Entertainment Books

Book SynopsisVertigo (1958) is widely regarded as not only one of Hitchcock's best films, but one of the greatest films of world cinema. Made at the time when the old studio system was breaking up, it functions both as an embodiment of the supremely seductive visual pleasures that 'classical Hollywood' could offer and – with the help of an elaborate plot twist – as a laying bare of their dangerous dark side. The film's core is a study in romantic obsession, as James Stewart's Scottie pursues Madeleine/Judy (Kim Novak) to her death in a remote Californian mission. Novak is ice cool but vulnerable, Stewart – in the darkest role of his career – genial on the surface but damaged within. Although it can be seen as Hitchcock's most personal film, Charles Barr argues that, like Citizen Kane, Vertigo is at the same time a triumph not so much of individual authorship as of creative collaboration. He highlights the crucial role of screenwriters Alec Coppel and Samuel Taylor and, by a combination of textual and contextual analysis, explores the reasons why Vertigo continues to inspire such fascination. In his foreword to this special edition, published to celebrate the 20th anniversary of the BFI Film Classics series, Barr looks afresh at Vertigo alongside the recently-rediscovered 'lost' silent The White Shadow (1924), scripted by Hitchcock, which also features the trope of the double, and at the acclaimed contemporary silent film The Artist (2011), which pays explicit homage to Vertigo in its soundtrack.Table of ContentsForeword.- Acknowledgments.- 1 Obsession.- 2 Construction.- 3 Illusion.- 4 Revelation.- Notes.- Credits.- Bibliography.

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Book SynopsisWent the Day Well? is one of the most unusual pictures Ealing Studios produced,a distinctly unsentimental war film made in the darkest days of World War II,and nothing like the loveable comedies that later became the Ealing trademark.Its clear-eyed view of the potential for violence lurking just below the surfacein a quiet English village possibly owes something to the Graham Greene storyon which it is based, though, as Penelope Houston shows, there remains amystery about the extent to which Greene was actually involved in the scripting.Or perhaps the direction by the Brazilian born Cavalcanti, a maverick within theEaling coterie, is the chief reason why Went the Day Well? avoids the cosy feel oflater, more familiar, Ealing films. In his foreword to this special edition, published to celebrate the 20thanniversary of the BFI Film Classics series, Geoff Brown pays homage toPenelope Houston''s astute study, and places the book in the context of Went theDay Well?''s changing critical recep

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Book SynopsisDocumentary film can encompass anything from Robert Flaherty''s pioneering ethnography Nanook of the North to Michael Moore''s anti-Iraq War polemic Fahrenheit 9/11, from Dziga Vertov''s artful Soviet propaganda piece Man with a Movie Camera to Luc Jacquet''s heart-tugging wildlife epic March of the Penguins. In this concise, crisply written guide, Patricia Aufderheide takes readers along the diverse paths of documentary history and charts the lively, often fierce debates among filmmakers and scholars about the best ways to represent reality and to tell the truths worth telling. Beginning with an overview of the central issues of documentary filmmaking--its definitions and purposes, its forms and founders--Aufderheide focuses on several of its key subgenres, including public affairs films, government propaganda (particularly the works produced during World War II), historical documentaries, and nature films. Her thematic approach allows readers to enter the subject matter through the kinds of films that first attracted them to documentaries, and it permits her to make connections between eras, as well as revealing the ongoing nature of documentary''s core controversies involving objectivity, advocacy, and bias. Interwoven throughout are discussions of the ethical and practical considerations that arise with every aspect of documentary production. A particularly useful feature of the book is an appended list of 100 great documentaries that anyone with a serious interest in the genre should see. Drawing on the author''s four decades of experience as a film scholar and critic, this book is the perfect introduction not just for teachers and students but also for all thoughtful filmgoers and for those who aspire to make documentaries themselves. ABOUT THE SERIES: The Very Short Introductions series from Oxford University Press contains hundreds of titles in almost every subject area. These pocket-sized books are the perfect way to get ahead in a new subject quickly. Our expert authors combine facts, analysis, perspective, new ideas, and enthusiasm to make interesting and challenging topics highly readable.Trade ReviewAlways clear and concise... a welcome addition to the Very Short Introductions series. * The Observer *

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Book SynopsisAlthough he died in a tragic car accident at twenty-five, Clifford Brown is widely considered one of the most important figures in the history of jazz, a trumpet player who ranks with Louis Armstrong, Dizzy Gillespie, and Miles Davis, and a leading influence on contemporary jazz musicians. Now, in Clifford Brown: The Life and Art of the Legendary Jazz Trumpeter, Nick Catalano gives us the first major biography of this musical giant. Based on extensive interviews with Clifford Brown''s family, friends, and fellow jazz musicians, here is a fascinating portrait of a remarkable musician. Catalano depicts Brown''s early life, showing how he developed a facility and dazzling technique that few jazz players have ever equaled. We read of his meteoric rise in Philadelphia, where he played with many of the leading jazz players of the 1950s, including Dizzy Gillespie and Charlie Parker; his tour of Europe with Lionel Hampton, which made him famous; and his formation of the Brown-Roach Quintet witTrade ReviewNick Catalano has done a superb job. This is a first-rate biography that is wonderfully readable. * Yorkshire Post *Table of ContentsAcknowledgments ; Introduction ; 1. The Brown Family of Wilmington ; 2. Boysie Lowery and Howard High ; 3. On to Philadelphia ; 4. The Brink of Disaster ; 5. Rhythm 'n' Blues ; 6. The Month of June ; 7. European High Jinks ; 8. New York and Home ; 9. California Surprise ; 10. Brown and Roach, Inc. ; 11. Back to the East ; 12. Into 1956 ; Epilogue ; Notes ; Selected and Annotated Discography ; Index

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Book SynopsisA comprehensive study of the clarinet in use through the classical period, 1760 to 1830, a period of intensive musical experimentation. The book provides a detailed review and analysis of construction, design, materials, and makers of clarinets. Rice also explores how clarinet construction and performance practice developed in tandem with the musical styles of the period.Table of ContentsIntroduction ; 1. General Design and Construction Characteristics ; 2. Historical Development ; 3. Playing Techniques ; 4. Music for the Classical Clarinet ; 5. The Clarinet in Performing Groups ; Notes ; Bibliography

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Book SynopsisThe zombie is cinema’s most enduring horror icon, having terrified audiences for decades. Book of the Dead charts the history of the walking dead from the monster’s origins in Haitian voodoo, through its cinematic debut in 1932’s White Zombie up to blockbuster World War Z and beyond.Covering hundreds of movies from America, Europe, Asia and even the Middle East, Jamie Russell examines zombies’ on-screen evolution from Caribbean bogeymen to flesh-eating corpses and apocalyptic plague carriers. With an exhaustive filmography covering the history of the zombie genre, Book of the Dead explains our ongoing fascination with the living dead and how this shambolic monster has become a stumbling, moaning metaphor for our age.Fully revised and updated with over 300 new moviesIncludes an exclusive interview with the ‘Don of the Dead’ George A. RomeroThe

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Book SynopsisThe historical roots, key practitioners, and artistic, theoretical, and technological trends in the incorporation of new media into the performing arts.The past decade has seen an extraordinarily intense period of experimentation with computer technology within the performing arts. Digital media has been increasingly incorporated into live theater and dance, and new forms of interactive performance have emerged in participatory installations, on CD-ROM, and on the Web. In Digital Performance, Steve Dixon traces the evolution of these practices, presents detailed accounts of key practitioners and performances, and analyzes the theoretical, artistic, and technological contexts of this form of new media art. Dixon finds precursors to today's digital performances in past forms of theatrical technology that range from the deus ex machina of classical Greek drama to Wagner's Gesamtkunstwerk (concept of the total artwork), and draws parallels between contemporary work and the

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Book SynopsisEveryone loves a Christmas carol - in the end, even Scrooge. They have the power to summon up a special kind of midwinter mood, like the aroma of mince pies and mulled wine and the twinkle of lights on a tree. It's a kind of magic. But how did they get that magic? In Christmas Carols Andrew Gant tells the story of some twenty carols, each accompanied by lyrics and music, unravelling a captivating - and often surprising - tale of great musicians and thinkers, saints and pagans, shepherd boys, choirboys, monks and drunks. We delve into the history of such favourites as 'Good King Wenceslas', 'Away in a Manger' and 'The Twelve Days of Christmas', discovering along the way how 'Hark, the Herald angels sing' came to replace 'Hark, how all the welkin ring' and how Ralph Vaughan Williams bolted the tune of an English folk song about a dead ox to a poem by a nineteenth-century American pilgrim to make 'O little town of Bethlehem'. Christmas Carols brims with anecdote, expert knowledge and Christmas spirit. It is a fittingly joyous account of one of our best-loved musical traditions.Trade ReviewAndrew Gant provides us with a fluent but flinty digest of the modern scholarship concerning 22 of our favourite seasonal songs. -- Kathryn Hughes * The Guardian *Gant's detective-story accounts of 22 Christmas melodies is a delight -- Christopher Hart * Sunday Times *Scholarly but conversational in in tone and rich in picturesque detail. -- Kirsty McClusky * The Tablet *

