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Book SynopsisTraces the interactions and mutual influences of art and music. This book presents a narrative of late-Modern/Postmodern artistic practice, connecting familiar events, figures and works to less-familiar precedents and antecedents from within their own fields and from across the aisle.Trade Review"...some useful arguments. And sound art certainly need arguments." The Wire, February 2010"Kim-Cohen's book develops a number of significant arguments concerning sound's status in the art world."SpringerinReviewed in Year's Work in Critical and Cultural TheoryTable of Contentsi. Introduction; ii. Noise and Its Opposite; iii. Sectarianism in the Sensorium; iv. Settling the Score; v. The Technological Ontological; vi. Rock and Roll Aesthetics; vii. The Blink of an Ear; viii. Postscript: A Tentative Definition of Sound Art.

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Book SynopsisIsolde Standish is a Senior Lecturer in Film and Media Studies at SOAS, University of London.Trade ReviewAlthough this book is primarily about film, Isolde Standish has woven into it a vivid, and very gripping, social, political and cultural history of 1960s' Japan. She traces the struggle that was taking place over the narrative of post-war Japanese history: the ‘official story' and its reflection in mainstream studio output against which directors such as Oshima, Yoshida and Imamura reacted bitterly. These and other directors developed avant-garde cinematic and narrative strategies to confront the repression of the past as well as the repressive nature of the state in occupied Japan. Isolde Standish places the development of the avant-garde within its contemporary intellectual context, (including the influence of French thought and literature), the complex politics of the left and the diversifications of the film industry as it faced economic decline. The book is remarkable for the author's mastery of the subject, the clarity of her arguments and the depth of her scholarship. Rarely does one read a book in which the pieces of the jig-saw fall so precisely and illuminatingly into place. --Laura Mulvey, Professor of Film and Media Studies, Birkbeck University of London... an illuminating study of the avant garde... There is a good deal of interesting material here, particularly as regards the theoretical concepts and influences that helped shape Japan's "counter-cinema". -- Sight & Sound, Book of the Month FeatureTable of ContentsChapter One: Film and Philosophy: Towards a Cinema of Praxis; Chapter Two: War, Historicity, and Counter-Memory; Chapter Three: Sexuality, Perversions and Originary Worlds; Chapter Four: The Emperor's Naked Army Marches On.

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Book SynopsisHow do we listen for the voice of God within the soundscapes of our lives and how do we find our own voice? How too do we find our own voice? Sensitive to the cadences of modern life, the author reflects on this through the prism of Scripture and tradition.Trade Review"A persistent and perceptive commentary." The Catholic Herald, December 2009."Winkett's theological reflections are complex and sophisticated...She is informative and wise...Each chapter bears a second and third read." The Sign, February 2010."Our Sound is Our Wound is a remarkable book... so full of insights that it is almost over­flow­ing with ideas." Church Times, January 2010."The sounds of the modern city match, [Winkett] thinks, the dominant modern feeling of anxiety and fear- principally fear of death. In opposition, she presents the liberating forces of justice and beauty." Christopher Howse, The Daily Telegraph, February 2010."Lively, stimulating and challenging" Jane Hedges, The Times, February 2010."Lucy Winkett has an easy, anecdotal style which is both allusive and informative, allowing the reader to set off on their own reflective journeys." The Good Bookstall. Read the full review at http://www.thegoodbookstall.org.uk/review/9780826439215/lucy-winkett/our-sound-is-our-wound/Mention on BBC websitehttp://news.bbc.co.uk/1/hi/magazine/8714177.stm‘This profoundly rich book skilfully weaves interpretations of scripture into Winkett's reflections on the theme of sound and listening, and her own personal stories.' -- The Anglican Messenger (Perth)‘A thoughtful, evocative book that was well chosen as the Archbishop of Canterbury's Lenten book for 2010... This is a book to be enjoyed.' -- Theological Book ReviewFeatured in the Top Ten Books chosen by Sarum Bookshop -- thegoodbookstall.org.ukAttended Hay Festival 2011Table of ContentsForeword by the Archbishop of Canterbury Prelude. Chapter One: The Sound of Scripture; Chapter Two: The Sound of Lament; Chapter Three: The Sound of Liberation; Chapter Four: The Sound of Resurrection; Chapter Five: The Sound of the Angels; Chapter Six: Our Sound is Our Wound; Epilogue: a 'sound' story.

