Entertainment Books

Book SynopsisMusicians are often loath to discuss their craft for fear of destroying its improvisational essence, rendering jazz among the most ephemeral and least transparent of the performing arts. This work coaxes out an understanding of the men and women themselves, the context of their work, and how jazz from horn blare to drum riffs created conceptually.Trade Review"THE JAZZ EAR will be a permanent part of learning how to listen inside the musicians playing." - Nat Hentoff, Jazz Times. "A small treasure. Ratcliff takes his curious, catholic ear to 15 artists and tangos with them on their own physical and psychic turf." - Time Out New York"

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Book SynopsisMore than an actor, John Wayne is a cultural icon whose stature seems to grow with the passage of time. In this illuminating biography, Ronald Davis focuses on Wayne's human side, portraying a complex personality defined by frailty and insecurity as well as by courage and strength.

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Book SynopsisOffers new and lively translations of three of Aristophanes' earliest surviving plays: Acharnians, Knights, and Peace. While remaining faithful to the original Greek, Michael Ewans's translations are accessible to a modern audience - and actable on stage.

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

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Book SynopsisProvides the first in-depth exploration of Irish Americans’ use of balladry to portray and comment on virtually every aspect of the American Civil War as witnessed on the front line and home front. Bateson considers the lyrics, themes, and sentiments of songs produced in America but often originating with those born in Ireland and Britain.

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Book SynopsisIdentifies scriptural references for the wording, imagery, and themes in Bach's work that his listeners would have known, but which may be a mystery to modern musicians.

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Book SynopsisUnlike most jazz arranging books, which focus on the rudiments of arranging (transposition, ranges, notation, and so forth), this book deals with the real substance of arranging for small jazz ensembles, in addition to the rudiments. Rinzler devotes a chapter to each of the following arranging elements: intros, endings, accents/breaks/dynamics, time and tempo changes, style changes, form, rhythm section procedure, harmony and orchestration. Over a hundred musical examples demonstrate arranging techniques that apply to 147 jazz standards and modern compositions.Trade Review...an excellent addition to the literature on jazz instruction. * Notes: Quarterly Journal of the Music Library Association *...detailed but concise...this thoroughly researched and clearly written book will be accessible to students and public library patrons with some technical background. * CHOICE *Table of ContentsPart 1 Preface Chapter 2 I. BEGINNINGS (INTROS) Part 3 Turnarounds Part 4 Material from the Head Part 5 New Material Part 6 Pick-up Notes Part 7 Free Time Part 8 Vamps Part 9 Pyramids Part 10 No Intro Chapter 11 II. ENDINGS Part 12 Tags Part 13 Similar Endings and Intros Part 14 linking Several Ednings Part 15 Cliche Endings Part 16 Fermatas Part 17 Staccato Vamps Part 18 New material Part 19 Ritard Chapter 20 III. ACCENTS, BREAKS, DYNAMICS Part 21 Accents Part 22 Breaks Part 23 Dynamics Chapter 24 IV. STYLE CHANGES Part 25 Style Changes within a Chorus Part 26 Style Changes between Choruses Part 27 Style Changes for an Entire Tune Part 28 Free Jazz Chapter 29 V. TIME AND TEMPO CHANGES Part 30 Definitions Part 31 Tempo Changes Part 32 Time/Feel Changes Part 33 Meter Changes Part 34 Playing Behind and Ahead of the Beat Chapter 35 VI. FORM CHANGES Part 36 Standard Forms Part 37 Standard Jazz Arrangement Part 38 Changing in the Chorus Structure Part 39 Number of Heads Part 40 Solos Part 41 Changing the Melody Part 42 Fours Chapter 43 VII. RHYTHM SECTION PROCEDURE Part 44 Different Procedure in Head Part 45 Dropping Instruments Out Part 46 Deviations From Standard Patterns Chapter 47 VIII. JAZZ HARMONY Part 48 Chord Symbols Part 49 Relationships between Chords and Scales Part 50 Notating Extensions and Substitute Chords Part 51 Chord Progressions and Substitute Chords Part 52 Common Progressions and Substitute Chords Part 53 Reharmonizing the Given Chord Progression Chapter 54 IX. HARMONIZATION AND ORCHESTRATION Part 55 One-part Writing Part 56 Two-part Writing Part 57 Three-part Writing Part 58 Spacings and Inversions Part 59 Combinations of Instruments Part 60 Limited Harmonization Part 61 Counterpoint and Backgrounds Part 62 New Melodies Part 63 Appendix A. Notation Part 64 Appendix B. Instrumentation Part 65 Appendix C. The Rhythm Section Part 66 Appendix D. Annotated Arrangement Part 67 Glossary Part 68 Bibliography Part 69 Discography Part 70 Index of Tunes Part 71 General Index

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Book SynopsisSo, You''re the New Musical Director! is aimed at the person who has music training but little or no experience with musical theatre, the high school choral director with a degree in music education, or the actor participating in community theatre productions. It details the duties involved in directing a broadway musical, including overseeing singer and orchestra rehearsals and conducting the musical itself. The chapters follow the actual progression of a musical from a discussion of the production team''s responsibilities to the final bow. Filled with photos, illustrations, and examples, So, You''re the New Musical Director! is a comprehensive guide that no one involved in musical theatre should be without.Trade ReviewLaster (emeritus, Conservatory of Shenandoah U., Virginia and experienced musical conductor) details the duties involved in directing a Broadway musical, from overseeing the singer and orchestra rehearsals to conducting the musical itself. Suitable for those with music training but little or no experience with musical theater. * Reference and Research Book News *Chock full of examples, anecdotes, and clear, concise instruction on everything from selecting the work to staging the performance, this guide is written in a conversational yet authoritative tone that will connect with its audience...This would be an excellent textbook in music education. Highly recommended for public, academic, and music libraries. * Library Journal *