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Trade Reviewreadable and engaging. * Thomas Kelly, Sunday Business Post *This excellent book draws on 10 years of interviews with some of the key figures in hip hop's emergence and development ... a gripping study. * James Wilsdon, Times Higher Education Supplement *[Katz's] book manages to be both lively and academic - some achievement. * Susan Elkin, The Stage *DJs, researchers working in various areas (popular musicology, cultural studies, American studies, etc.) and the casual reader with an interest in hiphop will all find much to engage them in this book. Katzs fanatical enthusiasm permeates the works scholarly tone, producing an informed narrative which remains vigorous at all times and leads the reader through almost 40 years of musical evolution with great momentum yet careful control. In his introduction to the book, Katz says that DJ Cash Moneys response on being told of the project was that we [the hip-hop DJ community] need you to get this right (12). It seems that in writing Groove Music he has done just that. * Rowan Oliver, Journal of Music, Technology & Education *Groove Music is a well-researched historical account of the legacy and cultural influence of hip-hop DJs that will prove useful to any scholar or student of popular music. Not only is Katzs book a compelling contribution to hip-hop scholarship, it is witty and accessible enough to serve as freeiration for future turntablists and current practitioners discovering their own roots. * Michael Lee Austin, College Music Symposium *Groove Music: The Art and Culture of the Hip Hop DJ should be considered a foundational reading for anyone wanting to understand the context for the hip-hop DJs historical emergence, evolution and contemporary position in American musical culture ... Groove Music is to be lauded for supporting the legitimacy of hip-hop DJ culture--something that hip-hop DJs have struggled to educate music listeners about since hip-hop's beginnings. * Stephen Bischoff, Journal of Popular Culture *A thoroughly researched, comprehensive, and well-written narrative history of [hip-hop's] practices ... Katz's book is an important contribution towards our understanding of the many facets of hip-hop culture ... Groove Music's insightful and intelligent consideration of the world of the hip-hop DJ will be a landmark for years to come. * John Paul Meyers, Notes *Table of ContentsIntroduction ; 1. The Breaks and The Bronx, 1973-1975 ; 2. Mix and Scratch: The Turntable Becomes a Musical Instrument 1975-1978 ; 3. Out of the Bronx and into the Shadows 1978-1983 ; 4. Expansions 1983-1989 ; 5. Turntablism 1989-1996 ; 6. The Art of War: The DJ Battle 1991-1996 ; 7. Legitimacy 1996-2002 ; 8. Falling Barriers 2002-2010 ; Conclusion ; Bibliography

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Book SynopsisTrade ReviewThere is no other textbook in modal counterpoint quite like it. Schubert's innovative division of rules into "hard" (rules never to be violated) and "soft" (rules that may be violated if the occasion demands) has proven very useful in the classroom, and his warm-up exercises for each species are quite helpful. This certainly ranks among the best music theory textbooks of the past ten years. * Anton Vishio, Steinhardt School of Culture, Education, and Human Development, New York University *This is one of the most successful textbooks in any area of music I have used in sixteen years of university teaching. It is also remarkably well edited. Its format is both instructor- and student-friendly. This is a book of inspired musicality, pragmatic pedagogy, scholarship, and wit. * Jeff Perry, Louisiana State University *Table of ContentsINTRODUCTION: RENAISSANCE MUSICAL STYLE AND NOTATION; APPENDICES

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Book SynopsisLeonard Cohen: A Remarkable Life tells the story of the life, loves and work of Leonard Cohen, the poet, songwriter and singer 'born with the gift of a golden voice.' As the man himself once dryly put it.Anthony Reynolds' fascinating and detailed biography draws on scores of new interviews conducted with Cohen's band members past and present, his business associates, editors, friends, fans, producers, colleagues, enemies and peers. As well as their revealing accounts, the author has gained access to hours of previously unpublished interviews with Cohen as well as video archive recordings from several decades. The book also includes an authoritative summary of every Cohen album, with insights and recollections supplied from the musicians who appeared on the recordings. Gradually, despite Cohen's own good-natured evasiveness over the past 40 years, a surprisingly frank portrait begins to emerge of the legendary figure who commands unparalleled loyalty from his fans and followers, young and old. From the distant days of his penniless beginnings as a much-praised poet in Montreal, through the travels, affairs and religious crisis to his latest tours, Cohen's extraordinary life and body of work is examined as never before. The book includes many previously unpublished photographs.Trade ReviewSolid account of both the man and his music.' Q ' - a thoroughly detailed and insightful book about an iconic but famously reclusive figure.' Metro

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Book Synopsis(The Little Black Songbook). This Little Black Book provides a pocket-sized collection of hundreds of guitar scales, presented in an easy-to-read format. Includes fingerings, full TABs for each scale, and helpful tips for all guitarists.

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Book SynopsisTrade ReviewA bible for accompanists/ collaborators! * Marilyn Horne *Table of Contents1. An Introduction: What is Collaboration Anyway? ; 2. Breathing and Singing ; 3. The Word is the Thing ; 4. The Pianist as Designer ; 5. The Pianist as Director ; 6. Kitchen Tools ; 7. The Bother of Balance ; 8. The Steinway Philharmonic ; 9. More about Orchestral Playing ; 10. Odds and Ends ; 11. Is there Life after Singers? ; 12. In Conclusion: A Pep-Talk

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Book SynopsisThis long-awaited project presents the results of a major research effort to determine the parameters of the stylistic variability of Arab folk music in Israel. Central to this old and highly improvised musical tradition is a unique modal framework that combines the concept of maqamthe foundation of Arab music theorywith other characteristics, including those of the text. Palestinian Arab Music is a comprehensive analysis of this music as actually practiced, examining both musical and nonmusical factors, their connection with the traits of individual performers, and their interaction with sociocultural phenomena. Working initially with their own 1957 invention, the Cohen-Katz Melograph, and later with computers, Dalia Cohen and Ruth Katz recorded and digitized several hundred Palestinian music performances. The authors analyzed the musical tradition in light of its main variables. These include musical parameters, modal frameworks, the form and structure of the music, its poetic text

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Book SynopsisToday, jazz is considered high art, America's national music, and the catalog of its recordings - its discography - is often taken for granted. This book examines recorded jazz from its careless handling as a novelty in the 1920s, through the deluge of 12-inch vinyl in the twentieth century, to the use of computers by today's discographers.Trade Review"On the surface, More Important Than the Music is an esoteric book, but Bruce D. Epperson has successfully managed to breathe life into the subject, weaving a story that opens up the field to a broader base of interest. He deals in fine detail with the origins and development of jazz discography, providing fascinating personal background on the major figures as well as addressing foundational issues such as plagiarism. A major contribution to jazz studies." (Eric Charry, Wesleyan University)"