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Book SynopsisA biography of jazz trumpeter and singer, Henry "Red" Allen, long regarded as Louis Armstrong's chief rival. As a close friend of Allen's, John Chilton brings to light various aspects of Allen's personality, as well as analyzing his recordings and detailing his life.Trade Review"The book is enlivened by the author's piquant and most readable style....This is definitely a jazz volume that belongs in your personal library."--The Mississippi Rag, February 2001"[An] absorbing study...Chilton is not only a fine biographer...bur also a fine trumpet player, and provides helpful commentary on Red's many recordings....this is a first-rate jazz biography, scrupulously researched and gracefully written." -Jersey Jazz"this excellent book...includes nearly 20 fine photos, a selected discography by Brian Peerless and an index." - International Association of Jazz Record Collectors Journal -- Russ ChaseTable of ContentsNew Orleans joys; a trip to the north; riverboat days; a musical furnace; star soloist; the blueprints of swing; the great understudy; bold bandleader; super showman; metropole magic; European debut; four's company; triumphant tours; a Valian farewell.

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Book SynopsisContains texts of 150 of the best-loved hymns in the English language, from the time of the Early Church to the late 20th century. Each text in this work is accompanied by a commentary, giving biographical details of the author; notes on the circumstances in which the hymn was written and how it has been used; and variant versions.Trade Review"'...there is a great deal for hymn-lovers to enjoy.' Keith Mitchell, The Tablet '...very good it is, too...a book to dip into or read from cover to cover...' Methodist Recorder"Table of ContentsIntroduction; The Hymns; Further Reading; Index of First Lines; Index of Authors, Translators and Composers.

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Book SynopsisPart of "The Continuum Aesthetics" series, this book offers a different exploration of the key concepts and arguments in musical aesthetics. It looks at: the experience of listening; rhythm and musical movement; what modernism has meant for musical aesthetics; the relation of music to other 'sound arts'; improvisation and composition; and more.Trade Review'A gifted philosopher, music critic and jazz performer, Andy Hamilton has produced a book which leaves neither the philosophy nor the music out. He guides us deftly through the aesthetics of Kant and Adorno without neglecting the reality of music as sound and rhythm, improvisation and composition, showing in an unusually open-minded, lively way - and in philosophical depth - how aesthetic experience is universal and human.' Professor John Skorupski, St Andrews University, UK'An innovative, cross-disciplinary contribution to the philosophy of music, weaving Adorno's Critical Theory with Analytic aesthetics.' Professor Max Paddison, Durham University, UK.'With a fine eye for argument, for teasing out and testing key assumptions within the philosophy of music, Andy Hamilton's Aesthetics And Music charts a knife-edge course between scholarship, clear and penetrating thinking, and above all sound intuitions.' Stephen Robinson, The Wire, December 2007'Aesthetics and Music is a rich and interesting study. Hamilton's approach is innovative ... [the book] should be recommended to anyone interested in the philosophy of music.' Stephen Davies, University of Auckland, Analysis'A deeply informed author thinking hard about the musical matters which he considers - with justification - to be the most important... a lively and stimulating contribution to a number of debates.' M.W. Rowe, British Journal of Aesthetics'Hamilton has read widely, listened hard and had his own practical engagement with music as a jazz pianist, and there is much to be learned from his argument ... The range of Hamilton's interests, and his familiarity with modern, postmodern, and post-postmodern culture, help to support an argument that is far more interesting in its detail than can be conveyed in a short review. There is a freshness in his approach, and a pleasing disregard for pedantic controversies, that will surely attract new readers to a subject that has not always been as well served by its practitioners as it is served by Hamilton.' Roger Scruton, MIND"The value of Aesthetics and Music lies in its producing the groundwork needed to present modern jazz as music worthy of Analytic philosophical treatment." Reviewed by Andrew McGettigan in Radical Philosophy, July 2008"Andy Hamilton's Aesthetics and Music is an unusual concoction: one part history of the aesthetics of music, one part review of recent work in the Analytic philosophy of music, and one part original contribution to musical aesthetics...Hamilton's respect for and sincere interest in improvised music, experimentalism, and sound-art is model for future writers on the philosophy of music." - Brian Kane, Current Musicology, No. 85, Spring 2008Reviewed in Dagens Nyheter, Sweden - Jan 2008'Hamilton's is a distinctive philosophical voice, and Aesthetics and Music is a lively and stimulating contribution to a number of important debates.' - British Journal of AestheticsTable of Contents1. Aesthetics and music in ancient Greece; 2. The concept of music; 3. The aesthetic of form, the aesthetic of expression, and "Absolute Music": Aesthetics of music in the late 18th and 19th centuries 4. The sound of music; 5. Rhythm and time; 6. Adorno and modernism: Music as autonomous and "social fact" 7. Improvisation and composition.

