History of music Books

Book SynopsisAn innovative and incisive reassessment of a seminal figure in nineteenth-century musical life, through a fresh consideration of his aesthetic, critical, and autobiographical writings. Rethinking Hanslick: Music, Formalism, and Expression is the first extensive English-language study devoted to Eduard Hanslick--a seminal figure in nineteenth-century musical life. Bringing together eminent scholars from several disciplines, this volume examines Hanslick's contribution to the aesthetics and philosophy of music and looks anew at his literary interests. The essays embrace ways of thinking about Hanslick's writings that go beyond the polarities that have long marked discussion of his work such as form/expression, absolute/program music, objectivity/subjectivity, and formalist/hermeneutic criticism. This approach takes into consideration both Hanslick's important On the Musically Beautiful and his critical and autobiographical writings, demonstrating Hanslick's rich insights into the context in which a musical work is composed, performed, and received. Rethinking Hanslick serves as an invaluable companion to Hanslick's prodigious scholarship and criticism, deepening our understanding of the major themes and ideas of one of the most influential music critics of the nineteenth century. Contributors: David Brodbeck, James Deaville, Chantal Frankenbach, Lauren Freede, Marion Gerards, Dana Gooley, Nicole Grimes, David Kasunic, David Larkin, Fred Everett Maus, Timothy R. McKinney, Nina Noeske, Anthony Pryer,Felix Wörner Nicole Grimes is Marie Curie Fellow at University College Dublin (UCD) and the University of California, Irvine. Siobhán Donovan is a college lecturer at the School of Languages and Literatures, UCD. Wolfgang Marx is a senior lecturer at the School of Music, UCD.Trade ReviewThis Rethinking is timely . . . exploring the tension between Hanslick's ceaselessly revised treatise On the Musically Beautiful and his work as a practicing music critic. * DIE MUSIKFORSCHUNG *Make[s] a convincing case for further attention to this important figure in musical history. * JOURNAL OF MUSIOCLOGICAL RESEARCH *A significant reassessment. . . . A much-needed collection of studies that reevaluate Hanslick's overall output in a broader cultural context, in particular that of Vienna in the second half of the nineteenth century. . . . Opens new doors to future studies on Hanslick's stance as an aesthetician and critic in the appropriate sociocultural context. The book also succeeds in presenting numerous complex issues surrounding the general [written] output of Hanslick in a coherent manner. * MUSIC LIBRARY ASSOCIATION NOTES *A virtual kaleidoscope of scholarship. . . . Rich and thoroughly researched discussions . . . will find many grateful readers in countless and diverse disciplines. * MUSIC REFERENCE SERVICES QUARTERLY [Ann Lee] *Manages to traverse a good deal of the work of this long-lived and prolific writer on music, and to highlight-productively-the contrasts and even the ambiguities, with respect to matters of identity, national and otherwise, that the full range of his writings reveals. * MUSICAL TIMES *The first English-language study of its kind in 60 years. . . . Cogent and . . . exemplary essays in aesthetic history. * CHOICE *The contributors are determined to tease out the nuances and contradictions of Hanslick's thought. . . . David Kasunic sensitively explores the ambiguities of Hanslick's attitutdes to his own Jewish ancestry. . . . David Brodbeck continues his valuable series of investigations into Hanslick's reception of cultural Others in the contemporary sphere of 'German' music. * MUSIC & LETTERS *Rethinking Hanslick paints a diverse but coherent picture of Hanslick's critical career and its multifaceted cultural significance. Adding to recent work expanding the musicological understanding of Hanslick's legacy, this volume will be of major interest to musicologists, music theorists, and aestheticians engaged in the criticism and analysis of nineteenth-century music, as well as to those scholars more specifically concerned with the impact of Hanslick's aesthetics on twentieth-century formalist perspectives on music. -- Holly Watkins, Eastman School of MusicTable of ContentsIntroduction Negotiating the "Absolute": Hanslick's Path through Musical History Hanslick's Composers Hanslick, Legal Processes, and Scientific Methodologies: How Not to Construct an Ontology of Music Otakar