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Book SynopsisMusic at German Courts serves to illustrate the extraordinary diversity of eighteenth-century German court music establishments without losing sight of what these Kapellen had in common. What was musical life at German courts really like during the eighteenth century? Were musical ensembles as diverse as the Holy Roman Empire's kaleidoscopic political landscape? Through a series of individual case studies contributed by leading scholars from Germany, Poland, the United States, Canada, and Australia, this book investigates the realities of musical life at fifteen German courts of varied size (ranging from kingdoms to principalities), religious denomination, and geographical location. Significant shifts that occurred in the artistic priorities of each court are presented through a series of "snapshots"- in effect "core sample" years - which highlight both individualand shared patterns of development and decline. What emerges from the wealth of primary source material examined in this volume is an in-depth picture of music-making within the daily life of individual courts, featuring a cast ofmusic directors, instrumentalists, and vocalists, together with numerous support staff drawn from across Europe. Music at German Courts serves to illustrate the extraordinary diversity of eighteenth-century German court music establishments without losing sight of what these Kapellen had in common. SAMANTHA OWENS is Associate Professor in Musicology at the University of Queensland, Brisbane, Australia. BARBARA M. REUL is Associate Professor of Musicology at Luther College, University of Regina, Canada. JANICE B. STOCKIGT is a Principal Fellow of the University of Melbourne, Australia. Contributors: DIETER KIRSCH, URSULA KRAMER, MICHAEL MAUL, MARYOLESKIEWICZ, SAMANTHA OWENS, RASHID-S. PEGAH, BÄRBEL PELKER, BARBARA M. REUL, WOLFGANG RUF, BERT SIEGMUND, JANICE B. STOCKIGT, MICHAEL TALBOT, RÜDIGER THOMSEN-FÜRST, ALINA ZORAWSKA-WITKOWSKA, STEVEN ZOHNTrade ReviewUltimately, this book is to be highly recommended: it will make a valuable and indispensable addition to the libraries of both scholars of eighteenth-century music and those from other disciplines who want to expand their knowledge of the role of music [...] in the self-fashioning and sustenance of European monarchic structures. * NOTES *This book is one of the most important contributions to our understanding of the context of the music most familiar to musicians and concert-goers today. [...] The editors have gathered an expert team; their own contributions are paradigms of accessibility. I commend this important book to every serious musician's book shelf. * STRINGENDO *The editors of this volume are [...] to be congratulated on assembling a systematically organized collection of essays by an impressive international panel of scholars, each of whom is an expert on a particular court and its archival sources. [...] It includes much new and occasionally surprising information, and a substantial amount of material made available in English for the first time. * MUSICOLOGY AUSTRALIA *The detail presented in this book is remarkable [...] a useful book which extends our knowledge of courtly music-making in Germany during this time, and it will undoubtedly be of value to scholars of the period. * THE CONSORT *[A] valuable resource for any historical musicologist investigating this extraordinarily productive and fascinating period of German music history, and I hope it encourages and enables more research in this area, and ultimately more performances of its many forgotten treasures. * CONTEXT *[T]he treasures in [the book's] 500 pages will satisfy a whole range of other music historical interests for years to come. The personnel lists, mini biographies and sheer number of name references to rulers and the musicians in their employ are invaluable. * MUSICAL TIMES *[A] fascinating picture emerges of the birth and nurture of a rich musical tradition which continues today in democratic form with the unequalled wealth of German musical performance in virtually every German town. * CLASSICAL MUSIC *[T]his valuable book provides a reliable source of information for anyone interested in 18th-century music in Germany. [...] there is an abundance of knowledge here from which everyone can draw. * EARLY MUSIC REVIEW *

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Book SynopsisA complete new edition of Beethoven's conversation books, now translated into English in their entirety for the first time, covering a period associated with the revolutionary style of what we call "late Beethoven". Ludwig van Beethoven (1770-1827) is recognized the world over as a composer of musical masterpieces exhibiting heroic strength, particularly in the face of his increasing deafness from ca. 1798. By 1818, the Viennese composer hadbegun carrying blank booklets with him, for his acquaintances to jot their sides of conversations, while he answered aloud. Often, he himself used the pocket-sized booklets to make shopping lists and other reminders, including occasional early sketches for his compositions. Today, 139 of these booklets survive, covering the years 1818 up to the composer's death in 1827 and including such topics as music, history, politics, art, literature, theatre, religion, and education as perceived on a day-to-day basis in post-Napoleonic Europe. An East German edition, begun in the 1960s and essentially complete by 2001, represents a diplomatic transcription of these documents. It is a masterpiece of pure scholarship but is difficult to use for anyone who is not a specialist. Moreover, Beethoven scholarship has moved on significantly since the long-ranging genesis of the German edition. These important booklets arehere translated into English in their entirety for the first time. The volumes in this series include an updated editorial apparatus, with revised and expanded notes and many new footnotes exclusive to this edition, and brand newintroductions, which together place many of the quickly changing conversational topics into context. Due to the editor's many years of research in Vienna, his acquaintance with its history and topography, as well as his familiarity with obscure documentary resources, this edition represents an entirely new venture in source studies - vitally informative for scholars not only in music but also in a wide variety of disciplines. At the same time, these oftenlively and compelling conversations are now finally accessible for the English-speaking music lover or history buff who might want to dip into them and hear what Beethoven and his friends were discussing at the next table. THEODORE ALBRECHT is Professor of Musicology at Kent State University, Ohio.Trade Review[T]hese volumes are welcome additions to the literature. They contain much of value for those interested in the last decade of Beethoven's life, particularly concerning his social circle, his daily routine, and his ideas and beliefs. One can only hope that the remaining ten volumes are published soon. -- Marten Noorduin * NOTES, THE QUARTERLY JOURNAL OF THE MUSIC LIBRARY ASSOCIATION *Featured in the10 must-read books for Beethoven 250, * BBC MUSIC MAGAZINE *There are several more interesting musical jottings.including several sketches for parts of the Missa Solemnis as well as numerous canons, often to scurrilous lyrics...Another rather poignant aspect of volume 2 is the appearance in the conversation books of Beethoven's poor nephew Karl...monologues also show that Beethoven was extremely interested in contemporary European politics and events...Boydell Press are again much to be thanked for their involvement in the publication of these fascinating documents which reveal so much about the composer. * THE CONSORT *A heroic feat of scholarship...these truncated conversations are extraordinary revealing. * BBC MUSIC MAGAZINE *A brilliantly accessible piece of scholarship. . . . As they flash from scene to scene, with a huge cast of characters taking turns in the spotlight, these extraordinary little books read like a film script, with a laconic but massive presence at its heart. It's a goldmine for music historians, and a riveting saga for the rest of us. -- Michael Church * BBC Music Magazine *Table of ContentsHeft 9 (March 11, 1820 - March 19, 1820) Heft 10 (March 20, 1820 - ca. April 1, 1820) Heft 11 (April 1, 1820 - April 14, 1820) Heft 12 (ca. April 18, 1820 - April 29, 1820) Heft 13 (May 1 or 2, 1820 - May 10, 1820) Heft 14 (ca. June 2, 1820 - ca. July 4, 1820) Heft 15 (ca. July 7/8, 1820 - August 19, 1820) Heft 16 (ca. August 25, 1820 - mid-September, 1820) Appendix A: Descriptions of the Conversation Books in Volume 2 Bibliography

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Book SynopsisIn his Pulitzer prize-winning 1993 book Lincoln at Gettysburg, Garry Wills showed how the Gettysburg Address revolutionized the conception of modern America. In Witches and Jesuits, Wills again focuses on a single document to open up a window on an entire society. He begins with a simple question: If Macbeth is such a great tragedy, why do performances of it so often fail? After all, the stage history of Macbeth is so riddled with disasters that it has created a legendary curse on the drama. Superstitious actors try to evade the curse by referring to Macbeth only as the Scottish play, but production after production continues to soar in its opening scenes, only to sputter towards anticlimax in the later acts. By critical consensus there seems to have been only one entirely successful modern performance of the play, Laurence Olivier''s in 1955, and even Olivier twisted his ankle on opening night. But Olivier''s ankle notwithstanding, Wills maintains that the fault lies not in ShakespearTrade ReviewA lively and provocative read... makes `Macbeth' come alive as a play. * New York Times *

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Book SynopsisSupernatural premiered on September 14, 2005, on what was then called the WB Network. Creator Eric Kripke was inspired by Jack Kerouac’s On The Road, putting his heroes, brothers Sam and Dean Winchester, in a big black ’67 Impala and sending them in search of the urban legends that fascinated him. The series attracted a passionate fan base from the start and was described as a 'cultural attractor' that tapped into the zeitgeist of the moment, reflecting global fears of terrorism with its themes of fighting unseen evil. The chemistry between the lead actors, Jared Padalecki and Jensen Ackles, contributed to the show’s initial success, and Supernatural found its niche when it combined demon-hunting adventures with a powerful relationship drama that explored the intense, complicated bond between the brothers. Supernatural is as much a story of familial ties, love and loyalty as it is of 'saving people, hunting things.' Fan Phenomena: Supernatural explores the ongoing fascination and passion for a show that developed a relationship with fans through eight seasons and continues to have an impact on fan culture to the present day. Essays here explore the rich dynamic that has developed between fans and producers, actors, writers, directors, the show creator and show-runners through online interactions on Twitter and Facebook, face-to-face exchanges at conventions and representations of fandom within the show’s meta-episodes. Contributors also explore gender and sexuality in the show and in fan art; the visual dynamics, cinematography and symbolism in the episodes as well as the fan videos they inspire; and the culture of influence, learning and teaching in the series.Trade Review'If you love Supernatural, you’ll love this book. ' -- Jeanne Griggs, Necromancy Never Pays'I thoroughly enjoyed this book and appreciated learning new things about my fandom. My personal opinion? Go ahead and just buy this book now; the well rounded articles, essays and academic viewpoints are well worth this books induction into your collection. You will not be disappointed.' -- Heather Bond, Fan Front Magazine'Truth is; if you really want to understand fandom – whether you are part of the community or not – you can’t just look at it from one point of view. That’s what’s so great about Fan Phenomena: Supernatural, it presents a variety of perspectives from bloggers to academics to actors that have appeared on the show, all of whom are part of the Supernatural fandom in their own way.' -- Yvonne Popplewell, The GeekiaryTable of ContentsIntroduction – Lynn Zubernis and Katherine Larsen Teaching Through Supernatural: Using SPN in the College Classroom – Paul Booth The Monstrous Male Body – Bridget Kies I See What You Did There: SPN and the Fourth Wall – Lisa Macklem Post, Reblog, Follow, Tweet: Supernatural Fandom and Social Media – Jules Wilkinson Fan Appreciation no.1 Ash48: The Vidder Family Don't End With Blood: Building the Supernatural Family – Mary Frances Casper Supernatural: Making a Difference is the Meaning of Life – Mary F. Dominiak ('Bardicvoice') Life Changing: Supernatural and the Power of Fandom – Misha Collins Fan Appreciation no.2 Serge Laudouceur: The Cinematographer The Pro of Cons – Richard Speight, Jr.