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Book SynopsisA philosophical study of the historically dominant form of moving image media. It is suitable for students of aesthetics and cinema, as well as those interested in philosophy and the art of film.Trade Review'Clear and engaging, compact and balanced, this book provides an up-to-date introduction to some of the central issues in the philosophy of film. I can thoroughly recommend it.' Berys Gaut, Reader in Philosophy, University of St Andrews, UK'A clear and comprehensive introduction to the philosophy of film. This book will be a great resource for students as well as philosophers interested in learning about recent developments in the philosophy of film.' Thomas Wartenberg, Professor of Philosophy, Mount Holyoke College, USATable of ContentsPreface; 1. Film as Art; 2. Realism; 3. Authorship; 4. The Language of Film; 5. Narration in the Fiction Film; 6. The Thinking Viewer; 7. The Feeling Viewer; Notes; Bibliography; Index.

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Book SynopsisOffers a critical introduction to the play, "Angels in America", giving students an overview of the background and context; analysis of the play including its structure, style and characters; and an analysis of key production issues and choices.Table of ContentsSeries Preface; 1. Background; 2. Angels in America; 3. Production Analysis; 4. Performance History; 5. From Stage to Screen; 6. Annotated bibliography, guide to further reading; Index.

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Book SynopsisWith its engaging alteration between past and present "Arcadia" offers a comedic and entertaining exploration of chaos theory, entropy, the Second Law of thermodynamics, iterated algorithms, fractals, and other concepts culled the realms of math and science. This guide provides students a comprehensive critical introduction to the play.Trade Review"An enlightening entryway into Stoppard's luminous play, Fleming's commentary on Arcadia is informed by his attention to theatrical issues as well as his deep understanding of the of the play's multilayered themes." - Professor Michael Vanden Heuvel, University of Wisconsin-Madison, USA"Fleming's book offers the student and Stoppard enthusiast a fully researched and clearly written analysis of what many call Stoppard's best play. From the background and context section describing Stoppard's entire oeuvre to date, to the final section offering suggestions for teaching Arcadia, this book situates the play squarely within Stoppard's writing about science. Fleming's precise analyses of the play's characters and his informed discussion of its themes offer the student and instructor an intelligent framework for understanding Arcadia as a profound and comic play of ideas." - Katherine E. Kelly, Texas A&M University, USA Briefly reviewed in the Year's work in English Studies journal, vol 89, No. 1 ‘Drawing on previously unpublished material with Stoppard, Fleming's volume traces the history of the play's production and its cultural and historical context'Table of ContentsGeneral Preface; Acknowledgements; 1. Background and Context; 2. Analysis and Commentary; 3. Production History; 4. Workshopping the Play; Timeline; Further Reading; References; Index.