Hostinský, the Musically Beautiful, and the Gesamtkunstwerk Hanslick on Johann Strauss Jr.: Genre, Social Class, and Liberalism in Vienna Waltzing around the Musically Beautiful: Listening and Dancing in Hanslick's Hierarchy of Musical Perception "Poison-Flaming Flowers from the Orient and Nightingales from Bayreuth": On Hanslick's Reception of the Music of Goldmark German Humanism, Liberalism, and Elegy in Hanslick's Writings on Brahms The Critic as Subject: Hanslick's Aus meinem Leben as a Reflection on Culture and Identity "Faust und Hamlet in Einer Person": The Musical Writings of Eduard Hanslick as Part of the Gender Discourse in the Late Nineteenth Century Body and Soul, Content and Form: On Hanslick's Use of the Organism Metaphor Hanslick and Hugo Wolf Battle Rejoined: Hanslick and the Symphonic Poem in the 1890s On "Jewishness" and Genre: Hanslick's Reception of Gustav Mahler Selected Bibliography List of Contributors Index

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Book SynopsisWarren Roberts has discovered a Rossini that others have not seen, a composer who commented ironically and satirically on religion and politics in Post-Napoleonic Europe. This book examines Rossini within the context of his own time, one of Napoleonic domination of Italy, restoration of the Bourbon monarchy in Naples in 1815, and the 1830 Revolution in Paris. Using the techniques of the historian,and reading librettos as texts, the author analyzes the five operas treated in detail in the book (Il barbiere di Siviglia, Cenerentola, La gazza ladra, Matilde di Shabran, and Il viaggio a Reims) as responses, each in its own way, to the history that the composer experienced. Roberts shows that Rossini made probing commentaries on politics and religion in a time of reaction and revolution, and that the composer was well-informed on post-Napoleonic politics. Rossini's comic writing served very serious purposes, exposing the problems and complications of an age that he observed with striking clarity. Warren Roberts is Professor Emeritusof History at the University at Albany, SUNY, and has published extensively on eighteenth-century French culture.Trade ReviewAstounding...Unique in its historical approach, which, by confronting artistic creativity, contemporary historical developments, and socio-political contexts, provides a priceless key for anyone interested in analyzing the early-eighteenth-century milieu thanks to which Rossini became (as Stendhal put it) 'the Napoleon of a musical era. -- Federico Gon * AD PARNASSUM *Takes a unique approach to Gioachino Rossini and five of his operas. The author puts the operas in historical context and argues that they could have been written only in a post-revolutionary Napoleonic age. Roberts calls these works operas of the historical present. Rossini is responding to the sociological and ideological currents of the times. Summing Up: Recommended. Upper-division undergraduates through faculty and professionals; general readers. * CHOICE *Rossini and Post-Napoleonic Europe is a very original and enterprising project -- one, I think, which could only have been undertaken by a historian. It is a most valuable addition to the literature on Rossini. * Anthony Arblaster, author of Viva la Libertà! Politics in Opera *[A] magisterial contribution to our understanding of the complex relationship between cultural and political history. * JOURNAL OF EUROPEAN STUDIES *Table of ContentsAcknowledgments Introduction Setting the Stage: Opera Buffa and Comedy of Manners in an Age of Democratic Revolution Rossini, Mozart, Paisiello, and the Barber of Seville Jane Austen, Goya, Rossini, and the Post-Napoleonic Age: La Cenerentola Rossini, Beethoven, and Rescue Opera: Fidelio and La gazza ladra Rossini, Ferretti, Matilde di Shabran, and the Revolution of 1820-21 Stendhal and Rossini in Paris: Il viaggio a Reims, Le Comte Ory, and the July Revolution Conclusion: Thinking about Rossini Notes Bibliography Index