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Book SynopsisLos Lobos leaped into the national spotlight in 1987, when their cover of La Bamba became a No. 1 hit. But what looked like an overnight achievement to the band's new fans was actually a way station in a long musical journey that began in East Los Angeles in 1973 and is still going strong. Across four decades, Los Lobos (Cesar Rosas, Conrad Lozano, David Hidalgo, Louie Pérez, and Steve Berlin) have ranged through virtually the entire breadth of American vernacular music, from rockabilly to primal punk rock, R&B to country and folk, Mexican son jarocho to Tex-Mex conjunto and Latin American cumbia. Their sui generis sound has sold millions of albums and won acclaim from fans and critics alike, including three Grammy Awards.Los Lobos, the first book on this unique band, traces the entire arc of the band's career. Music journalist Chris Morris draws on new interviews with Los Lobos members and their principal collaborators, as well as his own rTrade Review"A useful cultural history that is sure to please fans and musicologists. " * Kirkus Reviews *"Morris is the ideal teller of this tale, drawing on decades of his own fandom and reportage and a wealth of experience in both consumer and trade journalism (including long, distinguished runs at the Reader, the Hollywood Reporter and Billboard). . . . Morris writes with care and insight about each Los Lobos record, providing rich geographical, cultural, and historical context along the way." * The Huffington Post *"How Los Lobos navigated the move to performing electric in front of the Mohawk-hair generation, enjoyed success with the soundtrack from La Bamba, dealt with music business missteps and never stopped experimenting and collaborating is a fascinating tale. The book was a fast read for me; I was unable to put it down. Morris excels at keeping the storyline moving with equal measures of factlets and anecdotes. . . . Dream in Blue brings into sharper focus a truer narrative of what growing up and being successful in America looks like." * No Depression *"Writer Chris Morris’ new biography, Los Lobos: Dream in Blue, offers overwhelming evidence that the band deserves to glide its way into the Rock and Roll Hall of Fame." * Los Angeles Times *"Both informative and engrossing . . . Chris Morris is to be commended for putting the story of this most American of bands to paper, and Dream In Blue will satisfy the most ardent of fans. Highly recommended." * The Big Takeover *"The best books about music and musicians are a direct reflection of their subjects and Chris Morris' chronicle on Los Lobos, Dream in Blue, is just such a book." * All About Jazz *"Few musical acts have been as well served by their chronicler as Lobos are with Dream In Blue by Morris, a veteran Los Angeles music journalist who has seen the Wolves perform and followed their music since their first gig . . . Dream In Blue may be a short and quick read, but in its tight, fact-based richness, Morris gives Los Lobos the smart and insightful book this distinctive and distinguished musical act merits." * Best Classic Bands *"Morris writes in such a way that you can almost smell and taste the smells and tastes of East L.A. in the boom of the psychedelic era and its aftermath." * PopMatters *"[An] insightful and affectionate history." * Austin Chronicle *"A dream of a read for fans of the Lobos." * AllMusicBooks.com *"Chris Morris’s Los Lobos: Dream in Blue gives both fans and critics a satisfying chronicle of Los Lobos’ journey through critical and popular successes, failures, and artistic responses to the challenges faced by the ever-evolving, genre-defying group." * Southwestern American Literature *Table of Contents Prologue: Cinco de Mayo 1. The Neighborhood: Life and Music in East L.A. 2. Homeboys: Growing Up and Garfield 3. A Beginning: The Founding of Los Lobos del Este de Los Angeles 4. Recording por La Raza: The Making of Si Se Puede! and Just Another Band from East L.A. 5. Happy Hour: Going Electric at Las Lomas and a Baptism of Fire at the Olympic 6. Wolves of Hollywood: Los Lobos’ Arrival on the Punk Scene and at the Whisky 7. Arrivals: Steve Berlin, Slash Records, T Bone Burnett, and the Grammys 8. Quantum Leap: How Will the Wolf Survive? 9. Breakdowns: The Graceland Session and By the Light of the Moon 10. Numero Uno with a Bullet: La Bamba 11. Rooted and Rocked: La Pistola y El Corazon and The Neighborhood 12. Let’s Try This: Kiko, Latin Playboys, and Colossal Head 13. Side Tracks: Papa’s Dream, Soul Disguise, Houndog, Dose 14. In the Mouse’s House: Disney, Hollywood Records, This Time, and Good Morning Aztlán 15. Homecomings: The Ride, The Town and the City, Tin Can Trust Epilogue. 40: Back at the Whisky Gracias Very Much Listening, Reading, and Viewing

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Book SynopsisJust in time for the 40th anniversary of Saturday Night Live, a rollickingly updated edition of LIVE FROM NEW YORK with nearly 100 new pages covering the past decade.

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Book SynopsisThis comprehensive survey of requiem music provides detailed information on 250 requiems. Each entry includes a biography of the composer and a description of the composition. Details of voicing, orchestration, editions and discography are given.Trade ReviewIf Chase is correct that there are between 2,000 and 2,500 "requiem settings" in existence, he has pulled together a compendium of most of them.The book is a valuable resource for that reason alone. * Worship *The reference value of this work cannot be denied... -- Haig Mardirosian * The American Organist, January 2004 *...the fruit of patient and careful, thorough and exhaustive scholarship...no description in a review such as this can begin to do it justice...Dr. Chase's study is an especially welcome addition to the literature. -- John Ogasapian * The Diapason, November 2003 *...helpful for performers and theologians as well as those interested in music and church history. -- Michael B. Shavelson * Bostonia, Winter 2003-2004 *Dr. Chase has not missed anything in this one-of-a-kind, voluminous, comprehensive guide...This is a cornucopia of information: Everything thing is there...well worth the inclusion on the active shelves of libraries, musicians, liturgists, and general readers. -- William Tortolano * Pastoral Music, March 2004 *Chase offers a broad, detailed survey of over 200 requiems and requiem-like compositions from the era of early Western chant to the present. Recommended. All music collections. * CHOICE *Table of ContentsChapter 1 Foreword Chapter 2 Acknowledgments Chapter 3 Abbreviations Chapter 4 Introduction Chapter 5 1 The Gregorian Requiem Mass Chapter 6 2 The Polyphonic Corsican Requiem Chapter 7 3 The Renaissance and the Franco-Flemish School Chapter 8 4 The High Renaissance Chapter 9 5 The Baroque Requiem Chapter 10 6 The Symphonic Requiem Chapter 11 7 Romanticism Chapter 12 8 The Twentieth Century Chapter 13 9 Dies Irae Chapter 14 10 Ein Deutsches Requiem: The German Requiem Chapter 15 11 The Anglican Requiem Chapter 16 12 The Byzantine-Greek Requiem Chapter 17 13 The Russian Orthodox Panikhida Chapter 18 14 The Serbian Orthodox Requiem: Opelo Chapter 19 15 The Armenian Orthodox Requiem Chapter 20 Appendix A: Dies Irae Melodies Chapter 21 Appendix B: More Liturgical Requiems Chapter 22 Bibliography Chapter 23 Composer Index Chapter 24 About the Author