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Book SynopsisDavid K. Sauer is Professor Emeritus at Spring Hill College, USA.Trade Review"David Sauer has taken a key play in the 20th century canon, and, with critical insight and analytic skills, explained what made it such a key theatrical, but also social and political event. Mamet's Oleanna touched a nerve in American society. Sauer explains just why that was so without forgetting that it is first and foremost a deeply impressive dramatic work." - Professor Christopher Bigsby, School of American Studies, University of East Anglia, UKMentioned in The Bookseller, 10 April 2009.Mentioned in The Bookseller, 10 April 2009.Table of ContentsGeneral Preface; 1. Background and Context; 2. Analysis and Commentary; 3. Oleanna in Performance: Less is More; 4. Workshopping the Text: 'Whatever side you take, you're wrong'; 5. Conclusion; Timeline 1945-60; Further Reading; Bibliography; Index.

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Book SynopsisPresents a study of key musical works of the twentieth century. Here, the author brings a range of social and cultural questions to bear on the analysis of two composers he saw as polar opposites, Arnold Schoenberg and Igor Stravinsky.Trade Review"[Adorno's] interest in Schoenberg and Benjamin was combined in his best known and most influential book...which set out to do for contemporary music what Benjamin had done for seventeenth-century German tragedy."--The New York Review of BooksTable of ContentsTranslator's Introduction; Preface; Introduction; Schoenberg and Progress; Stravinsky and Restoration; Notes.

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Book SynopsisThe sinister “jungle” - that ill-defined and amorphous place where civilization has no foothold and survival is always in doubt - is the terrifying setting for countless works of the imagination. In Jungle Fever, Charlotte Rogers goes deep into five books that first defined the jungle as a violent and maddening place.Trade Reviewa stunningly erudite and insightful critical and historical interdisciplinary analysis"" - Hispania""Jungle Fever takes us on a fascinating excursion into the colonial and postcolonial tropics where we find Conrad and Malraux in the company of Alejo Carpentier, Mario Vargas Llosa, Jorge Luis Borges, and Wilson Harris - with many surprises lurking along the way."" - Vera Kutzinski, author of Against the American Grain""Jungle Fever isolates, in the novelistic subgenre of the jungle book, a deep strand involving disease, which is at the source of its creative impulse, and where these adventure novels carry out a compelling critique of modern imperialism. Cutting across the English, Latin American, and French traditions this book is a model of the comparative approach."" - Roberto Gonzalez Echevarria, Sterling Professor of Hispanic and Comparative Literature, Yale University, and author of Myth and Archive

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Book SynopsisDemonstrates how the basso continuo line has an independent musical funxtion in ensemble music of the Italian Baroque period.Covers the Italian Baroque period (1600-1730). Borgir rejects the notion that the basso continuo line is doubled by bass instruments and shows how these have an independent musical function in ensemble music. He untangles their confusing terminology and also explores the unexpected uses of the large lutes. Italian continuo practice included elaborate training in improvisation described in detail here for the first time. Tharald Borgir is Professor Emeritus in the Music Department at Oregon State University. His principal performance activities have been on the harpsichord and the fortepiano.Trade Review. . . a major reconsideration of the sound of 17th-century Italian music . * CHOICE *

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Book SynopsisAn exploration of avant-garde music and operatic form in Weimar GermanyWeimar Germany -- the age of Bauhaus and Brecht -- was a time of significant activity in all areas of the artistic avant-garde. Musicologist Susan Cook explores this intriguing period in a look at Zeitoper (topical opera)and its primary exponents, Ernst Krenek, Kurt Weill and Paul Hindemith. Zeitoper has proved to be of importance as an experimental form that broadened the definition of modern opera and musical theatre, incorporating elements previously thought unsuitable. Celebrating modern life in its libretti, its scores borrowed heavily from American dance music and jazz. Opera for a New Republic is the first book to provide a broad historical,cultural and artistic context for the development of this operatic genre. Through it we learn that Zeitoper, although short-lived, has proved to be a vital component in the development of twentieth-century operatic style. Susan Cook is Professor of Musicology at the University of Wisconsin.