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Book SynopsisThis book is a philosophical tour through the experience of beauty: what it is, and how the composer, performer, and listener all contribute. It explores -- with insight, patience, and humor -- profound issues at the essence of our experience. A student performance of Beethoven's String Quartet No. 10 in E-Flat Major, known as the "Harp," serves as a point of departure and a recurring theme. For the layperson the core of the book is five dialogues betweenIcarus, an inquiring student intensely concerned with fulfilling his highest potential as a musician, and Daedalus, a curmudgeonly, iconoclastic teacher who guides Icarus's search. Three technical articles, geared to the music professional and academic, treat the issues in greater depth. Supplementary online audio files and musical examples. Markand Thakar, music director of the Baltimore Chamber Orchestra, is an internationally renownedpedagogue of conducting. A protégé of the legendary Sergiu Celibidache and former assistant conductor of the New York Philharmonic, Thakar is author of On the Principles and Practice of Conducting (University of RochesterPress, 2016) and Counterpoint: Fundamentals of Music Making (Yale University Press, 1990).Trade ReviewThakar's ideas are valuable, his exposition of them is clear, and the book is supported by materials on his website, including sound files. . . . Would be useful as the main text in an upper-level or graduate seminar, or as a component of a survey of analytical techniques or aesthetics. The consideration of what constitutes musical objects and the transcendent experience of beauty would be of great value to students. The dialogue format provides a model for a healthy mentor/protégé relationship, and, at a time when the outlook frequently seems very dark, Thakar paints a hopeful picture for the future of art music. * MUSIC THEORY ONLINE Full review at: http://www.mtosmt.org/issues/mto.15.21.4/mto.15.21.4.turner.html *A journey to discover where beauty lives in music. . . . It is rare for schooling to be this blissful. --Composer and radio host Kile Smith. See his full posting at http://www.kilesmith.com/2011/04/20/looking-for-the-harp-quartet * . *A thoughtful inquiry into the nature of beauty and the aesthetic experience. . . . Will serve not only those interested in exploring the 'transcendent' aesthetic experience, but also those who labor to embody their art through performance. * CHOICE *A 225-page tour de force. . . . An exercise in academic excellence and a seminal contribution for personal, professional, and academic Classical Music Studies reference collections and supplemental readings lists. * MIDWEST BOOK REVIEW *Markand Thakar's playful Socratic-like dialogue acts out a kind of performer's odyssey toward the ideal performance, toward making one particular strand of Western classical music all that it can be. * SCOTT BURNHAM, PRINCETON UNIVERSITY *Immensely stimulating and rewarding . . . buy a copy and read it twice, not necessarily in rapid succession, and keep it around for the time you may want to reach for it again. * BERKSHIRE REVIEW *Table of ContentsPreface Acknowledgments Note about Online Supporting Material Looking for the "Harp" Quartet Renoir and the Survival of Classical Music: On the Listener's Contribution Let's Be Mookie: On the Composer's Contribution Gurus: On the Performer's Contribution First, Last, and Always Remembrance of Things Future: On the Listener's Contribution Patterns of Energy: On the Composer's Contribution Dynamic Analysis: On the Performer's Contribution Appendix: Forms Notes Bibliography Index

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Book SynopsisPathbreaking study of a vast and intriguing repertoire: arrangements for keyboard instruments of songs, arias, and other vocal pieces, from the age William Byrd to that of Handel. Keyboard arrangements of vocal music flourished in England between1560 and 1760. Songs without Words, by noted harpsichordist and early-music authority Sandra Mangsen, is the first in-depth study of this topic, uncovering abody of material that is remarkably varied, musically interesting, and indicative of major trends in musical and social life at the time. Mangsen's Songs without Words argues that the pieces upon which these keyboardarrangements were based constituted a shared repertoire, akin to the jazz standards of the twentieth century. In Restoration England, the ballad tradition saw tunes and texts move between oral, manuscript, and printed transmissionand from street to playhouse and back again. During the eighteenth century, printed keyboard arrangements were aimed particularly at female amateur keyboardists and helped opera to become a widely popular genre. Songs without Words considers a wide range of model pieces, including songs of many kinds and arias and other numbers from operas and oratorios. The resulting keyboard versions range from simple and pedagogically oriented