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Book SynopsisThis is the first book-length survey of 20th -century British music for solo organ. Beginning with a discussion of British organ music in the last decades of the Victorian era, the book focuses on the pieces that the composers wrote, their musical style, possible influences on the composition of specific works, and the details of their composition. Arranged in chronological order according to date of birth are detailed studies on important composers that made especially significant contributions to organ music including Parry, Stanford, Healey Willan, Herbert Howells, Percy Whitlock, Francis Jackson, Peter Racine Fricker, Arthur Wills, and Kenneth Leighton. Composers'' biographies, the role of organs and organ building developments, influential political and sociological events, and aesthetic aspects of British musical life are also discussed in detail. In the concluding chapter, the author discusses the major phases and achievements of the century and gauges what may lie ahead in theTrade ReviewHardwick's timely survey offers an opinion on the relative virtues of the music in question and this is a welcome critique. * Classical Music *Recommended. * CHOICE *What a welcome arrival...Hardwick is absolutely first-rate in this book and I bow the knee in admiration, awe, and wonder…He covers an incredible amount of music in a relatively short space…I urge you to buy the book, study it, and, above all, play the music that he writes about. * The American Organist *A most welcome volume that fills a long-standing gap in the literature...if you are interested in British organ music and its development over the last 100 years and could only take one book to your desert island, then this would probably be it. * Church Music Quarterly *Each chapter of this wisely conceived book contains gems of information and insights on composers and musical trends that reveal the author's close familiarity with his subject. This comprehensive survey will stand as a definitive work on the topic for many years to come... * The Diapason *Table of ContentsChapter 1 List of Plates Chapter 2 Preface Chapter 3 1 British Organ Music at the Dawn of the Century Chapter 4 2 Hubert Parry Chapter 5 3 Charles Stanford Chapter 6 4 Basil Harwood Chapter 7 5 The Pivotal Role of the Royal College of Music: Walter Alcock and Charles Wood Chapter 8 6 William Faulkes, William Wolstenholme, Alfred Hollins, and Edwin Lemare Chapter 9 7 Ralph Vaughan Williams and Frank Bridge Chapter 10 8 Edward Bairstow Chapter 11 9 John Ireland, William Harris, and Harold Darke Chapter 12 10 Healey Willan Chapter 13 11 Herbert Howells Chapter 14 12 Percy Whitock Chapter 15 13 Celebratory Music Chapter 16 14 New Wine in Old Bottles Chapter 17 15 Three Midcentury Composers of Gebrauchsmusik: Alec Rowley, Eric Thiman, and William Lloyd Webber Chapter 18 16 Francis Jackson Chapter 19 17 Serialism Chapter 20 18 Peter Fricker Chapter 21 19 Arthur Wills Chapter 22 20 Kenneth Leighton Chapter 23 21 Malcolm Williamson Chapter 24 22 Avant-Garde Program Music after 1950 Chapter 25 23 Maxwell Davies Chapter 26 24 William Mathias Chapter 27 25 Alan Ridout Chapter 28 26 Roman Catholic Organ Music and Colin Mawby Chapter 29 27 The Path Taken in the Twentieth Century and a Look at What May Lie Ahead Chapter 30 Catalogue of Works Chapter 31 Music Acknowledgments Chapter 32 Bibliography Chapter 33 Index Chapter 34 About the Author

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Book SynopsisNow in Paperback! Ronald Neame''s autobiography takes its title from one of his best-loved films, The Horse''s Mouth (1958), starring Alec Guinness. In an informative and entertaining style, Neame discusses the making of that film, along with several others, including In Which We Serve, Blithe Spirit, Brief Encounter, Great Expectations, Tunes of Glory, I Could Go on Singing, The Prime of Miss Jean Brodie, Scrooge, The Poseidon Adventure, and Hopscotch. Straight from the Horse''s Mouth provides a fascinating, first-hand account of a unique filmmaker, who began his career as assistant cameraman on Hitchcock''s first talkie, Blackmail, and went on to direct Maggie Smith, Judy Garland, Walter Matthau, and many other prominent performers. The book includes tales of the on-and-off-the-set antics of comedian George Formby, and original accounts of his experiences working with Noel Coward and David Lean. This is not simply an autobiography, but rather a history of British cinema from the 1Trade ReviewRonald Neame's life story reads like a veritable Who's Who of the movie business. * The Director's Guild Of America *The name Ronald Neame should be a household word...A virtual who's-who history of the film business, here and in England, since the beginning of sound films...it's a book that deserves a read by anyone interested in the endlessly fascinating process of filmmaking, especially those who, like Neame, pursue their passion with class, style and wit. * The Hollywood Reporter *Both amusing and informative...Cinematographers will delight in the many colorful stories Neame relates about filmmaking in this engaging autobiography, and it's required reading for anyone interested in the history of British film. * American Cinematographer *Yours is an extraordinary life, and I found the book enthralling. It encompasses so much of our film history, and for you to have mastered three great film crafts, to have worked with Hitch, Coward, Lean, Guinness, Powell, and Pressburger, even Garland and Formby, and to have been responsible for such magnificent films as The Horse's Mouth, Tunes of Glory, and The Prime of Miss Jean Brodie places you firmly in the pantheon of great British filmmakers. -- George Perry * London Times *a charming memoir. -- Kenneth Turan * Los Angeles Times *Any career that spans across eight decades is quite an achievement, particularly a career that's been so consistently distinguished and adventurous, a career of such passionate pursuits. More than a career, really—a Life. * Martin Scorsese *You'll enjoy his book. * The Veteran *Given that Neame collaborated with the likes of David Lean and Noel Coward, he recalls some impressive anecdotes, the choicest of which can be found in his consistently engrossing autobiography. Told in a gentlemanly style, the book provides a valuable first hand record of what it was like to work in the British Film industry in the Thirties and Forties. As for Neame's experiences in Hollywood, they're the icing on the already delicious cake. * Film Review, (Uk) *Intriguing...I couldn't put it down and read it all in one sitting, as David Lean, who features very heavily would have said 'A bloody good read.' * British Society of Cinematographers Newsletter *Long-overdue, revealing, and extremely readable * Academy *An inside story, not about one man, but about the entire fascinating industry in which he worked. * British Heritage *An invaluable history of British cinema from the 1920s through the 1960s. * Culturevulture.Net *Table of ContentsPart 1 Foreword Part 2 Foreword Part 3 Introduction Chapter 4 1 Miss World Chapter 5 2 Blackmail Chapter 6 3 Beryl Chapter 7 4 The Elstree Fire Chapter 8 5 Quota Quickies Chapter 9 6 Major Barbara Chapter 10 7 Noël Coward Chapter 11 8 Cineguild Chapter 12 9 Hollywood Chapter 13 10 Expectations Chapter 14 11 The Academy Chapter 15 12 Take My Life Chapter 16 13 Passionate Friends Chapter 17 14 Crashing On Regardless Chapter 18 15 The Magic Box Chapter 19 16 The Card Chapter 20 17 The Million Pound Note Chapter 21 18 The Man Who Never Was Chapter 22 19 Windom's Way Chapter 23 20 Alec Guinness Chapter 24 21 Tunes of Glory Chapter 25 22 Judy Garland Chapter 26 23 Ron Pon Chapter 27 24 Mister Moses Chapter 28 25 Gambit Chapter 29 26 The Prime of Miss Jean Brodie Chapter 30 27 Scrooge Chapter 31 28 The Poseidon Adventure Chapter 32 29 Losses and Gains Chapter 33 30 Walter Matthau Chapter 34 31 Donna Part 35 Appendix A: The Films of Ronald Neame Part 36 Appendix B: Awards and Honors Part 37 Acknowledgments Part 38 Index