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Book SynopsisScreen Saviors studies how the self of whites is imagined in Hollywood moviesby white directors featuring white protagonists interacting with people of another color. This collaboration by a sociologist and a film critic, using the new perspective of critical white studies, offers a bold and sweeping critique of almost a century''s worth of American film, from Birth of Nation (1915) through Black Hawk Down (2001). Screen Saviors studies the way in which the social relations that we call race are fictionalized and pictured in the movies. It argues that films are part of broader projects that lead us to ignore or deny the nature of the racial divide in which Americans live. Even as the images of racial and ethnic minorities change across the twentieth century, Hollywood keeps portraying the ideal white American self as good-looking, powerful, brave, cordial, kind, firm, and generous: a natural-born leader worthy of the loyalty of those of another color. The book invites readers to conduct their own analyses of films by showing how this can be done in over 50 Hollywood movies. Among these are some films about the Civil WarBirth of a Nation , Gone with the Wind, and Glory; some about white messiahs who rescue people of another colorStargate, To Kill a Mockingbird, Mississippi Burning, Three Kings, and The Matrix; the three versions of Mutiny on the Bounty (1935, 1962, and 1984) and interracial romanceGuess Who''s Coming to Dinner. Forty years of Hollywood fantasies of interracial harmony, from The Defiant Ones and In the Heat of the Night through the Lethal Weapon series and Men in Black are examined. This work in the sociology of knowledge and cultural studies relates the movies of Hollywood to the large political agendas on race relation in the United States. Screen Saviors appeals to the general reader interested in the movies or in race and ethnicity as well as to students of comTrade ReviewThe study cuts through 84 years of films with many specific and accurate analyses. It will give instructors a new perspective and students tough questions to ask in many classes. Recommended. * CHOICE *Through a careful, detailed examination of an impressive number of significant American films, the authors vividly demonstrate the extent to which notions of white supremacy assert themselves, often unconsciously, even in works in which a liberal, ostensibly anti-racist viewpoint dominates. Screen Saviors is an important contribution to cinema studies and to the growing body of scholarship devoted to the study of white identity. -- Robert Elliot Fox, Southern Illinois UniversityAnalyzes the images of white protagonists interacting with people of another race or ethnicity in American movies from 1915's 'Birth of a Nation' to 'Black Hawk Down' in 2001. This book reveals the diverse, often disturbing ways in which movies manufacture the 'white self,' the image and the story of whiteness articulated by white film makers. * Beaches Leader *This book reveals the diverse, often disturbing ways in which movies manufacture the 'white self'—the image and story of whiteness articulated by white filmmakers. Avoiding polemical posturing and relying upon historical analysis, the authors provide us with an insightful project that is written with clarity and care. -- Daniel Bernardi, University of ArizonaProvocative book. There's plenty to enjoy. * Film & History: An Interdisciplinary Journal *A pioneering and highly original book. From Birth of a Nation to the latest Hollywood films, Vera and Gordon describe and critically analyze Hollywood movies made by dozens of different white directors, producers, and writers, people with different imaginations and styles. Yet virtually all the movies they have made fit the same mold of not challenging white privilege. -- Joe R. Feagin, from the ForewordIf you want to explore a colorful, controversial side of film lore, check out Screen Saviors. At the very least, it'll make you think about what you are watching. * Rockford Register Star *A valuable addition to the growing scholarship of hegemonic whiteness in America. * Contemporary Sociology *Table of ContentsChapter 1 Foreword: A Nation of Sheep Chapter 2 Learning to Be White through the Movies Chapter 3 The Divided White Self Chapter 4 The Beautiful White American: Sincere Fictions of the Savior Chapter 5 Amistad: Civilization and Its Contentments Chapter 6 Mutiny on the Bounty: Civilization and Its Discontents Chapter 7 Racism as a Project:Guess Who's Coming to Dinner Chapter 8 Scarlett and Mammy Revisited: White Women and Black Women in Hollywood Films Chapter 9 White Out: Racial Masquerade by Whites in American Film I Chapter 10 White Out: Racial Masquerade by Whites in American Film II Chapter 11 Black and White Buddies I Chapter 12 Black and White Buddies II Chapter 13 Conclusion: The Crisis of Whiteness