to highly virtuosic. Two central issues -- the relationship between an arrangement and its model and the reception and aesthetics of arrangements -- are explored in the framing chapters. The result is a study that will be of great interest toscholars, performers, and anyone who loves the music of the late Renaissance, Baroque, and early Classic eras. Sandra Mangsen is professor emerita of music at the University of Western Ontario.Trade ReviewOffers a useful introduction to selected repertories of vocal music arranged for keyboard in England between the sixteenth and eighteenth centuries and also charts some territory that will be unfamiliar to most readers. * EARLY MUSIC PERFORMER *The subject of musical arrangement is one that has begun to arouse increasing interest among musicologists in recent years, as they have moved away from a long-standing tendency to deride such reworkings. It is thus particularly welcome that musicology's re-evaluation of arrangement as a creative activity has included a strong focus on early music, especially that of the seventeenth and eighteenth centuries. Sandra Mangsen's book is the first full-length study of the topic for the early modern period, so it forms an important addition to the field. * MUSIC & LETTERS *A well-documented book on a very attractive topic that is still little researched. The prose is clear and the tables are detailed and informative. [Mangsen] considers the purposes and motivations for the dissemination of arrangements in a longer chronological perspective, aligning Babell's virtuoso display with that of Liszt or Godowsky. * EARLY MUSIC *Mangsen should be congratulated for her thorough investigation into such a broad subject with numerous sources of disparate natures. This repertory has not received such thoughtful interrogation in a book-length publication, and Songs without Words has taken a large step toward helping us understand the complex interweaving of theatre culture, domestic markets, social interaction, and the role of performers/composers/copyists in musical transmission between 1560 and 1760. . . . [A] valuable and significant contribution to the literature on English music and will significantly aid future examinations that further our understanding of this exciting period. * NABMSA REVIEWS *Sandra Mangsen brings deep and thorough research to [her] central topic. The book raises and answers questions like: What was the market for the keyboard arrangements of songs from the pop culture of the day? Did it vary by gender? Were they intended for professionals, good amateurs, or dilettantes? What purposes did these pieces serve before the age of recording? Does the absence of a song's words imply anything for performances? Should keyboard arrangements of songs be considered as important repertoire alongside original keyboard pieces? . . . Physically deluxe, . . . a nice-looking book. * AMERICAN RECORD GUIDE *Table of ContentsIntroduction Ballads Transformed Arias Domesticated: The Ladys Entertainment and Other Early Eighteenth-Century Anthologies With Their Symphonies: William Babell and The Ladys Entertainment Books 3 and 4 Opera Remix: Babell's Suits of 1717 After Babell: Arrangements for Ladies and Gentlemen Afterthoughts Appendix: The Ladys Banquet (Second Series): Contents, Concordances, and Dissemination Notes Bibliography Index

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Book SynopsisDisplays the range and diversity of Schenkerian studies today in fifteen essays covering music from Bach through Debussy and Strauss. Explorations in Schenkerian Analysis is a collection of fifteen essays dedicated to the memory of Edward Laufer, an influential advocate of Schenker's method. The chapters are presented in chronological order by composer, opening with Charles Burkhart's contribution, which is presented as a letter to Edward Laufer (written before his death), and ending with excerpts from Stephen Slottow's 2003 interview with Laufer (in an appendix). Whilethe unifying focus is Schenkerian analysis, there is considerable variety in the approaches taken by the contributors. There is also variety in the composers represented, ranging from Bach to Debussy and Strauss. The volume thusdisplays the scope and diversity of Schenkerian studies today. CONTRIBUTORS: Mark Anson-Cartwright, David Beach, Matthew Brown, Charles Burkhart, L. Poundie Burstein, Timothy L. Jackson, Roger Kamien, Leslie Kinton, SuYin Mak, Ryan McClelland, Don McLean, Boyd Pomeroy, William