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Book SynopsisThis entire volume is organized in a clear, readable format, resulting in a book that will help to make productions of The Cunning Little Vixen in the original Czech much easier a task than ever before.Trade ReviewTimothy Cheek's writing was invaluable for our preparations of The Cunning Little Vixen at Opéra National du Rhin, Strasbourg. I look forward to future volumes! -- Robert Carsen, internationally acclaimed opera stage directorContrary to its title, this volume does not merely provide translations and pronunciation for this opera. Fastidiously detailed discussions of the musical and extramusical aspects of the work render this an invaluable performance guide. * Journal of Singing *An excellent beginning to a much needed series, it is extremely thorough and beautifully done. Anybody who reads this book will know virtually everything about how to perform Prihody lisky Bystrousky! -- Sir Charles Mackerras, internationally renowned conductorTimothy Cheek's book comes as a work of great diligence, every word of the original Czech libretto analysed and transliterated for the non-Czech speaker. From personal experience I know the great worth and value of "Prihody lisky Bystrousky," and this book will be an invaluable aid to anyone approaching the 'opera as intended', making it ever more accessible. -- Sir Thomas Allen, Internationally acclaimed baritone, celebrated interpreter of the role of the Forester in both English and Czech productionsTimothy Cheek's wonderful Singing in Czech was of great help in preparing Leos Janácek's delightful Príhody lisky Bystrousky (The Cunning Little Vixen) at Lyric Opera of Chicago. Too often a masterpiece such as this will lay unperformed—and therefore unappreciated by audiences—solely because of the challenges presented to English-speaking artists by a Czech score. I'm hopeful Tim's diligent work—presentation of the text, followed by IPA pronunciation guide and dual translations (literal and idiomatic)—can make these works more accessible to performers and audiences alike. -- Sir Andrew Davis, Internationally Renowned Conductor and Music Director, Lyric Opera of ChicagoHere is a most welcome libretto that reveals many treasures for the professional and amateur alike. I love the dual translations, both word for word and idiomatic, right next to the IPA pronunciation guide to these Czech lyrics. This first in a series of Janácek Opera Libretti offers many invaluable nuggets of background information; musical, linguistic, stylistic, and cultural. Keep this volume by your opera score for immediate reference. I look forward to the KATYA and JENUFA Libretti, with eager anticipation. Bravo, Tim Cheek! -- Catherine Malfitano, Soprano, international interpreter of Janácek rolesTable of ContentsChapter 1 Preface Chapter 2 Acknowledgments Chapter 3 Introduction Chapter 4 1 Act I, sc. i 29; sc. ii 37 Chapter 5 2 Act II, sc. i 65; sc. ii 74; sc. iii 89; sc. iv 102 Chapter 6 3 Act III, sc. i 137; sc. ii 164; sc. iii 172 Chapter 7 Appendix A: Pronunciation Checklist Chapter 8 Appendix B: Recordings Chapter 9 Notes Chapter 10 References Chapter 11 Index Chapter 12 About the Author

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Book SynopsisDanny Elfman is recognized as one of the most successful, interesting, and innovative figures in recent film music composition. He came to the fore in the late 1980s in connection with his collaboration with Tim Burton on his films including Pee-Wee''s Big Adventure (1985), Beetlejuice (1988), Batman (1989), Edward Scissorhands (1990), The Nightmare before Christmas (1993), and Sleepy Hollow (1999). In addition to this, Elfman has composed music for more than 40 other films, including Somersby (1993), Dolores Claibourne (1995), Good Will Hunting (1997), Men in Black (1997), and Spiderman (2002). Beetlejuice was the first mainstream commercial success of the collaboration, but Batman was the film which marked Tim Burton''s arrival as a major figure in Hollywood film direction, and equally established Danny Elfman as a film score composer, particularly in relation to action and fantasy genres. The score for Batman won a Grammy in 1989 and is an outstanding example of his collaboration wTrade ReviewElfman's original score supports well over half of Tim Burton's two-hour Batman, which is no small achievement. In addition, Elfman proved how effective music can be in what is usually called the "action movie" genre. Halfyard...examines Elfman's composition career, including his contributions to Weird Science, Edward Scissorhands and a number of offbeat comedies, showing how his work began to differ from the usual scores of the 1980s and 1990s. She analyzes the themes behind Batman and Elfman's effective use of duality in describing a complex character in conflict, set against others clearly good or evil. Halfyard then works through the score and film scene for scene. * Reference and Research Book News *...a thoroughly researched and extremely useful guide....compact, accessible, and highly informative.... * Music & Letters, February 2007 *Even if music theory isn't your cup of tea (or its terminology is simply baffling), Halfyard's book will serve as an excellent reference work, and the career and film assessments are invigorating. Though Scarecrow Press has thus far published three volumes in their Film Score series, hopefully it'll continue further, and perhaps Halfyard will tackle another composer of particular note. -- Mark Richard Hasan * Music From The Movies *Table of ContentsChapter 1 Editor's Foreword Chapter 2 Acknowledgments Chapter 3 Chapter 1: Danny Elfman's Musical Background Chapter 4 Chapter 2: Elfman's Scoring Technique Chapter 5 Chapter 3: The Historical and Critical Context of Batman Chapter 6 Chapter 4: The Sound of the Score Chapter 7 Chapter 5: Reading the Score: Part I Chapter 8 Chapter 6: Reading the Score: Part II Chapter 9 Notes Chapter 10 Bibliography Chapter 11 Index Chapter 12 About the Author

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Book SynopsisIn October 1947, more than twenty years after leaving Russia, Ayn Rand testified before the House Un-American Activities Committee (HUAC), which was investigating communist infiltration of the motion picture industry. The focus of that testimony was Song of Russia, a 1944 pro-Soviet film that Rand decried for its unrealistic, absurdly flattering portrait of life in the communist country. Ayn Rand scholar Robert Mayhew focuses on this controversial period of American and Hollywood history by examining both the film and the furor surrounding Rand''s HUAC testimony. His analysis provides the first detailed history of any of the pro-Soviet films to come out of 1940s Hollywood. Mayhew begins by offering a brief synopsis of the MGM film, followed by an account of its production, as well as its reception. Most significantly, Mayhew analyzes Rand''s appearance before HUAC and discusses the response to her much-maligned testimony. By carefully scrutinizing this one episode in the history ofTrade ReviewIncluding an excellent bibliography, this volume is a welcome addition to all collections that include works on HUAC and the Hollywood film industry. Highly recommended. All levels. * CHOICE *...Mayhew feels passionately about his subject, which he presents in exhaustive detail. * American Communist History *In October 1947, Ayn Rand testified before the House Un-American Activities Committee, which was investigating communist infiltration of the movie industry. The focus of her testimony was Song of Russia, a pro-Soviet film that Rand decried for its unrealistically flattering portrait of life under communism in her native country. Mayhew (philosophy, Seton Hall, U., NJ) examines the film and the furor that surrounded Rand's testimony. He provides a detailed history of the 1944 film's production and reception as well as an analysis of Rand's much-maligned HUAC appearance and the response to it. His study allows for a re-evaluation of the role of communism in Hollywood, the nature of the HUAC, and even the famously blacklisted Hollywood Ten. Of interest to those studying the life and thought of Rand, the history of Hollywood communism, or American film. * Reference and Research Book News *Table of ContentsPart 1 Acknowledgments Part 2 A Note on the Hollywood Ten and the Lubyanka Thousand Part 3 Part I: Distorting Facts: Song of Russia Chapter 4 Chapter 1. Song of Russia: A Synopsis Chapter 5 Chapter 2. The Making of Song of Russia Chapter 6 Chapter 3. Reactions to Song of Russia Part 7 Part II: Ayn Rand's 1947 HUAC Testimony Chapter 8 Chapter 4. From Russia to Washington, D.C., via Hollywood Chapter 9 Chapter 5. Ayn Rand on the House Un-American Activities Committee Chapter 10 Chapter 6. Big Lies: Song of Russia versus Soviet Russia—An Analysis of Ayn Rand's HUAC Testimony, Part 1 Chapter 11 Chapter 7. Noble Lies: Reflecting the Standard Defense of Song of Russia—An Analysis of Ayn Rand's HUAC Testimony, Part 2 Chapter 12 Chapter 8. Russian Smiles: The Leftist Response to Ayn Rand's HUAC Testimony Part 13 Conclusion Part 14 Appendix 1: Ayn Rand's HUAC Testimony Part 15 Appendix 2: Files on Song of Russia at the Margaret Herrick Library Part 16 Appendix 3: From the FBI Files: The Schedule for the 1947 HUAC Hearings Part 17 Appendix 4: From the FBI Files: The Motion Picture Alliance and the "Other Blacklist" Part 18 Select Bibliography Part 19 Index Part 20 About the Author