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Book SynopsisJames Rhodes' passion for music has been his absolute lifeline. It has been the thread that has held him together through a life that has encompassed pain, conflict and turmoil. Listening to Rachmaninov on a loop as a traumatised teenager or discovering an Adagio by Bach while in a hospital ward - such exquisite miracles of musical genius have helped him survive his demons, and, along with a chance encounter with a stranger, inspired him to become the renowned concert pianist he is today.This is a memoir like no other: unapologetically candid, boldly outspoken and surprisingly funny - James' prose is shot through with an unexpectedly mordant wit, even at the darkest of moments. An impassioned tribute to the therapeutic powers of music, Instrumental also weaves in fascinating facts about how classical music actually works and about the extraordinary lives of some of the great composers. It explains why and how music has the potential to transform all of our lives.Trade ReviewThe Supreme Court overthrew an injunction unanimously in May 2015, saying: 'A person who has suffered in the way that [James Rhodes] has suffered, and has struggled to cope with the consequences of his suffering in the way that he has struggled, has the right to tell the world about it. And there is a corresponding public interest in others being able to listen to his life story in all its searing detail -- THE SUPREME COURTThrilling and harrowing . . . Unsurpassed and unsurpassable * * SUNDAY TIMES * *The publishing sensation of the year * * MAIL ON SUNDAY * *You might expect James Rhodes to have been crushed by his experiences. On the contrary I don't think I've ever read an autobiography which is this exuberant, this full of life, this addictively readable -- MARK HADDONA poet once said great books help you to live your life. They also help you survive your ruin, and James Rhodes's Instrumental is a masterpiece of creative endurance. His passion is his programme, his heart is his true instrument, and you might not read a more moral or more loving book this decade -- ANDREW O'HAGANA searingly honest, moving and compelling account of a life damaged by abuse but saved by music. James Rhodes is a rare and gifted spirit with something vital to tell us all. This is a tough but beautiful book -- VICTORIA HISLOPA mesmeric combination of vivid, keen, obsessive precision and raw, urgent energy -- ZOE WILLIAMS * * GUARDIAN * *There is an insight, often startling but always valuable, on almost every page . . . a tough, riveting read * * THE TIMES * *Instrumental is no 'misery memoir' . . . I have rarely read so cogent account of the nature of victimhood . . . Visceral and palpable . . . Among the most powerful pages I've read all year * * SCOTLAND ON SUNDAY * *Bravo to a survivor who refused to be silenced . . . What really marks this book out is his confrontation with the unsaid (or rarely said) aspects of child sexual abuse and mental illness . . . Some of these thoughts verge on the taboo and it takes clarity, courage and intelligence to say them as plainly and honestly as Rhodes does * * INDEPENDENT * *We're locked inside his head for long periods and it's a manic place to be. But he is brilliant . . . and insightful . . . James Rhodes writes at full volume -- BLAKE MORRISON * * GUARDIAN * *An important memoir . . . enlightening * * Psychologist * *An all-access pass to the sublime * * Los Angeles Review of Books * *Rhodes proves that art and beauty do help; that life can be conquered day by day * * El Pais * *A hand-grenade of a book * * Stern Magazine * *

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Book SynopsisRussian composer, Sofia Gubaidulina has achieved international acclaim for her musical oeuvre which draws on Eastern and Western musical traditions. This biography places her life and the evolution of her work within the cultural and political context of post-Stalin Soviet Union.Trade Review. . . Taking a thoroughly biographical tack, Kurtz explains the origins of many of Gubaidulina's compositions . . . He . . . offer[s] accounts of Gubaidulina by colleagues and performers, and these are a rich source of new material on the composer. Including a handful of photographs, notes, a chronological summary, and a list of Gubaidulina's compositions, this book will be useful to those interested in musical culture and religious life in the Soviet Union. . . . Recommended.July 2008 * Choice *. . . a solid piece of work whose straightforward design and clarity of prose (even in translation) will benefit scholar and general reader alike.Vol. 68.2 April 2009 -- David Haas * University of Georgia *. . . valuable as the first English-language guide to Gubaidulina. . . . Kurtz has expertly presented us with valuable material . . .Vol. 90.2 May 2009 -- IVANA MEDIC * University of Manchester *With this thorough and well-researched biography of the eminent Russian composer Sophia Gubaidulina, author and scholar Michael Kurtz has made a landmark contribution to the growing body of literature on that emergent group of post-WWII composers. Vol. 54.2, Summer 2010 * Slavic and East European Journal *This is an extremely helpful publication for future researchers of Gubaidulina's music. It comes with a detailed chronology, and with a full list of the composer's works. Vol. 89.1, January 2011 * Slavonic and East European Review *Kurtz's biography gives a good, thorough account of Gubaidulina's life that is more immediately accessible and less vexing for general readers than for specialists. Yet specialists will find it necessary reading due to the many significant details uncovered thanks to Kurtz's interviews with Gubaidulina and her associates65.1 Sept. 2008 * Notes *Table of ContentsPreface by Mstislav Rostropovich Preface to the American Edition Introduction and Acknowledgments 1. Ancestors 2. Childhood and Youth, 1932-1949 3. At the Kazan Conservatory, 1949-1954 4. At the Moscow Conservatory, 1954-1959 5. Searching for Her Own Way, 1959-1965 6. A Late Artistic Birth, 1965-1970 7. Finding the Legato in the Staccato of Life, 1970-1975 8. Composing and Improvising, 1975-1979 9. "Offertorium"-a Musical Offering, 1979-1981 10. The Rhythm of Musical Form, 1981-1985 11. Travels, Travels, and More Travels, 1985-1991 12. Worldwide Fame-Worldwide Demand, 1991-1996 13. The Center of Life: St. John Passion and St. John Easter, 1996-2004 Chronology of Gubaidulina's Life List of WorksNotesBibliography Index

