network Orchestras Record Dates: Sideman and Leader “The Sound of Jazz” Benny Goodman: USSR Tour Miss America Pageant Family Life 9 A Dream Realized: Return to Classical Music (1964–1974) African Americans in Symphony Orchestras: The Beginnings of Change The Symphony of the New World The 1969 Human Rights Commission Hearings Earl Madison’s Reflections Other Classical Activities Wilder and Wilder: Joe and Alec 1960s Recordings 10 Freelance (1974–1990) The End of the Staff Orchestras Peter Duchin and the Society Orchestra Phenomenon Return to Broadway 1980s Recordings 11 New Outlets: Jazz Repertory and Jazz Parties (1990–2000) Lincoln Center Jazz Orchestra Smithsonian Jazz Masterworks Orchestra Garrison Keillor and A Prairie Home Companion The Jazz Party Phenomenon 12 Passing It On: Teaching, Awards, and Honors (2000–) Juilliard Awards and Honors The Reluctant Leader Recordings in the New Millennium: Evening Star Arbors Records and the Statesmen of Jazz Coda Notes Discography/Solography Index

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