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Book SynopsisLutoslawski on Music is the first collection of writings by the Polish twentieth-century composer Witold Lutoslawski. It includes texts about his own compositions and techniques as well as writings on various aspects of twentieth-century musical culture.Trade ReviewThe production and editorial work are uniformly excellent....Very highly recommended. * CAML Review *Table of ContentsPart 1 Preface Part 2 Introduction: Witold Lutoslawski's Life and Music Chapter 3 1. On Beauty, Musical Form, Compositional Technique, and Perception Chapter 4 2. On His Own Works Chapter 5 3. On Composers and Musicians Chapter 6 4. Miscellaneous Items on Contemporary Music in Poland and Abroad Chapter 7 5. Occasional Speeches Chapter 8 6. Notebook of Ideas, 1959–1984 Part 9 Select Bibliography Part 10 Name and Title Index Part 11 About the Editor

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Book SynopsisTrade ReviewNorth's work provides a fascinating history on the orchestra.... Highly recommended for all academic and public libraries, and is a must purchase for devotees of the Boston Symphony Orchestra. * American Reference Books Annual *This is a distinguished, immensely useful piece of discographical work. We already have James H. North to thank for the New York Philharmonic discography and this book improves on that excellent effort in many ways. * Classical Record Collections, Summer 2009 *Whatever you want or need to know about the discography's sources of information, its organization, or the variety of media on which the recordings have been issued, you will find here... There is an immense amount to be learned from North's work, and much fun to be had simply perusing it. * ARSC Journal, (Association For Recorded Sound Collections) *For those aspiring researchers seeking to tackle these and other orchestral lacunae, North's format and approach are well worth poaching… there is an immense amount to be learning from North's work, and much fun to be had simply perusing it. May the author be challenged to undertake at least one more - or maybe even more! * ARSC Journal, Fall 2009 *A marvelously complete discography of the orchestra....The highly readable comments on the recording...make browsing such a pleasure. * Fanfare Magazine, February 2009 *This is a distinguished, immensely useful piece of discographical work. We already have James H. North to thank for the New York Philharmonic discography and this book improves on that excellent effort in many ways. * Classical Record Collections, Summer 2009 *As author James H. North points out in his impressively detailed introduction, this book actually consists of two discographies: the first being the authorized (mostly commercial) recordings of the Boston Symphony Orchestra (BSO), and the other consisting of recordings of the Boston Symphony Chamber Players….Users will enjoy perusing the accompanying comments, which are often anecdotes or details that afford a fascinating glimpse into the recording….In addition to being potentially useful for libraries, researchers, and students, this volume may also be enjoyable for fans of the BSO and anyone fascinated with historical audio collections. * Music Reference Services Quarterly *

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Book SynopsisFoundations of Diatonic Theory: A Mathematically Based Approach to Music Fundamentals is an introductory, undergraduate-level textbook that provides an easy entry point into the challenging field of diatonic set theory, a division of music theory that applies the techniques of discrete mathematics to the properties of diatonic scales. After introducing mathematical concepts that relate directly to music theory, the text concentrates on these mathematical relationships, firmly establishing a link between introductory pedagogy and recent scholarship in music theory. It then relates concepts in diatonic set theory directly to the study of music fundamentals through pedagogical exercises and instructions. Ideal for introductory music majors, the book requires only a general knowledge of mathematics, and the exercises are provided with solutions and detailed explanations. With its basic description of musical elements, this textbook is suitable for courses in music fundamentals, music theoTrade ReviewNot only does Foundations of Diatonic Theory accomplish its stated goals, but it does so in such a masterful way, and with such a refreshing approach, that after reading it, any course on music fundamentals, music and mathematics, or diatonic set theory taught without its perspective would feel incomplete. * GAMUT: Online Journal of the Music Theory Society of the Mid-Atlantic *Because of its innovative approach, Foundations of Diatonic Theory will come as a breath of fresh air for those who decide to incorporate it into fundamentals courses. It would also provide courses on music and mathematics, and on diatonic set theory, with a way of getting into the material that encourages students to think critically—a most desirable quality in a text, as critical thinking should be demanded of the student by any graduate or upper-division undergraduate course. If Johnson’s Montessori-style approach is contagious among the next generation of textbook authors, the benefits to theory students and instructors alike could be enormous. * GAMUT: Online Journal of the Music Theory Society of the Mid-Atlantic *Table of ContentsPart 1 Preface Part 2 Introduction Chapter 3 1. Spatial Relations and Musical Structures Chapter 4 2. Interval Patterns and Musical Structures Chapter 5 3. Triads and Seventh Chords and Their Structures Part 6 Conclusion Part 7 For Further Study Part 8 Notes Part 9 Sources Cited Part 10 Index

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Book SynopsisIn 2005, Cormac McCarthy''s novel, No Country for Old Men, was published to wide acclaim, and in 2007, Ethan and Joel Coen brought their adaptation of McCarthy''s novel to the screen. The film earned praise from critics worldwide and was honored with four Academy Awards, including Best Picture, Best Director, and Best Adapted Screenplay. In No Country for Old Men: From Novel to Film, scholars offer varied approaches to both the novel and the award-winning film. Beginning with several essays dedicated entirely to the novel and its place within the McCarthy canon, the anthology offers subsequent essays focusing on the film, the adaptation process, and the Coen Brothers more broadly. The book also features an interview with the Coen brothers'' long-time cinematographer Roger Deakins. This entertaining and enriching book for readers interested in the Coen Brothers'' films and in McCarthy''s fiction is an important contribution to both literature and film studies.Trade ReviewA one-stop learning opportunity, this comprehensive, enlightening, cohesive compilation covers a range of topics. ... Recommended. * CHOICE, March 2010 *These essays are engagingly written—demonstrating that criticism centering on the author's perceived intention is alive and well, and perhaps even reasserting itself in defiance of Roland Barthe's claim that the 'author' as a critical entity no longer exists. No Country for Old Men: From Novel to Film offers a valuable resource—not only to students of McCarthy's novels and their adaptations but also for those interested in modern reconstructions of the Western genre. I recommend it as a thoroughly entertaining read. * Literature/ Film Quarterly, January 2010 *