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Book SynopsisTravel diaries reveal musical inspiration, personal encounters, notes on performances.This volume brings together all the travel diaries of Sir Peter Pears (1910-1986), principal interpreter of Britten's works. Pears accompanied Britten on many of his trips and the record of their tour of the Far East in 1955 is ofspecial interest. Here the sound of the gamelan orchestras enchanted Britten and deeply influenced his musical development.Trade ReviewA valuable source of material on the musical development of both Pears and Benjamin Britten...a 'must' for those interested in either. * OPERA JOURNAL [US] *Table of ContentsAmerican tour with the New English Singers (1936); world trip (1955-56); Ansbach Bach Festival (1959); India (1965); Armenian holiday - a diary (August 1965); Moscow Christmas - a diary (December 1966); Nevis fortnight (1967); Moscow diary (1971); Saint Enoch (1972); San Fortunato (1972); the New York "Death in Venice" (1974); the New York "Billy Budd" (1978); appendix - German text of chapter 3.

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Book SynopsisDiscussion of original performance conventions of Bach's sacred works - cantatas, Passions, masses - by practising musician and director of Taverner choir.What type of choir did Bach have in mind as he created his cantatas, Passions and Masses? How many singers were at his disposal in Leipzig, and in what ways did he deploy them in his own music? Seeking to understand the verymedium of Bach's incomparable choral output, Andrew Parrott investigates a wide range of sources: Bach's own writings, and the scores and parts he used in performance, but also a variety of theoretical, pictorial and archival documents, together with the musical testimony of the composer's forerunners and contemporaries. Many of the findings shed a surprising, even disturbing, light on conventions we have long taken for granted. A whole world away from, say, the typical oratorio choir of Handel's London with which we are reasonably familiar, the essential Bach choir was in fact an expert vocal quartet (or quintet), whose members were also responsible for all solos and duets. (In a mere handful of Bach's works, this solo team was selectively supported by a second rank of singers - also one per part - whose contribution was all but optional). Parrott shows that this use of aone-per-part choir was mainstream practice in the Lutheran Germany of Bach's time: Bach chose to use single voices not because a larger group was unavailable, but because they were the natural vehicle of elaborate concerted music. As one of several valuable appendices, this book includes the text of Joshua Rifkin's explosive 1981 lecture, never before published, which first set out this line of thinking and launched a controversy that is long overduefor resolution. ANDREW PARROTT has made a close study of historical performing practices in the music of six centuries, and for over twenty-five years he has been putting research into practice with his own professional ensembles, the Taverner Consort, Taverner Players and Taverner Choir.Trade ReviewThis utterly fascinating and ultimately convincing book can only do his cause good in the best of all possible years. -- Simon Hughes * INTERNATIONAL RECORD REVIEW *As restated here (...with additional material and with admirable clarity), the arguments are utterly convincing... The book is a pleasure to read, fluently written and clearly set out with many illustrations and musical examples. * EARLY MUSIC REVIEW *A brilliant piece of research...a superb book - and it is going to lead us all to think more carefully about how we approach the performance of Bach. -- DAVID HILL * WINCHESTER CATHEDRAL *I was gripped by this book; it is compulsive reading. If you profess the faith of Bach you simply cannot afford to be without it. * CLASSICAL MUSIC *Highly recommended for anyone interested in Bach's vocal works. -- Yo Tomita * MUSICAL TIMES *Utterly fascinating and ultimately convincing. * GRAMOPHONE *A work of careful and judicious scholarship. * OXFORD TIMES *What Parrott has delivered is a document which will itself no doubt be a subject of study in years to come. -- Andrew Manze * TLS *Table of ContentsBach as cantor and "Director Musices" in Leipzig; repertoire; concertists and ripienists; copies and copy-sharing; Bach's use of ripienists; the "Entwurff"; additional resources; instrument/singer ratios; balance. Appendices: Bach's written undertakings to the Leipzig Town Council (1723); Bach's audition reports (1729); the "Entwurff" (1730), text and translation; some contemporary accounts of concerted music-making; sources of Bach's vocal ensemble music; Bach's chorus (1981), Joshua Rifkin; 20th-century commentaries on Bach's choir.