Rothstein, Frank Samarotto, Stephen Slottow, Lauri Suurpää David Beach is professor emeritus and former dean of the Faculty of Music, University of Toronto. SuYin Mak is associate professor of music at the Chinese University of Hong Kong.Trade Review[E]xpands the literature on Schenker studies in important and fascinating ways. It belongs on the bookshelf of any Schenkerian but would also be a wonderful resource for intermediate and advanced classes in Schenkerian analysis. * NOTES: JOURNAL OF THE MUSIC LIBRARY ASSOCIATION *The analyses in the book are of a high quality [and treat] form and structure, the role of motif (a trademark of Laufer), and the relationship between voice-leading structure and musical meaning. Just as aspects of form and design can influence voice-leading structures, Schenkerian studies such as these have much to contribute to form studies. A welcome contribution to the Schenkerian analytical corpus. * MUSIC & LETTERS *Table of ContentsPreface A Letter about the C-Major Fugue from The Well-Tempered Clavier, Book 1 - Charles Burkhart The Opening Tonal Complex of Bach's St. Matthew Passion: A Linear View - Mark Anson-Cartwright Recurrence and Fantasy in C. P. E. Bach's Rondo in G Major - Frank Samarotto Voice-Leading Procedures in Galant Expositions - L. Poundie Burstein The First Movements of Anton Eberl's Symphonies in E-flat Major and D Minor, and Beethoven's Eroica: Toward "New" Sonata Forms? - Timothy Jackson Schubert's "Unfinished" Symphony: Analytical Observations - David W. Beach Structural and Form-Functional Ambiguities in the First Movement of Schubert's Octet in F Major, D. 803 - Su Yin Mak The Form of Chopin's Prelude in B-flat Major, Op. 28, No. 21 - Roger Kamien "All That Is Solid Melts into Air": Schumann's Overture to Manfred - William Rothstein Endings without Resolution: The Slow Movement and Finale of Schumann's Second Symphony - Lauri Suurpää Half-Diminished-Seventh Openings in Brahms's Lieder - Ryan McClelland Motivic Enlargement in Dvorák's Symphony Op. 70 - Leslie Kinton Deliverance and Compositional Design in the "Libera me" of Verdi's Messa da Requiem - Donald R. McLean Polyphony and Cacophony? A Schenkerian Reading of Strauss's "Dance of the Seven Veils" - Matthew Brown A Force of Nature: Debussy and the Chromatically Displaced Dominant - Boyd Pomeroy Appendix: An Interview with Edward Laufer - Stephen Slottow

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Book SynopsisThe pathbreaking revival in Paris ca. 1900 of long-neglected operas by Mozart, Gluck, and Rameau -- and what this meant to French audiences, critics, and composers. Focusing on the operas of Mozart, Gluck, and Rameau, Building the Operatic Museum examines the role that eighteenth-century works played in the opera houses of Paris around the turn of the twentieth century. These works, mostly neglected during the nineteenth century, became the main exhibits in what William Gibbons calls the Operatic Museum -- a physical and conceptual space in which great masterworks from the past and present could, like works ofvisual art in the Louvre, entertain audiences while educating them in their own history and national identity. Drawing on the fields of musicology, museum studies, art history, and literature, Gibbons explores how this "museum" transformed Parisian musical theater into a place of cultural memory, dedicated to the display of French musical greatness. William Gibbons is Associate Professor of Musicology at Texas Christian University.Trade ReviewWhat makes the book particularly worthwhile is its careful contextualization of the major fin-de siècle revivals of eighteenth-century operas including abundant selections from critical discourse. . . . One of the merits of Gibbons' book is the way it enables us to see how these dilemmas [of historical fidelity vs. practical viability, and of Germanic traditions vs. French national pride] were understood, and hotly debated, throughout the period in question, paving the way for a conception of the repertoire that is still very much with us. The book's most engrossing section is probably the one devoted to Mozart, for the [Austrian] composer's place within the French operatic pantheon would always entail the most complex negotiations. * NINETEENTH-CENTURY MUSIC REVIEW *Gibbons's well-written study of the productions of eighteenth-century operas in late nineteenth-century Paris considers broad issues of edition-making, nationalist interpretation, allegorical readings, and value judgment. An important addition to critical reflections on canon building. -- Steven Huebner, McGill UniversityTable of ContentsIntroduction Museums Restorations (De)Translations Transitions Resurrections Tragedies Symbols Monuments Quarrels Archaeologies Notes Bibliography Index