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Book SynopsisThis is a completely revised and expanded second edition of The Broadway Song Companion, the first complete guide and access point to the vast literature of the Broadway musical for the solo performer. Designed with the working actor in mind, the volume lists every song from over 300 Broadway shows, including at least 90 more than the first edition. Organized by show, each song is annotated with the name of the character(s) who sing(s) the song, the vocal range, and a style category, such as uptempo, narrative ballad, swing ballad, moderate character piece, etc. Several indexes are supplied, organizing the songs by voice type (soprano, baritone, etc.) and song style, vocal arrangement (duets, trios, chorus, etc.), and composer and lyricist, allowing increased access to the repertoire. For instance, a soprano looking for a ballad to sing will find every song in that category in the index. All solos, duets, and trios are indexed in this manner, with quartets and larger ensembles listed by voice type. Furthermore, the instant breakdowns (how many lead characters, who sings what song, and the range requirements of each character) will be a valuable resource to directors and producers.Trade ReviewThis unique approach to the musical theatre's song repertoire will help solo performers and ensembles assemble programs suitable for their vocal talents and expressive of their interests. * Rettig On Reference *DeVenney is the perfect resource person to answer that perennial question, what should I sing for my audition? This volume is an absolute necessity for all college and high school musical theater collections. Essential. * CHOICE, January 2010 *As valuable as the annotated entries are six indexes. ... For music theater performers and their instructors this book is a boon, both for repertoire selection and role preparation. ... An affordable addition to the reference section of a studio library. * Journal of Singing, January/February 2010 *This book will be a welcome addition to a teacher's studio library. Musical theatre repertoire is a staple for many high school students, and in order to keep up with their passion, teachers must become savvy with the repertoire. I recently experienced this learning curve for musical theatre repertoire in my own teaching. How nice it would have been to have this book in my library during the learning process! * Classical Singer Magazine, May 2010 *A veritable casting bible for producers and directors of musicals on the one hand and an invaluable source for any individual voice to find all the songs in his or her range from the Broadway canon ... very well structured ... this is one reference book that no one interested in musical theatre should be without! * Amateur Stage *

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Book SynopsisWhen writer and director Joss Whedon created the character Buffy the Vampire Slayer, he could hardly have expected the resulting academic interest in his work. Yet almost six years after the end of Buffy on television, Buffy studiesand academic work on Whedon''s expanding oeuvrecontinue to grow. Now with three hugely popular television shows, Buffy the Vampire Slayer, Angel, and Firefly, and the film Serenity all available on DVD, scholars are evaluating countless aspects of the Whedon universe (or Whedonverse). Buffy, Ballads, and Bad Guys Who Sing: Music in the Worlds of Joss Whedon studies the significant role that music plays in these works, from Buffy the Vampire Slayer to the internet musical Dr. Horrible''s Sing-Along Blog.Kendra Preston Leonard has collected a varying selection of essays that explore music and sound in Joss Whedon''s works. The essays investigate both diegetic and non-diegetic music, considering music from various sources, including the shows'' original scores,Trade ReviewAnyone familiar with the cult television favorites created by writer Joss Whedon knows how important music is in his shows. The essays in this collection focus entirely on the music in Whedon’s television shows and web musical, analyzing the way music complements and enhances the narrative. Jacqueline Bach traces out various musical arcs over the course of Buffy the Vampire Slayer’s run, such as the way the music of Sarah McLachlan is used to reflect Buffy’s complex feelings about her friends and her relation to them in several pivotal instances. Elizabeth A. Clendinning’s chapter centers on the vampire Spike, revealing how, even though he was first introduced as a villain in Buffy, Spike’s musical knowledge and references link him much more closely with humanity than the other nemeses on the show. Stanley C. Pelkey’s essay explores the music of Whedon’s futuristic space western Firefly, which blends exotic Asian music with folk-country music meant to represent the characters’ personalities and stations in life. For the many fans devoted to Whedon’s work, this will be an enlightening read. * Booklist *Buffy, Ballads, and Bad Guys Who Sing makes a fine contribution to the still-young field of TV music scholarship. * American Music *

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Book SynopsisThis collection of essays focuses on numerous contexts to emphasize why film adaptations matter to students of literature. Written by specialists in a variety of fields, ranging from film, radio, theater, and even language studies, it is the first such volume devoted exclusively to teaching adaptations from a practical, teacher-centered angle.Trade ReviewA superb resource for teachers....Practical and theoretically aware; will be of service to those who teach courses that involve screen adaptation. Recommended. * CHOICE *

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Book SynopsisFilm lovers all over the world are familiar with the masterpieces of Eisenstein and Tarkovsky. These directors'' unique achievements were embedded in a powerful process that began under Russia''s last tsar and underwent several periods of blossoming: the bourgeois cinema in the 1910s, the revolutionary avant-garde in the 1920s, the Thaw in the 1950s, and the awakening of national cinemas in the 1960s and 1970s. The A to Z of Russian and Soviet Cinema is the first reference work of its kind in the English language devoted entirely to the cinema of the Russian Empire, the Soviet Union, and the post-Soviet period, including both the cinematic highlights and the mainstream. The cinemas of the former Soviet republics, including Ukraine, Belarus, Armenia, Georgia, Lithuania, and Latvia, are also represented with their most influential artists. Through a chronology, an introduction essay, a bibliography, and over 500 cross-referenced dictionary entries on filmmakers, performers, cinematograp

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Book SynopsisTeachers the world over are discovering the importance and benefits of incorporating popular culture into the music classroom. The cultural prevalence and the students' familiarity with recorded music, videos, games, and other increasingly accessible multimedia materials help enliven course content and foster interactive learning and participation. Pop-Culture Pedagogy in the Music Classroom: Teaching Tools from American Idol to YouTube provides ideas and techniques for teaching music classes using elements of popular culture that resonate with students' everyday lives. From popular songs and genres to covers, mixes, and mashups; from video games such as Dance Dance Revolution and Guitar Hero to television shows like American Idol, this exciting collection offers pedagogical models for incorporating pop culture and its associated technologies into a wide variety of music courses. Biamonte has collected well-rounded essays that consider a variety of applications. After an introductionTrade ReviewAs the cover implies, the essays in this collection address pop music from the 1930s to today, with a heavy emphasis on the roles of technology and the media....While the collection is directed more toward music theory than music history, it provides a wealth of ideas for making history classes more interactive, relevant, and engaging for today’s students....Those already committed to integrating pop culture into the classroom will find plenty of encouragement in this book. * Journal of Music History Pedagogy *A dizzying array of technology is now available to assist teachers and students in accessing music. While recorded versions of many genres of music have been readily available for generations, tools such as YouTube.com, Pandora.com, and Grooveshark.com have made a variety of recordings available for free. Additionally, a variety of computer programs and games allow students to mix, analyze, and play with music as never before. In editing Pop-Culture Pedagogy in the Classroom, Biamonte (McGill Univ., Canada) has assembled a timely collection of essays that assist classroom practitioners and those interested in music education. The book deals with pertinent issues such as building listening skills through sound-mixing techniques, integrating aural skills and formal analysis through popular music, and using American Idol to introduce music criticism. The chapters mix explanations of some of the key concepts related to various learning objectives for students with practical ideas and techniques related to how to teach these in the classroom using aspects of popular technology with which students are familiar. A strong complement to Thomas Rudolph's Teaching Music with Technology (2004). Summing Up: Recommended. General readers; upper-division undergraduate students and above. * CHOICE *

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Book SynopsisIn 2001, yet another adaptation of the Superman comic book came to television. Lasting 10 seasons, Smallville took the traditional Superman story and turned it into an American teen action drama about Clark Kent''s life at high schoolbefore he donned the famous blue tights and red cape. Instead of depicting Superman''s clashes with criminals in Metropolis, the show focused on how Clark first developed his powers and learned to cope with girls, school, and teenage angst. Although largely overlooked by critics and derided by Superman fans who regarded it as too far a departure from the comic book canon, Smallville nonetheless endeared a whole new generation of viewers. The setting, style, narrative, and cast of fresh-faced actors suggested that the Superman story was not only ready for a makeover but also still relevant for a post-9/11 American audience. In The Smallville Chronicles: Critical Essays on the Television Series, scholars examine the multiple narratives of the Smallville uni