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Book SynopsisComparative studies of medieval chant traditions in western Europe, Byzantium and the Slavic nations illuminate music, literacy and culture.Gregorian chant was the dominant liturgical music of the medieval period, from the time it was adopted by Charlemagne's court in the eighth century; but for centuries afterwards it competed with other musical traditions, local repertories from the great centres of Rome, Milan, Ravenna, Benevento, Toledo, Constantinople, Jerusalem, and Kievan Rus, and comparative study of these chant traditions can tell us much about music, liturgy, literacy and culture a thousand years ago. This is the first book-length work to look at the issues in a global, comprehensive way, in the manner of the work of Kenneth Levy, the leading exponent of comparative chant studies. It covers the four most fruitful approaches for investigators: the creation and transmission of chant texts, based on the psalms and other sources, and their assemblage into liturgical books; the analysis and comparison of musical modes and scales; the usesof neumatic notation for writing down melodies, and the differences wrought by developmental changes and notational reforms over the centuries; and the use of case studies, in which the many variations in a specific text or melodyare traced over time and geographical distance. The book is therefore of profound importance for historians of medieval music or religion - Western, Byzantine, or Slavonic - and for anyone interested in issues of orality and writing in the transmission of culture.PETER JEFFERY is Professor of Music History, Princeton University. Contributors: JAMES W. McKINNON, MARGOT FASSLER, MICHEL HUGLO, NICOLAS SCHIDLOVSKY, KEITH FALCONER, PETER JEFFERY, DAVID G.HUGHES, SYSSE GUDRUN ENGBERG, CHARLES M. ATKINSON, MILOS VELIMIROVIC, JORGEN RAASTED+, RUTH STEINER, DIMITRIJE STEFANOVIC, ALEJANDRO PLANCHART.Table of ContentsLiturgical Psalmody in the Sermons of St Augustine: An Introduction - James W McKinnon The First Marian Feast in Constantinople and Jerusalem: Chant Texts, Readings, and Homiletic Literature - Margot Fassler The Cantatorium, From Charlemagne to the Fourteenth Century - Michel Huglo A New Folio for MS Chilandari 307, with Some Observations on the Contents of the Slavic Lenten Sticherarion and Pentekostarion - Nicolas Schidlovsky The Modes Before the Modes: Antiphon and Differentia in Western Chant - Keith Falconer The Earliest Oktoechoi: The Influence of Jerusalem and Palestine in the Beginnings of Modal Ordering - Peter Jeffery Guido's 'Tritus': An Aspect of Chant Style - David G Hughes Early Ekphonetic Notation in the Manuscript Scheide 2 at Princeton University - The Other Modus: On the Theory and Practice of Intervals in the Eleventh and Twelfth Centuries - Charles M Atkinson Russian Musical Azbuki: A Turning Point in the History of Slavic Chant - Milos Velimirovic Kontakion Melodies in Oral and Written Tradition - Jorgen Raasted On the Verses of the Offertory Elegerunt - Ruth Steiner The Trisagion in Some Byzantine and Slavonic Stichera - Dimitrije Stefanovic Proses in the Manuscripts of Roman Chant, and their Alleluias - Alejandro Planchart