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Book SynopsisA new theory of musical analysis from an award-winning author, with six detailed analyses of works from Beethoven to today. This book introduces a theory of music analysis that one can use to explore aspects of segmentation and associative organization in a wide range of repertoire including Western classical music from the Baroque to the present, withpotential applications to jazz and popular music, and some non-Western musics. Rather than a methodology, the theory provides analysts with precise language and a broad, flexible conceptual framework through which they can formulate and investigate questions of interest and develop their own interpretations of individual pieces and passages. The theory begins with a basic distinction among three domains of musical experience and discourse about it: the sonic (psychoacoustic); the contextual (or associative, sparked by varying degrees of repetition); and the structural (guided by a specific theory of musical structure or syntax invoked by the analyst). A comprehensive presentationof the theory, with copious musical illustrations, is balanced with close analyses of works by Beethoven, Debussy, Nancarrow, Riley, Feldman, and Morris. Dora A. Hanninen is professor of music theory at the Universityof Maryland. She received the 2010 Outstanding Publication Award from the Society for Music Theory.Trade ReviewThe tremendous range of application shows without a doubt that this book achieves its goal of opening new lines of inquiry for individual pieces, repertoires, and issues in contemporary music theory. * JOURNAL OF MUSIC THEORY *The book addresses music theorists, analysts, and musicologists. Could serve as a main reference item in analysis courses. Encompasses a wide range of Western music traditions from the baroque onward. This feature is one among its several qualities of methodological flexibility. Exquisite presentation. Indispensable to the analyst in search of advancing or developing theoretical frameworks. -- Dimitris Exarchos * MUSIC LIBRARY ASSOCIATION NOTES *Rarely does a book come along that is both brilliant and unlike anything else in our field. Rather than offering another new methodology, A Theory of Music Analysis constructs a general framework on which we can locate (and better understand) most of the analytical utterances we make. Replete with diverse and sensitive musical analyses, this is an important work for anyone who engages in music-theoretical pursuits. -- Michael Buchler, Florida State University College of MusicTable of ContentsA Theory of Music Analysis Orientations, Criteria, Segments Associative Sets and Associative Organization Beethoven, Piano Sonata No. 2 in A Major, Op. 2, No. 2, I Debussy, "Harmonie du soir," Cinq poèmes de Baudelaire, No. 2 Nancarrow, Study No. 37: Calibrated Canons, Changeable Landscapes Riley, In C: Configurations and Landscape Studies of Select Plots Feldman, Palais de Mari: Pattern and Design in a Changing Landscape Morris, Nine Piano Pieces: Between Moment and Memory-Reflectionson and among the Nine Further Considerations and Extended Applications Notes Glossary Bibliography Index

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Book SynopsisDecades after the rise of rock music in the 1950s, the rock concert retains its allure and its power as a unifying experience - and as an influential multi-billion-dollar industry. In Rock Concert, acclaimed interviewer Marc Myers sets out to uncover the history of this compelling phenomenon, weaving together ground-breaking accounts from the people who were there.Myers combines the tales of icons like Joan Baez, Ian Anderson, Alice Cooper, Steve Miller, Roger Waters and Angus Young with figures such as the disc jockeys who first began playing rock on the radio; the audio engineers that developed new technologies to accommodate ever-growing rock audiences; music journalists, like Rolling Stone's Cameron Crowe; and the promoters who organized it all, like Michael Lang, co-founder of Woodstock, to create a rounded and vivid account of live rock's stratospheric rise.Rock Concert provides a fascinating, immediate look