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Book SynopsisCarlos Kleiber (1930-2004) was the greatest conductor of his generation. His reputation is legendary, and yet astonishingly, in his five decades on the podium, he conducted only 89 concerts, some 600 opera performances, and produced 12 recordings. How did someone who worked so little compared to his peers achieve so much?Between his relatively small output and well-known aversion to publicity, many came to regard Kleiber as reclusive and remote, bordering on unapproachable. But in 1989 a conducting student at Stanford University wrote him a letter, and an unusual thing occurred: the world-renowned conductor replied. And so began a 15-year correspondence, study, and friendship by mail. Drawing heavily on this decade-and-a-half exchange, Corresponding with Carlos is the first English-language biography of Kleiber ever written. Charles Barber offers unique insights into how Kleiber worked based on their long and detailed correspondence. This biography by one friend of another considers,Trade ReviewThere's much, much more to Kleiber than the myth-making. At least there is now, thanks to Charles Barber's astonishing new book, Corresponding with Carlos: A Biography of Carlos Kleiber. Charles had a unique relationship with Kleiber. As a conducting student at Stanford University, with dazzling boldness and naivety, he wrote to Kleiber out of the blue and said he wanted to study with him. The key was Barber's use of humour and irony to attempt to elicit a response from Kleiber – it worked. Barber never formally became a student of Kleiber's (nobody ever did), but from 1989 until the maestro's death, he corresponded with the supposedly unknowable Carlos, and as well as vivid account of Kleiber's life, Barber's book publishes pretty well the complete letters he received. And they're a revelation. Kleiber proves as virtuosically funny and self-deprecating as he was incandescent on the podium....Barber's book does more than any other I know to simultaneously reveal the truth behind the Kleiber myths and to illuminate the deeper mystery of how his recordings and films continue to have such a talismanic power. This is a brilliant summary of Kleiber's way of making music. * The Guardian *Barber is artistic director of City Opera Vancouver, with a longstanding, busy career in California music life, including contributions to Classical Voice. Corresponding With Carlos: A Biography of Carlos Kleiber offers unique insights into how Kleiber worked. This biography considers his singular aesthetic, his playful and often erudite sense of humor, his reputation for perfectionism, his much-studied baton technique, and the famous concert and opera performances he conducted. It explores the great conductor’s musical lineage and the contemporary contexts in which he worked. * San Francisco Classical Voice *Once the book turns from biographical sketch to lively correspondence, we get the thrill of reading—hearing—the voice of Carlos Kleiber, and all is light. * The Wall Street Journal *Charles Barber's book on Carlos Kleiber is fascinating, remarquable and unexpected....Rich in details....it contains unique jewels as one can appreciate Kleiber's encyclopedic knowledge....While Charles Barber’s book is comprehensive, it is easy to read and the author fascination and respect is palpable at every page....This is probably the musical book of the year. * ConcertoNet: The Classical Music Network *Charles Barber’s Corresponding with Carlos: A Biography of Carlos Kleiber represents an admiring younger conductor’s efforts, begun during his graduate-student days, to draw out a brilliant but eccentric and reclusive maestro through multiple layers of correspondence. * SymphonyNOW *This is mainly a book so fascinating that for once the ‘impossible to put down’ cliché is appropriate. Charles Barber was, in 1989, a young music teacher and conductor who sent a short letter to Kleiber, and to his amazement received a reply a few days later. He wanted to be Kleiber’s student, but there could be no question of that. Instead, they became frequent correspondents, and all of Kleiber’s letters concerning music are published here, with enough of Barber’s to make the exchanges intelligible….What makes Kleiber’s correspondence with Barber especially interesting is that Barber regularly sent Kleiber video cassettes of the great conductors, eliciting a deluge of comments on their style, greatness (or weaknesses), and their music. Kleiber’s criticism alternates with his commentary on his own slender repertoire and his growing distaste for conducting….The first 180 pages are devoted to a biographical sketch, with many quotations from letters: illuminating, but I doubt whether many readers will be able to resist the temptation to leap ahead to the epistolary section. * BBC Music Magazine *As a musician and old Kleiber fan, one cannot resist the temptation to whole-heartedly recommend this book. * Teatro Colón Magazine *‘An artist par excellence’, and ‘creativity par exellence’ - those are the definitions that come to mind when one thinks of Carlos Kleiber. Each time he conducted, it seemed that the music was being created anew that very moment in all its greatness, beauty and freshness. How wonderful that now we have a book about this genius. Bravo and many heartfelt thanks to Dr. Charles Barber for his work! -- Evgeny Kissin, pianistHaving heard most of the world's best conductors in the last 35 years, I can safely say that none brought so much passion, energy and exquisite musicality and beauty to their work as did Carlos Kleiber. La Bohéme and Der Rosenkavalier under his baton at the Met will remain among my most treasured memories. In this fascinating work Charles Barber offers a rare glimpse into the enigma that was Carlos Kleiber. -- Valéry Ryvkin, conductor