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Book SynopsisJohn Zorn is an active American composers/performer. This book offers a number of perspectives for understanding Zorn's music and musical practices, while challenging certain assumptions that limit the ways in which contemporary music is typically addressed.Trade ReviewThe composer John Zorn likes to think of himself as an outsider, wallowing in paradoxes, and he's done a terrific job of it. The musicologist John Brackett has written what is apparently the first book-length study of the man's music, titled John Zorn: Tradition and Transgression. He's done not quite so terrific a job, but for anyone interested in an initial foray into the thickets of complexity and contradiction enveloping Zorn and his "poetics" (a Brackettian favorite), this is a start. It's a tribute to Zorn, who was born in 1953, that he has remained so stubbornly unknown to the general public for so long; he's been making his music on the Lower East Side of Manhattan for more than thirty years. Part of his problem—if it is a problem for a defiant outsider, who is seemingly willing to offend anyone who might help propel him into the mainstream—is his determined catholicity of taste. He has undertaken free improvisation, jazz, hardcore rock, noise, and classical chamber and orchestral scores. In most of his music, idioms and genres flash by with disorienting rapidity. It can be fun but wearing, too, a roller-coaster ride of composition that is a long way from symphonic form or harmonic logic in any conventional sense. His albums and tracks pay homage to an equally dizzying number of icons, musical and otherwise, from the Schoenberg-Berg-Webern triumvirate to Stravinsky to Messiaen and Kagel to Cage and Feldman to Coleman and Dolphy to Bataille to Crowley and Lovecraft to Anger (Zorn means "anger" in German, appropriately enough, given his edgy aesthetic, but this Anger is Kenneth) to Deren to Bacon to Cornell to Spillane and Morricone. European postmodernist theoreticians and, yes, transgressives (Genet, Derrida, Foucault) stud his liner notes. Japanese erotic and sadistic manga serves as musical inspiration, as well as lurid album art, as do all manner of shadowy Kabbalists and Gnostics. It's quite a stew. With all these ingredients, Zorn whips up a frenetic froth of sound, although every once in a while he calms down into lyricism. The effect is sometimes ebullient and amusing, though Zorn's all-purpose anger insists on priority. It all sounds anarchic on a first listen, for good or ill, and Brackett labors mightily to impose some sort of order on this chaos. Although his musical discussions are more descriptive than deeply analytic—the nonmusical ones are better—Brackett shows us how Zorn uses numerological symbolism, as did Bach, Mahler, and the twelve-tonalists. (Music and mathematics lie close, and lots of composers have embedded number secrets in their scores.) Compressed chunks of others' scores often act as jumping-off places for Zorn's own compositions, providing historical reference points and skeins of unity, at least on paper. The sonic equivalent of film montage is another favored device. The trouble is that Zorn himself has said, "My concern is not so much how things sound, as with how things work." In other words, he loves the process of creating intricate scores that sound like maniacs improvising on the fly. In that limited sense, he's like an abstruse academic modernist composer, as in the old distinction between "ear music" you can listen to and "eye music" best appreciated through a close reading of the notes. But by any reasonable criterion—and despite Brackett's deliberate obfuscation of the fact—Zorn is a postmodernist, even the king of the New York postmodernist hill. People like or dislike his music for its jumpy flow, its wild clashes of style, its passion and humor, its hair-trigger virtuosity in conception and performance. Brackett, an assistant professor of music at the University of Utah, boasts an impressive knowledge of classical, jazz, and pop, of avant-garde theory and practice, and of literary, filmic, and visual histories. Bursting with all these references, the book reads like a doctoral dissertation blown up into a bid for tenure, yet despite his work's flaws, Brackett probably deserves the promotion: His interests really are that broad and that deep—almost as diverse as Zorn's. The book's four chapters are devoted to Zorn's problematic erotic themes, including the sadomasochistic artwork on many of his albums from the late '80s through the mid-'90s (especially involving the torture of Asian women); what Brackett calls "magick and mysticism" in Zorn's more recent work; and Zorn's nonmusical (chapter 3) and musical (chapter 4) homages. In the epilogue, Brackett tries to sum everything up but only ties himself in knots over how best to categorize Zorn (modernist? postmodernist? historical? transgressive?). All of this is at least mildly piquant, and Brackett's tactic of zeroing in on particular pieces works well. But he has a habit of filtering his discussions through some usually trendy, often French essayist or theorist. Thus he attempts to deconstruct and blur the straightforward moral repugnance that Ellie Hisama, Catharine MacKinnon, and other feminists feel toward Zorn's pornographic album art, offering elaborate theories about the borders between reality (a word Brackett often puts in quotation marks) and fantasy, invoking Bataille über alles. Crowley et al. figure heavily in "magick and mysticism." Marcel Mauss's gift theory, in which a seemingly simple act is embedded in a complex network of social obligations, dominates Brackett's homage chapters, though curiously he never extends the discussion to sampling (not a big part of Zorn's more overtly compositional aesthetic, but one might have thought it worth considering). The French hover more than the Germans, no doubt because of the Frankfurt School's snooty disdain for commercial music—not that Zorn has gotten rich from his vast output of mostly cult CDs. John Zorn reads like a series of extended aperçus. There is no biographical information to speak of, and as Brackett readily concedes in his introduction, he slights Zorn's work prior to the late '80s, his improvisation, his role and skills as a saxophonist and performer, and his place in the fecund downtown-Manhattan jazz/rock/improv scene of the late '70s and '80s and beyond. Aside from the academic jargon, the book's conceptual confusion supposedly mirrors Zorn's own multivalent compositional method. But even Brackett has his doubts: "Many readers are probably wondering about the value or utility of quasi-formalistic close readings such as those presented above," he muses at one point. Later, after his failure to take a position on Zorn's troubling artwork, he frets that "for some readers, my position might be understood as a 'cop-out.'" The prose is nothing if not dense, as in "Furthermore, given Lowe's emphasis on the fictionalized 'remembering' or the 'putting-back-togetherness' of an emergent Asian American cultural identity . . ." Yet there is much to admire here, particularly the discussions, to which Brackett repeatedly loops back, of the narrow, dangerous space between tradition and transgression. For him, Zorn doesn't so much wish to destroy social and aesthetic norms as challenge them, although whether Zorn has thought about his own work in quite this manner—sometimes he's more like an intellectualized Road Runner than an academic cogitator—seems doubtful. In interviews, he has sounded diffident about his undoubted intellect; after reading Brackett's gift theorizing, it's refreshing to find the composer himself joking about his "plagiarism" and "stealing." Though it's fair to say that this book would be Greek to anyone not already interested in Zorn and his music, Brackett does successfully limn the tensions in the music of a remarkable composer. It is a testament to how far academic musicologists have ventured since the dear, unlamented years when they merely buried their noses in lute tablature, afraid to creep anywhere near the present, let alone the demotic. There's a heady new world out there, and Brackett is part of it. If he could only match his thinking and his academically cloaked passions with a prose style equivalent to the passion and humor of his subject, he would have a book really worth reading. -- John Rockwell * Bookforum *[T]he book is a heady brew of fascinating ideas, analyses, conjectures, and unifying theories, which presents some masterful strategies for the 'game of analysis' to which Zorn challenges all comers. Vol. 5, No. 1 * Critical Studies in Improvisation *Brackett has made an indispensible contribution to scholarship a subject that deserves many more important books, and he has set the bar high for future authors. December 2009 * Notes *As the first book of scholarship on this multifaceted artist, John Zorn . . . accomplishes a great deal and should initiate a new and more serious phase in Zorn's treatment at the hands of academic authors. Winter 2010 * American Music *Though his book plumbs depths of theory and esoteric cultural history that may interest only the most hardcore Zorn and experimental-art fans, those very depths make it an invaluable guide to the aesthetic methods and motivations of an artist who pays homage to the old as he seeks to make it new. August/September 2009 * Bloom Magazine *. . .scholar John Brackett moves away from the clichéd interpretation of Zorn as a postmodernist . . . to offer a more nuanced interpretation, one that considers his role as historian and caretaker of earlier artworks. June 2009 * AllAboutJazz-New York *Brackett offers a number of perspectives for understandign Zorn's music and musical practices, while challenging certain assumptions that limit the ways in which contemporary music is typically addressed.January 26, 2009 * www.avantmusicnews.com *. . . Brackett does a thorough job of addressing the various complexities and contradictions found in Zorn's body of work. The author provides a well-grounded starting point for exploring Zorn's output . . . May 2009 * Choice *. . . [Brackett's] passion for Zorn's work is evident throughout his remarkably insightful [book]. Brackett has attained a significant level of involvement from Zorn himself, and the book includes segments from their conversations as well as previously unseen sketches, notes, and documents relating to the composer's work. For die-hard followers, the book is an invitation into the inner sanctum.January 28, 2009 -- Michael Patrick Brady * PopMatters *Brackett's groundbreaking book . . . confronts Zorn's contradictory modes of expression . . . brilliantly demonstrating how these powerful dualities of thought—real yet fantastic, pleasing yet horrifying—synergize to make Zorn's compositional voice unique and seminal in the 21st century.November 3 2008 -- Severine Neff * Mainly Music Meandering *Table of ContentsContentsForeword by John ZornAcknowledgmentsIntroduction1. From the Fantastic to the Dangerously Real: Reading John Zorn's Artwork2. Magick and Mysticism in Zorn's Recent Works3. Tradition, Gifts, and Zorn's Musical Homages4. Continuing the Spiral: Aporias and the Prisms of TraditionEpilogueDiscography/FilmographyNotesBibliographyIndex

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Book SynopsisMusic education and identity in an international contextTrade ReviewGreen invites twenty authors from all corners of the globe to contribute evidence based research to this book . . . From these fascinating, highly readable accounts, Green pulls out some emerging issues which have important messages for music educators. 7/22/11 * Teaching Music *[T]his collection is a very worthy addition to the growing literature on global music education. It will be useful as both a scholarly and pedagogical resource, and will likely inspire much future work in this still nascent but vibrant field. * Popular Music *Green allows readers to journey to an isolated culture, for example, Lapland, or to a cyberspace island, and contemplate their own musical identity as they work out their educational philsoophy. . . . Highly recommended. * Choice *Table of ContentsAcknowledgments Introduction: The Globalization and Localization of Learning, Teaching, and Musical Identity / Lucy Green 1. The Permeable Classroom: Learning, Teaching, and Musical Identity in a Remote Australian Aboriginal Homelands School / Kathryn Marsh 2. Popular Music Listening as "Non-Resistance": The Cultural Reproduction of Musical Identity in Japanese Families / Kyoko Koizumi 3. From Homeland to Hong Kong: The Dual Musical Experience and Identity of Diasporic Filipino Women / Annie On Nei Mok 4. Village, Province, and Nation: Aspects of Identity in Children's Learning of Music and Dance in Bali / Peter Dunbar-Hall 5. Music for a Postcolonial Child: Theorizing Malaysian Memories / Roe-Min Kok 6. Continuity and Change: The Guru-Shishya Relationship in Karnatic Classical Music Training / Sophie Grimmer 7. "Music Is in Our Blood": Gujarati Muslim Musicians in the UK / John Baily 8. Greek Popular Music and the Construction of Musical Identities by Greek-Cypriot School Children / Avra Pieridou-Skoutella 9. Music-Learning and the Formation of Local Identity through the Philharmonic Society Wind Bands of Corfu / Zoe Dionyssiou 10. Playing with Barbie: Exploring South African Township Children's Musical Games as Resources for Pedagogy / Susan Harrop-Allin 11. Personal, Local, and National Identities in Ghanaian Performance Ensembles / Trevor Wiggins 12. Music Festivals in the Lapland Region: Constructing Identities through Musical Events / Sidsel Karlsen 13. Shaping a Music Teacher Identity in Sweden / Eva Georgii-Hemming 14. Icelandic Men and Their Identity in Songs and in Singing / Robert Faulkner 15. Discovering and Affirming Musical Identity through Extracurricular Music-Making in English Secondary Schools / Stephanie Pitts 16. Scottish Traditional Music: Identity and the "Carrying Stream" / Charles Byrne 17. Performance, Transmission, and Identity among Ireland's New Generation of Traditional Musicians / John O'Flynn 18. Fostering a "Musical Say": Identity, Expression, and Decision Making in a US School Ensemble / Sharon G. Davis 19. Diversity, Identity, and Learning Styles among Students in a Brazilian University / Heloisa Feichas 20. SIMPhonic Island: Exploring Musical Identity and Learning in Virtual Space / Sheri E. JaffursList of ContributorsIndex