at the evolution of rock 'n' roll through the lens of live performances, spanning the rise of R&B in the 1950s, through the hippie gatherings of the '60s, to the growing arena tours of the '70s and '80s. Elvis Presley's gyrating hips, the British Invasion that brought the Beatles in the '60s, the Grateful Dead's free flowing jams and Pink Floyd's The Wall are just a few of the defining musical acts that drive this rich narrative. Featuring dozens of key players in the history of rock and filled with colourful anecdotes, Rock Concert will speak to anyone who has experienced the transcendence of live rock.Trade ReviewHighly informative...from club gigs in the early 1950s to The Beatles in the early-mid 1960s; from Woodstock in 1969 to Live Aid in 1985; from branding to amplification/lighting; from media coverage to ticketing, Myers and many industry commentators expertly tick them off, one by one * Irish Times *Engrossing...Starting with the emergence of R&B in the late 1940s and ending with 1985's Live Aid benefit, he vividly recreates what went on behind the scenes, onstage, and in the crowds with intimate accounts from the people who were there... Eminently entertaining, this is sure to delight rock fans of all persuasions. * Publishers Weekly *A honest, introspective book about a business badly in need of people of Myers's calibre to ensure that the history of the live music business is preserved in compelling works of history * Billboard *A revealing, absorbing book for those who keep their old ticket stubs close at hand. * Kirkus Reviews *Each story is a pleasure to read and will deepen your listening experience . . . Myers bears down hard on these songs and the artists rise to the standards he sets. * New York Times Book Review on ANATOMY OF A SONG *A rich history of both the music industry and the baby boomer era. * Los Angeles Times Book Review on ANATOMY OF A SONG *[A] splendid volume. * Guardian on ANATOMY OF A SONG *Reads like a dream karaoke playlist. Not a dud in sight. * Huffington Post on ANATOMY OF A SONG *Table of Contents1: Introduction Part 1: The 1950s 1: Los Angeles Auditoriums 2: Cleveland Theaters 3: Chicago Clubs 4: Memphis Fairs 5: Northeast Fests Part 2: The 1960s 6: Folk at the Mall 7: Pop's Endless Summer 8: Dylan Invents Rock 9: Ballrooms and Be-Ins 10: Festival Mania Part 3: The 1970s 11: Image, Media, and Branding 12: Arenas, Stadiums, and Tours 13: Sight and Sound 14: Concert Maximus 15: Rise of Exurbia Part 4: The 1980s 16: Not Just Another Brick 17: Killing the Radio Star 18: Computerized Ticketing 19: And in the End, Live Aid Epilogue: Epilogue Bonus: Fifty Best Live Albums, Concert Films, and Rock Docs Source List: Source List Acknowledgments: Acknowledgments

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Book SynopsisExplores sonic events and auditory experiences in German-speaking contexts from the Middle Ages to the digital age, opening up new understandings. As a sub-discipline of cultural studies, sound studies is a firmly established field of inquiry, examining how sonic events and auditory experiences unfold in culturally and historically contingent life situations. Responding to new questions in sound studies in the context of German-speaking cultures, and incorporating up-to-date methodologies, this Companion explores the significance of sound from the Middle Ages and the classical-romantic period through high-capitalist industrial modernity, the Nazi period and the Holocaust, and postwar Germany to the present digital age. The volume examines how sonic events are represented in literary fiction, radio productions, cinema, newsreels, documentaries, sound art, museum exhibitions, and other media, drawing for this inquiry on philosophy, aesthetics, literary criticism, musicology, art theory, and cultural studies. Each essay is a case study - of persons, events, and sonic, visual, or textual artifacts - situating them in wider contexts of culture, history, and politics. The volume not only revisits well-known topics from new angles, but seeks especially to explore neglected issues on the cultural periphery. It assembles original essays by leaders in the field and emerging scholars from the United States and Europe. Offering an advanced introduction to the topic, the Companion is addressed to anyone interested in how the analysis of sound phenomena opens up new understandings of German-speaking cultures.Table of ContentsList of Illustrations Preface Introduction Rolf J. Goebel