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Book SynopsisThe fusion of text with music is one of the most powerful methods by which a composer can express emotion to an audience, yet, all too often, the diction of choral groups is lacking to such a degree as to make the text unintelligible. So argues Duane R. Karna, who in The Use of the International Phonetic Alphabet in the Choral Rehearsal brings together 30 essays by experts from around the world to describe how the character symbols of the International Phonetic Alphabet (IPA) can be used by singers in the choral rehearsal. In an effort to conquer one of the greatest challenges facing choral directors and their choirs, contributors explore the use of the IPA system in a vast range of languages. Readers will find essays devoted to the use of IPA on matters of lyric diction for the following tongues: Baltic Languages, Basque, Brazilian Portuguese, Chinese, Dutch, Ecclesiastical Latin, English, Finnish, French, Georgian, German, Germanic Latin, Greek, Hawaiian, Hebrew, Hungarian, Italian, Japanese, Korean, Norwegian, Polish, Romanian, Russian, Spanish, Swahili, and Swedish. Holding firmly to the belief that basic instruction in IPA character is part of a choir's training, Karna and his contributors see enormous potential for choirs to expand considerably their foreign-language repertoire and save considerable rehearsal time. The Use of the International Phonetic Alphabet in the Choral Rehearsal is the ideal primer for choral directors and choirmasters as well as choir members.Trade ReviewThe Use of the International Phonetic Alphabet in the Choral Rehearsal addresses a great need in the area of choral musicians: the ability to use diction in their practice and performance in order to enhance the pronunciation of the words that blend with the music. As the editor states, "All too often, the diction of choral groups is lacking to such a degree as to make the text unintelligible" (back cover). It is the editors hope that implementing the teaching of this volume will expand the foreign-language capability of choral musicians, enhancing their overall performance. After introductory chapters on the use of the International Phonetic Alphabet in rehearsal and vowel and consonant modification in the choral setting, each chapter focuses on one specific language: English, Latin, German, French, Spanish, Hebrew, Romanian, Japanese, Swahili, Greek, Russian, and Polish, just to name a few. The contributors go into great deal about the diction of each language, focusing on the most common and troublesome words. The volume concludes with an appendix of four sample songs. * American Reference Books Annual *Singers of classical music face a particular challenge: the works they perform are often in languages other than their native language. Voice students and their teachers can find help with pronunciation in books about diction for singers, many of which use the International Phonetic Alphabet (IPA). A seminal example is Phonetic Readings of Songs and Arias, by Berton Coffin et al. (1964; 2nd ed., 1982). Such books are usually intended for solo singers of English, French, German, or Italian repertory. In contrast, the present volume is intended for choirs and is much broader in scope. Karna (Ball State Univ.), who is a veteran academic choral director, opens this collection with an essay (coauthored by Sue Goodenow) on effectively teaching IPA in choral rehearsals. He then presents essays by experienced choral directors and professional singers with special language expertise. These essays provide basic IPA guidelines for singing in 25 different languages and are not choir-focused. Thus, the information they provide is appropriate for choral singers and solo singers alike. This book certainly belongs in academic music libraries and public libraries with significant music collections. Summing Up: Recommended. Lower-division undergraduates through faculty; professionals. * CHOICE *The Use of the IPA in the Choral Rehearsal by Duane Karna is a valuable resource for singers and conductors. . . .Very few publications supply the breadth and depth of languages that is collated by Karna in this book. It is a valuable resource for anyone who works with singers, whether it is in the secondary classroom, university lecture room, from the podium, or in a private studio. * International Choral Bulletin *This very useful volume brings together information in one place regarding choral pronunciation, imparted via the International Phonetic Alphabet (hereafter IPA), of 25 different languages. . . .[T]his volume will be most useful to the choral conductor in providing perspective on diction issues for a broad range of languages, whether or not the IPA orthography makes its way to the choral folder or not. * Music Reference Services Quarterly *The volume proves to be a useful starting reference for conductors interested in creating IPA charts for their choirs. * Choral Journal *Advocating the use of IPA to voice teachers is preaching to the choir, for they regularly employ the pronunciation tool. Nevertheless, studio instructors are recommended to peruse this useful volume, for they will find it offers valuable assistance with less commonly sung languages. The convenience of having a reference guide to so many languages in one source is incalculable, particularly when resources for some of the languages are difficult to find. Studio instructors are encouraged to explore this most useful volume-and to share the recommendation with their choral colleagues. * Journal of Singing *Table of ContentsForeword, Thomas Goleeke Preface The IPA Symbols The Use of the IPA in the Choral Rehearsal, Duane Karna Vowel and Consonant Modification for Choirs, John Nix English Diction, Thomas Goleeke Ecclesiastical Latin, Andrew Crow Italian, Susan Bender German Diction, Kathleen Maurer Germanic Latin in Carl Orff’s Carmina Burana, Hank Dahlman French Diction, Kathleen Maurer Spanish Diction and the IPA, Joshua Habermann Hebrew, Ethan Nash Romanian Language and Pronunciation, Bogdan Minut Japanese Diction for Singers, Minoru Yamada Chinese Pronunciation Guide for Western Singers, Mei Zhong Korean Diction, Soojeong Lee Singing Brazilian Portuguese, Martha Herr and Wladimir Mattos Swahili for Native English Language Choral Singers, Stephan Wilson and Kathleen Wilson Basque Diction, Gotzon Ibarretxe and Kepa Larrea Hawaiian Diction and the IPA, Joshua Habermann Hungarian, Harald Jers and Ágnes Farkas Baltic Languages: Latvian, Lithuanian, and Estonian, Heather M. Garbes and Andrew Schmidt The Dutch Language, Petronella Palm Georgian Pronunciation, Clayton Parr Russian Diction, David M. Thomas Swedish, Christine Ericsdotter and Sten Ternström Finnish and IPA, Jaakko Mäntyjärvi Greek Diction, Areti Topouzides Norwegian Diction, Dan Dressen Polish IPA, Anna Helwing

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Book SynopsisTrade ReviewOffering a philosophical framework, Grateful Dead and the Art of Rock Improvisation provides an aesthetic appreciation of the musical stylings of this legendary band. A seminal work of outstanding and original scholarship, Grateful Dead and the Art of Rock Improvisation is written in a form and format that will make it easily accessible to non-specialist general readers and fans of the Grateful Dead. Grateful Dead and the Art of Rock Improvisation is a highly recommended addition to academic library Popular Culture and 20th Century American Music reference collections and supplemental reading lists. * Midwest Book Review *David Malvinni’s Grateful Dead and the Art of Rock Improvisation is . . . a necessary addition to the growing secondary literature on the music of the Grateful Dead. * Notes: Quarterly Journal of the Music Library Association *As the first scholarly monograph on the music of the Grateful Dead, David Malvinni’s Grateful Dead and the Art of Rock Improvisation is a significant addition to popular music scholarship. Although numerous edited volumes of essays focused on the band have been published in the two decades since the band’s demise after the death of lead guitarist Jerry Garcia, this is the first by a single author to focus entirely on a musicological assessment. And since it has often been the sociological aspects of the Grateful Dead phenomenon that have received the most attention, especially the audience, the colorful fans known as Deadheads, it is a refreshing change for a scholar to focus entirely on what should be of primary importance for a musical ensemble: its music. * Critical Studies in Improvisation *

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Book SynopsisThis book serves as an aid to anyone seeking to perform and gain a deeper understanding of this multi-layered opera, which so trenchantly asks what it means to be human, to love, and to be loved in return.Trade ReviewFor those unfamiliar with Dvorák's opera, this performance guide is an excellent introduction to the work; those already having been seduced by the song of the water nymph will welcome Cheek's research and insight into the opera. This volume is highly recommended. * Journal of Singing *Timothy Cheek’s Rusalka is an extraordinary book, highlighted by its extremely ordered details, allowing for instant readability and quick use for studying the Czech language as well as the dramatic and musical interpretation of this incredible work. Who will not be inspired to delve into this fairy tale opera after they have finally been furnished with the tools necessary to do so? -- Mark S. DossTimothy Cheek's guide to Rusalka is the gold standard for those studying, performing or just plain interested in this wonderful opera. It is a thoroughly knowledgeable, yet accessible, reference work with the latest phonetic transcription and pronunciation guide, and both literal (word-for-word) and idiomatic translations of the text. His detailed explanation of scenic and interpretative notations, performance practices, idioms and a "quick review sheet of Americanisms" to avoid make this the Bible for preparation of the score. Where was this book when I was preparing to sing this at the Met?! -- Stephen West, University of Michigan, Metropolitan OperaDr. Cheek’s profoundly detailed musical scholarship is a true gold mine for anyone wanting to experience Dvorak’s masterpiece, Rusalka. His beautiful introductions to every element of the opera offer rich and balanced perspectives on this important work that will fully inform a wide range of readers. This is the book for you, whether you are a casual opera lover interested in savoring the tantalizing details of this beautiful story or seeking detailed information about available recordings complete with cast listings and nuances of performance, or if you are an enterprising vocalist challenged with mastering the intricacies of singing the rich Czech language. Cheek’s enlightened commentary illuminates every important production aspect of this glorious opera that is also of special interest to conductors, stage directors, and producers engaged in the detailed task of bringing it to life on the stage. One could have no better guide to the appreciation and enjoyment of Rusalka than Timothy Cheek’s musicological “bible” to this operatic treasure. -- Robert Lyall, General and Artistic Director of New Orleans Opera and Artistic Director of Opera Grand Rapids