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Book SynopsisSergei Rachmaninoff - the last great Russian romantic and arguably the finest pianist of the late 19th and early 20th centuries - wrote 83 songs, which are performed and beloved throughout the world. This title provides English translations of the songs, along with accurate transliterations of the original texts and detailed commentary.Trade ReviewA treasure for the serious music reference library, Sylvester's work compiles art song data needed by students, teachers, researchers, and performers. . . . This is a scholarly effort welcome in university, conservatory, and large public library collections as well as the home shelves of music lovers. * American Reference Books Annual *Richard D. Sylvester's companion to Rachmaninoff's songs is a perfect guide for performers and Rachmaninoff enthusiasts. * Russian Review *The author . . . makes Russian songs accessible to those without previous language training. Multiple indexes make this a fine reference source for texts. * Choice *Sylvester . . . paints a rich, detailed, and variegated picture of Rachmaninoff's output as a song composer, the range and variety of his literary reading, and his many creative interactions with singers. * Music and Letters *In his Companion, Richard D. Sylvester not only puts under careful factual scrutiny the entirety of Rachmaninoff's solo vocal output; he also invites his readers to consider the aesthetic and historical significance of Rachmaninoff's 26-year-long engagement with lyric poetry. This multi-functional volume offers much more than its meek title may suggest. * Canadian Slavonic Papers *[T]he writer exposes the real-life practitioner of music, whether student, teacher, or seasoned performer, to an accessible source of rich, meticulously researched data so central for au fait artistic interpretation of classics, and often so hard to glean from routinely dry and difficult musicology texts. The robustness of research behind the book is in no way compromised by its accessibility, and is evident from an astounding bibliography section that spans ten pages and contains 289 references. * Journal of Singing *All lovers of Russian music owe a great debt of gratitude to Professor Sylvester, whose latest book may be recommended without qualification. * Slavonic and East European Review *Table of ContentsAcknowledgementsPrefaceA Note on Dates and Spelling1. Early Years (1873-1892) Nine Unpublished Songs (1890-1899)2. First Published Songs, Opus 4 (1893) Songs 10-153. Six Romances, Opus 8 (1896) Songs 16-214. Twelve Romances, Opus 14 (1896) Songs 22-33 5. Twelve Romances, Opus 21 (1902) Songs 34-45 Song 46, Without Opus (1900)6. Fifteen Romances, Opus 26 (1906) Songs 47-61 Song 62, Without Opus (1900)7. Fourteen Romances, Opus 34 (1912-1915) Songs 63-76 Song 77, Without Opus (1914)8. Six Poems, Opus 38 (1916) Songs 78-839. After Russia (1917-1943) Two Unpublished Songs (1916)BibliographyIndex of SingersIndex of Song Titles in RussianIndex of Song Titles in EnglishIndex of Names

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Book SynopsisThe theory and practice of Italian musical compositionTrade ReviewDense and challenging in its detail and analysis, this work is an important addition to the growing corpus of Puccini studies. . . . Highly recommended. * Choice *Baragwanath's is a very full treatment of Italian teaching methods and curricula, now based not ony on traditional harmony but on other relevant strategies for learning to create what every Italian composer wanted to create: opera. The pedagogical traditions and the Puccini family's part in them are tracedbroadly The positivistic research is thorough and results in a reference-source useful to all further historians of 19th-century Italian opera. The topic is a big one, with many ramifications, and the book does provide a definitive service in explaining the prevailing Italian view that 'music should be pleasing, fulfilling or entertaining in a variety of contexts.' * Musical Times *[B]y offering another component to the analyst's tool kit, Baragwanath has comprehensively achievedwhat he set out to do: create a framework for further study. * Music and Letters *Nicholas Baragwanath has made a major contribution – one of the most major to date, in any language – not only to Puccini studies but also to the study of nineteenth-century Italian opera in general. * Nineteenth-Century Music Review *[Offers] us no less than a thorough reappraisal of how composition was learned by those who would actually become composers. * Journal of Music Theory *Table of ContentsPreface and AcknowledgementsA Note on Translation and Terminology1: Musical Traditions in Nineteenth-Century ItalyI. The Italian SchoolsII. An Introduction to the Primary SourcesIII. Puccini and the End of the Great Tradition2. Studies in Lucca and MilanI. Composition as CraftII. The Istituto musicale in LuccaIII. Scarpia and the Partimento CadenceIV. The Conservatorio di Milano3. Lessons in Dramatic Composition I: RhythmI. Rhythm without Measure, Accent without BeatII. Rules of Versification, Lippmann's Rhythmic-Musical Types, and Two Case-StudiesIII. Historical Survey of Writings on RitmoIV. Short Case-Studies from Bellini and Puccini4. Lessons in Dramatic Composition II: Harmony and CounterpointI. The Partimento TraditionII. Michele Puccini's Corso pratico di contrappunto (1846)III. The Bolognese Attachment, or "Little Keys for Winding Clocks"IV. Regular Motions and Melodic Composition5. Lessons in Dramatic Composition III: Affect, Imitation, and ConductI. Dominant Affects and their MovementsII. Physical and Sentimental ImitationIII. Form and ConductIV. Case-Studies from Verdi, Boito, and Puccini6. Vocalizzi, Solfeggi, and Real (or Ideal) CompositionI. Lessons in Singing and CounterpointII. Lessons in Singing and SolfeggioIII. From Solfeggio to Ideal Composition in Puccini (and Bellini)NotesBibliographyIndex of ConceptsIndex of Names and Works

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Book SynopsisFoo Fighters emerged from the morass of suicide and potent musical legacy that was Nirvana to establish themselves against all odds as one of the most popular rock bands in the world. Deflecting early critical disdain, Dave Grohl has single-handedly reinvented himself and cemented his place in the rock pantheon. This is his story, from his pre-Nirvana days in hardcore band Scream to his current status as a festival conquering, Grammy winning, platinum-selling grunge legend. Across the entire body of Foo Fighters albums, the whole legendary Nirvana tale, the pre-history in the nascent Seattle scene and Grohl's flirtations with Queens of the Stone Age and his supergroup side-project Them Crooked Vultures, this is an utterly comprehensive, insightful chronicle of Dave Grohl's remarkable life. Drawing on new interviews with key figures in the Grohl story, this definitive biography of one of modern rock's most influential figures includes the stories of the multi-platinum opus Echoes, Silence, Patience and Grace, 2011's Wasting Light, which saw Grohl reunited with Nirvana producer Butch Vig and Sonic Highways, their ambitious homage to coast-to-coast US classic rock.

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Book SynopsisThis is an authoritative and comprehensive guide to the history of theatre, ranging from Ancient Egyptian festivals to contemporary performance arts. Lavishly illustrated in black and white and colour throughout, this is the perfect book for theatre goer and student alikeTrade Reviewtellingly charts the impact not just of exceptional individuals but of social and economic factors and technological change on theatre. A spread of deftly selected illustrations informatively and handsomely embellishes the text. * TLS *Table of Contents1. THE FIRST THEATRES; 4. ITALIAN RENAISSANCE THEATRE; 8. EIGHTEENTH-CENTURY THEATRE; 12. ORIENTAL THEATRES