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Book SynopsisThis acclaimed biography draws on first-hand accounts, including new material on Walton's circle of the 20s and 30s; the composer's work in film a particular focus.When in June 1923 a bewildered audience in London's Aeolian Hall heard Edith Sitwell declaim her Façade poems through a megaphone, the 21-year-old William Walton - conducting behind a painted backcloth - stood on the threshold of fame. Throughout the 1920s and 1930s he was regarded as the white hope of British music, and a succession of works including the Viola Concerto, Belshazzar's Feast and the First Symphony more than fulfilled that early promise; he was also one of the first serious composers to be involved in films. Using first-hand accounts, this book explodes the myth of Façade's riotous reception, examines Walton's work in both films and radio and, through contemporary correspondence, articles and interviews - wherever possible in his own words - explores Walton's life and troubled times. It brings to the fore his complex personality - "remote, removed, distant" in Laurence Olivier's words, in dynamic contrast with music of such vitality and drama. Composition for him was an arduous, often painful, process riddled with difficulties, uncertainties and self-doubts, and further complicated by severallove affairs (one being with Italy) that inspired his finest works. STEPHEN LLOYD's previous books include a biography of H. Balfour Gardiner and a collection of Eric Fenby's writings on Delius, which he edited. In addition to record sleeve notes, programme notes, reviews and articles, he has contributed to the Percy Grainger Companion, the Studies in Music Grainger Centennial Volume, An Elgar Companion, and volumes on Delius, Waltonand Bliss.Trade ReviewImmensely detailed, rich, and often fascinating anecdotal biography... * CHOICE *Careful in its judgments, copiously quoting from Walton's letters, and rich in appendices. * LONDON REVIEW OF BOOKS *A helpful contribution to the slow but steady re-evaluation of Walton. * MUSIC AND LETTERS *Table of ContentsOldham and Oxford; Sitwellian patronage; poetry through a megaphone; the white hope of British music; "throw in a couple of brass bands"; unfinished - con malizia; a reel composer; films again - and radio; "terribly dull without the music"; Troilus and Ischia; "desperate to find a tune". Appendices: Lambert on Walton; Walton on Lambert; Walton on films; recording the music by Muir Mathieson; the "Facade" poems; reviews of "Facade"; list of works.

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Book SynopsisArticles on masterpieces of European religious music, from the middle ages to Stravinsky and Tavener.The late Wilfrid Mellers, who occupies a special place among music critics, described himself as a non-believer; but his preference for music that "displays a sense of the numinous" (in his words) will strike a chord with many wholisten to religious music nowadays, and who share his view that music that confronts first and last things is likely to offer more than music that evades them. The essays form five groups, which together offer a survey of religious music from around the first millennium to the beginning of the second, in the context of the difficult issues of what religious music is, and, for good measure, what is religion? The parts are: The Ages of Christian Faith; The Re-birth of a Re-birth: From Renaissance to High Baroque; From Enlightenment to Doubt; From "the Death of God" to "the Unanswered Question"; and The Ancient Law and the Modern Mind. Musical discussion, with copious examples, is conducted throughout the book in a context that is also religious - and indeed philosophical, social, and political, with the open-endedness that such an approach demands in the presentation of ideas aboutmusic's most fundamental nature and purposes. COMPOSERS: Hildegard of Bingen; Perotin; Machaut; Dunstable, Dufay; William Corniyshes father and son; Tallis; Byrd; Monteverdi; Schutz; J.S. Bach; Couperin; Handel; Haydn;Mozart; Beethoven; Schubert; Bruckner; Berlioz, Faure; Verdi, Brahms; Elgar, Delius; Holst, Vaughan Williams, Howells; Britten; Janacek; Messiaen, Poulenc; Rachmaninov; Stravinsky; Part, Tavener, Gorecki, Macmillan, Finnissy; Copland.Trade ReviewIf his opinions are often provocative, his writings also stir one into reflection on even well-known works... Plenty to stimulate and even inspire. * GRAMOPHONE *Celestial Music? does fill a niche and fulfill a need. * AMERICAN GRAMOPHONE *Table of ContentsWhat is religious music? Part 1 The ages of Christian faith. Part 2 The rebirth of a rebirth - from Renaissance to High Baroque. Part 3 From Enlightenment to doubt. Part 4 From "the death of God" to "the unanswered question". Part 5 The ancient law and the modern mind.

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Book SynopsisThomas Elsaesser teaches Film and English at the University of East Anglia and is the author of the prizewinning New German Cinema: A History (1989).Adam Barker is series producer on Channel Four's The Media Show and has written about the economics and aesthetics of cinema for Screen Finance, Sight and Sound and other journals.

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Book SynopsisE. Ann Kaplan is Professor of English at the Stony Brook University, New York, USA, where she also directs the Humanities Institute.

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