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Book SynopsisSince the 1960s, the Grateful Dead have welcomed and participated in academic work on the band, encouraging scrutiny from a wide variety of disciplinary and theoretical perspectives, from anthropology to sociology. Interest in Dead studies is growing across the country and around the world, and UCSanta Cruz's Grateful Dead Archive continues to attract a high level of attention. In Reading the Grateful Dead: A Critical Survey, Nicholas G. Meriwether has assembled essays that examine the development of Grateful Dead studies. This volume features work from three generations of scholars, including a wide variety of perspectives on the band and its cultural significance. From insiders like lyricist John Perry Barlow and longtime band publicist and historian Dennis McNally to well-known Deadhead scholars such as Barry Barnes and Rebecca Adams, the contributors to this volume offer valuable insights into the Grateful Dead phenomenon. No other Dead book focuses on the growth and developmenTrade ReviewIn addition to the remarkable variety of contents and approaches represented in the main articles, the collection is framed by a handful of poems, anecdotes, and addenda to enhance the whole package. But it would underestimate this collection’s importance to think of it as a feast for Deadheads. This offering does more than show the intrinsic interest of the Dead as a musical phenomenon; these essays establish their significance as a watershed in the development of American counterculture, not as a mega-influence (in the manner of the Beatles), but as a microcosm of the many cultural threads that came together in the sixties and continue to weave their way through the very different decades that followed. * Dead Studies *Table of ContentsAcknowledgments “Halloween Costume Party” Bob Cooperman Introduction: “The Secret of This Tie That Binds”: The Interdisciplinary Discourse of Grateful Dead Studies Nicholas G. Meriwether PART 1: STUDYING THE DEAD 1. The Education of a Deadhead: A Letter from a Novelist Matthew Armstrong 2. The Grateful Dead in the Academy Dennis McNally 3. Thinking About the Dead: Amateur Anthropology, the Human Comedy, and Making Good Ancestors John Perry Barlow 4. “The Thousand Stories Have Come ’Round To One”: Studying the Grateful Dead Phenomenon Nicholas G. Meriwether 5. Mapping the Deadhead Social Science Trip Natalie Dollar PART 2: MUSIC AND LYRICS, MEDIUM AND MESSAGE 6. How the Grateful Dead Learned to Jam Michael Kaler 7. “Terrapin Station,” Postmodernism, and the Infinite Jon Ney 8. A Super-Metacantric Analysis of “Playing in the Band” Robert H. Trudeau 9. “And Closed My Eyes To See”: Buddhist Resonances in the Lyrics of the Grateful Dead Ryan Slesinger 10. The Dead Play Egypt, Thirty Years Later: Myth, Memory, and Marketing Nicholas Meriwether PART 3: THE DEADHEAD EXPERIENCE 11. Crowned Anarchy: Songs, Segues, and the Golden Road to Unlimited Devotion Joseph Holt 12. The Grateful Dead Religious Experience David Bryan 13. Shakedown Street: A Benjaminian Approach to the Grateful Dead James Revell Carr 14. What Are Deadheads? An Informal Survey Alex Kolker 15. Terrapin Station Demographics and “Deadication”: The Furthur Festival ’98 Data Rebecca G. Adams 16. Autobiographical Memories of Grateful Dead Concerts: Two Descriptive Approaches Mark E. Mattson PART 4: SOCIETY AND HISTORY, CONTEXTS AND CURRENTS 17. “And I Done Some Time”: Bobby Petersen and the Grateful Dead Christian Crumlish 18. Nomadic Musical Audiences: A Historical Precedent for the Grateful Dead Jacob A. Cohen 19. Deconstructing Deadheads Mark Tursi 20. The Psychedelic Experience, Contemporary Music, and the Grateful Dead: A 1969 Study Revisited Stanley Krippner 21. “Bound to Cover Just a Little More Ground”: A Heideggerian Reflection on the Grateful Dead Stanley Spector 22. Jerry Garcia and Leadership Styles in the Grateful Dead Phenomenon Barry Barnes ENCORE 22. Cold Roses: A Skeleton Key to the Grateful Dead in the Music of Ryan Adams Matthew C. Armstrong 23. Tapes and Memories: A Letter From a Latter-Day Fan Jacob A. Cohen 24. “One Last Wish” Jon Ney Index About the Contributors About the Editor

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Book SynopsisIn Sting and The Police: Walking in Their Footsteps, Aaron J. West explores the cultural and musical impact of Stewart Copeland, Andy Summers, and Sting. West details the distinctive hybrid character of The Police’s musical output, which would also characterize Sting’s post-Police development as a musician.Trade ReviewHistorian and musician West’s book is an excellent look at how the Police accomplished success by synthesizing disparate influences into 'marketable, mainstream music, which has remained viable for generations.' The band combined Stewart Copeland’s reggae-influenced drumming, Andy Summer’s progressive rock–style rhythm guitar, and the punk-inspired bass and literary pretensions of primary songwriter Sting. West’s musical biography consists of a series of essays that examine Sting and the Police within larger cultural and musical contexts, from early songs such as 'Bring on the Night' ('a colorful mosaic of musical styles like dub, classical guitar, ska, and even psychedelic rock') to Sting’s later solo work. West is especially good at examining how the band used the nascent MTV to define themselves through videos filmed at exotic locations around the world: 'The image of the Police as international travelers certainly reinforced their equally multicultural music.' He also insightfully analyses how Sting’s musical mission to have a global appeal dovetailed perfectly with various activist movements, observing that 'the cultural gravitas of Band Aid set the stage for his more mature persona.' * Publishers Weekly *Aaron J. West’s Sting and The Police: Walking in Their Footsteps isn’t concerned with how often Sting bickered and brawled with drummer Stewart Copeland, or what choice insults guitarist Andy Summers had for the Police bassist. Instead, West worries over the trio’s aesthetic impetus, stylistic genesis, and enduring cultural influence some thirty decades removed from their disintegration as a creative unit. . . .So who were The Police, and where did they get their sound? Which band members wrote what songs? Why did the band pack it in at the height of success rather than ride celebrity’s lucrative wave? Was 'Roxanne' a real person? What did Sting mean by being 'Caught between the Scylla and Charybdis?' Who was 'the old man in that book by Nabokov?' Was there a real 'Englishman in New York?' A fan since procuring Every Breath You Take: The Singles on cassette in the mid ‘80s, West sifts his Police survey into seven easy-to-digest theses, with each musing over a different topic. * Examiner.com *[Sting and The Police: Walking in Their Footsteps] is the perfect book for you . . . if you want to know how their music grew up, as author West thoroughly delves into how the band's songs were constructed from style mosaics. * antiMusic *If you’re looking for thoughtful analysis of the band’s music and career Sting and the Police: Walking in Their Footsteps delivers. * My Big Honkin Blog *Table of ContentsSeries Editor Foreword Timeline Acknowledgments Introduction Chapter 1: The Police and the Progressive Rock, Punk, and Reggae Styles Chapter 2: The Police and the Style Mosaic Chapter 3: Sting and the Album Mosaic Chapter 4: Selling The Police and Sting to the World Chapter 5: Sting in the Age of Global Activism Chapter 6: The Police and the Rock Trio Chapter 7: The Music After The Police For Further Reading For Further Listening Index About the Author

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