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Book SynopsisThis selection of the 100 most popular carols and hymns for Advent, Christmas, Epiphany, and Easter, is ideal for sacred occasions and carol concerts, and includes accompanied and unaccompanied material.Trade ReviewThis will be widely welcomed by singers who find such volumes in the traditional format difficult to manage. I have occasionally found that spiral-bound volumes have the disadvantage that the pages can become torn and eventually detach themselves; but this volume seems to be very sturdily made. * Stephen Cleobury, Mastersinger, Winter 06 *Table of ContentsAdam lay ybounden ; All my heart this night rejoices ; Alleluya, a new work is come on hand ; Angels, from the realms of glory ; Angelus ad virginem ; As with gladness men of old ; Ave plena gracia ; Away in a manger ; A babe is born ; Birthday carol ; The cherry tree carol ; Child in a manger ; A child is born in Bethlehem ; Christmas night ; Coventry carol ; Coventry carol ; Cradle song ; The crown of roses ; Deck the hall ; Ding dong! merrily on high ; Ding dong! merrily on high ; The first Nowell ; Gabriel to Mary came ; Gabriel's message ; God rest you merry, gentlemen ; Good King Wenceslas ; A great and mighty wonder ; Hail! Blessed Virgin Mary ; Hark! the herald-angels sing ; He is born the divine Christ-child ; Here we come a-wassailing ; The holly and the ivy ; Hush! my dear, lie still and slumber ; I saw a maiden ; I saw three ships ; I saw three ships ; I wonder as I wander ; Il est ne le divin enfant ; In Dulci Jubilo ; In the bleak mid-winter ; In the bleak mid-winter ; Infant holy, infant lowly ; The Infant King ; It came upon the midnight clear ; Jesus child ; Jesus Christ is risen today ; Jesus Christ the apple tree ; Jingle, bells ; Joy to the world ; Joys seven ; King Jesus hath a garden ; Kings of Orient ; Lo! he comes with clouds descending ; Lo, how a Rose e'er blooming ; Longfellow's carol ; Lord of the Dance ; Lute-book lullaby ; A maiden most gentle ; Mary's Lullaby ; A merry Christmas ; Myn lyking ; Nativity carol ; A New Year carol ; O come, all ye faithful ; O come, o come, Emmanuel ; O little one sweet ; O little town of Bethlehem ; O little town of Bethlehem ; O Queen of heaven ; Of the Father's heart begotten ; Once, as I remember ; Once in royal David's city ; Out of your sleep ; Past three a clock ; Personent hodie ; Quelle est cette odeur agreable? ; Quem pastores laudavere ; Rise up, shepherd, and follow ; Sans Day Carol ; See amid the winter's snow ; The shepherds' farewell ; Shepherds in the field abiding ; Shepherds left their flocks a-straying ; Shepherd's pipe carol ; Silent night ; Sing aloud on this day! ; Sir Christemas ; A spotless Rose ; Star carol ; Still, still, still ; Stille Nacht ; Sussex carol ; There is a flower ; There is no rose ; This Christmas night ; This joyful Eastertide ; The three kings ; Tomorrow shall be my dancing day ; The truth from above ; The twelve days of Christmas ; Unto us is born a son ; Up! good Christen folk, and listen ; A virgin most pure ; Wassail song ; Wexford carol ; What cheer? ; When Christ was born ; Whence is that goodly fragrance flowing? ; While shepherds watched their flocks ; Ye choirs of new Jerusalem

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Book SynopsisContains all the piano accompaniments for Cello Time Joggers. Characterful and easy to play, these piano parts provide the perfect stylish accompaniment to the cellist's first tunes, and help capture the spirit and mood of the pieces.Table of ContentsAlgy met a bear ; Ally bally ; Bow down, O Belinda ; C string boogie ; Calypso time ; Cattle ranch blues ; Cello Time ; Chinese garden ; Chopsticks for two ; City lights ; Clare's song ; Copy cat ; Distant bells ; Down up ; Fast lane ; Happy go lucky ; Here it comes! ; Hill an' gully rider ; In flight ; In the groove ; Jim along Josie ; Katie's waltz ; Knock, knock! ; Lazy scale ; Lift off ; Listen to the rhythm ; Off to Paris ; On the prowl ; Patrick's reel ; Phoebe in her petticoat ; Ready, steady, go now! ; Rhythm fever ; Rocking horse ; Rowing boat ; Runaway train ; Scaley Things ; So there! ; Stamping dance ; Summer sun ; Tap dancer ; The old castle ; Tiptoe, boo! ; Travellin' slow ; Under arrest! ; Walking bass

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Book SynopsisCello Time Scales is brimming over with creative ideas to make learning scales and arpeggios easy, covering the finger patterns used in Cello Time Joggers and Runners, and including all the scales and arpeggios for ABRSM Grades 1 and 2.Table of ContentsD major: Finger tips ; D major: Low D, high D, A in between ; C major: Let's jog ; C major: Step, skip, jump! ; G major: Follow me ; G major: Arpeggio fanfare ; C major: Fast food ; C major: What's in your sandwich? ; A natural minor: French carol ; A natural minor: Somerset folksong ; F major: Accelerator ; F major: Double decker ; A major: Sweet Betsy from Pike ; Bb major: Two little angels ; Bb major: Knock, knock! ; G major: French folk song ; G major: Eiffel Tower ; D harmonic minor: Theme from Mahler's First Symphony ; D harmonic minor: Mission to Mars ; C harmonic minor: Old man of Peru ; G harmonic minor: Haunted house ; G harmonic minor: Le tambourin ; D melodic minor: I gotta play those cello blues ; D melodic minor: Shalom Chaverim ; C melodic minor: Yellow cello ; C melodic minor: Escalator cha-cha ; G melodic minor: A bit of Bach ; G melodic minor: Bump in the night ; G, D, C natural minors ; G natural minor: Zum gali, gali

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Book SynopsisThis exciting revised edition of Enjoy Playing Guitar: Tutor Book 2 picks up where Book 1 left off, guiding students to the next level in their musical development. Using the same clear approach and careful pacing, it introduces new positions (2nd, 5th, 7th), techniques (left-hand slurs, harmonics, the barré), and musical ideas, supported by tailored solos, duets, and trios. With extension activities to advance musicianship, a repertoire section for concert pieces, and a CD with over 60 play-along tracks, this is an ideal one-stop resource for the developing classical guitarist.Table of ContentsOver 50 pieces in a wide range of styles, including original compositions and arrangements of well-known tunes; Supporting exercises and activities; Accommodates one-to-one or group teaching; Detailed illustrations showing best hand/finger positions and other technical points; Longer repertoire pieces with study notes; Fun quizzes to reinforce learning

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Book SynopsisViola Time Scales is brimming over with creative ideas to make learning scales and arpeggios easy, covering the finger patterns used in Viola Time Joggers and Runners, and including all the scales and arpeggios for ABRSM Grades 1 and 2.Trade ReviewThe text is in a large, easy-to-read font and the page layout is well spaced. Filled with quirky illustrations by Martin Remphry, this clever book promotes technical work as a fun and exciting aspect of learning. * Jasmine Miller, Stringendo October 2012 *Table of ContentsD major: Finger tips ; D major: Low D, High D, and A in between ; C major: Super sprinter ; C major: Step, skip, jump! ; G major: Follow me ; G major: Ring my number ; C major: Fast food ; C major: What's in your sandwich? ; A natural minor: French carol ; A natural minor: French carol ; A natural minor: Somerset folk song ; F major: Accelerator ; F major: Double Decker ; D major: Sweet Betsy from Pike ; B flat major: Two little angels ; B flat major: Knock, knock! ; E flat major: French folk song ; D harmonic minor: Theme from Mahler's First Symphony ; D harmonic minor: In orbit ; C harmonic minor: Old man of Peru ; G harmonic minor: Haunted house ; G harmonic minor: Le Tambourin (Rameau) ; D melodic minor: I gotta play those viola blues ; D melodic minor: Shalom Chaverim ; C melodic minor: We walk a narrow way ; C melodic minor: Escalator cha-cha ; G melodic minor: A bit of Bach (J. S. Bach) ; G melodic minor: Mean street chase 2

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Book Synopsisfor SATB (with SAT solos) unaccompaniedLulajze, Jezuniu is a dual-language arrangement of a well-known Polish carol, presented with the original Polish text and an English singing translation by the composer. Chilcott gives the exquisite melody of this gentle lullaby, sung to Jesus and Mary, to the alto soloist, setting it above a mellifluous background of rich harmonies and gentle polyphony from the choir. Lulajze, Jezuniu has been recorded by NFM Wroclaw Philharmonic Choir on the CD The Seeds of Stars.Trade ReviewThis familiar and lovely Polish carol (with both Polish and English texts) is set beautifully by Chilcott - of course! The chorus parts are simple and provide a lovely blanket of sound supporting the solo verses. The alto solo takes the melody with the soprano and tenor solos providing harmony. * Philip Brunelle, American Guild of Organists Journal, Sept 13 *

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Book SynopsisAn addition to the Viola Time series for young viola players, this book provides viola accompaniments to all of the pieces in Viola Time Sprinters. The duet part is suitable for a teacher or more advanced student, and this new duet book will enhance lessons by providing an alternative accompaniment option for these popular pieces.Table of ContentsReady to rock ; Clear skies ; Ode to joy from Symphony No. 9 ; Song from the show ; Starry night ; Paris cafe ; Gaudete! ; Jacob's dance ; Sprint finish ; Bolero ; William Tell ; Country gardens ; You and me ; The road to Donegal ; Full circle ; Thirsty work ; Farewell to Skye ; Lady Katherine's pavane ; Dance of the Sugar Plum Fairy from The Nutcracker ; Allegro in D ; Blair Atholl ; Still reeling ; Mexican fiesta ; Show stopper ; Spy movie ; Largo from the New World Symphony) ; Hornpipe from the Water Music ; Hungarian folk dance ; Wild West ; Midnight song ; Wade in the water ; Dominant gene ; Chromatic cats ; Show off! ; Little lamb ; Habanera from Carmen

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