Part I. Sonic Practices from the Middle Ages to the Nineteenth Century 1: Soundscapes in Medieval German Literature Albrecht Classen 2: A German Dance: Music, Mesmerism, and the Glass Armonica Lawrence Kramer 3: Healthy Throats, German Sounds: Women's Vocal Development and Expertise in German Soundscapes of the Long Nineteenth Century Josephine Hoegaerts Part II. Rediscovering the Sounds of Modernism 4: Heidegger: A Little Hint on How to Listen James M. Kopf 5: New Hearing: Soundscapes of Literary Modernism Frieder von Ammon 6: Tragic Silence and Heroic Clamor: Sound Worlds and Constructed Ethnographies in Fritz Lang's Die Nibelungen (1924) Daniel Sherer Part III. Listening to the Unbearable: The Sounds of National Socialism and the Holocaust 7: Hitler's Voice: Media and Politics of Embodiment Tyler Whitney 8: "The whole language was a scream": The German Language During the Seizure of the Jews Sara Ann Sewell Part IV. After the Catastrophe: Sounds in Postwar Germany and Beyond 9: Revisiting the Soundscapes of Postwar West German Radio Drama Caroline A. Kita 10: Jazz and Its Effect on Politics and Modernity as Presented in German Newsreels and Documentaries of the 1960s Sigrun Lehnert 11: On the Air: Clandestine Radiophonic Protest Groups in Italy, Switzerland, and Germany, 1976-77 Anna Bromley 12: Kittler's Sound Larson Powell 13: Clearing the Throat, Stumbling, and Coughing: An Anthropology of the Sonic Corpus According to Carlfriedrich Claus Holger Schulze Part V. Sounds of the Present 14: Carsten Nicolai's Art of Disturbance: Sound, Science, and Interference Lutz Koepnick 15: Echoes of the Past: Sound in the History Museum Daniel Morat 16: (Post)Digital Sounds: Acoustic Experiments in the Age of Algorithmic Processes Christiane Heibach Part Vi. Epilogue 17: The Sound of Pine Needles Falling: The Art of Max Neuhaus Yehuda Safran Select Bibliography and List of Further Reading Notes on the Contributors Index

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Book SynopsisThe formative early ballets of West Side Story creators Leonard Bernstein and Jerome Robbins explored in detail for the very first time. 2022 CHOICE Outstanding Academic Title Winner. Leonard Bernstein and choreographer Jerome Robbins stand as giants of the musical-theatre world, but it was ballet that launched their stage careers and established their relationship. With Fancy Free (1944), their triumphant debut collaboration produced by Ballet Theatre, Bernstein, Robbins, and set designer Oliver Smith-all in their mid-twenties- captured the spirit of wartime New York, created a defining ballet of the period still widely performed today, and became overnight sensations. The hit musical On the Town (1944) and a now largely forgotten ballet, Facsimile (1946), followed over the next two years. Drawing extensively on previously unpublished archival documents, Bernstein and Robbins: The Early Ballets provides a richly detailed and original historical account of the creation, premiere, and reception of Fancy Free and Facsimile. It reveals the vital and sometimes conflicting role of Ballet Theatre, explores how Bernstein composed the scores, sheds light on the central importance of Oliver Smith, and considers the legacy of these works for all involved. The result is a new understanding of Bernstein, Robbins, and this formative period in their lives.Trade ReviewSophie Redfern's groundbreaking and compelling new book offers a vivid account of the often high-octane collaboration between Leonard Bernstein and the choreographer Jerome Robbins-and to a lesser extent, the theatre designer Oliver Smith. . . . [A] manifestly important book that will undoubtedly establish itself as a classic text in the fields of both Bernstein and ballet studies, and which is distinguished throughout by its expert interweaving of historical narrative, source studies, music analysis, and criticism. -- Mervyn Cooke * MUSIC & LETTERS *This very interesting book primarily relates the early partnership of Leonard Bernstein and Jerome Robbins. I enjoyed Redfern's...discussion of the staging and choreography of the various shows. The author wisely includes a discussion of Bernstein's ability to work quickly on theatrical assignments and Robbins's legendary rehearsal requirements, and how that affected their relationship. This book offers corrections to...prior information and presents the ballet information with enough detail to better appreciate the music and choreography. * AMERICAN RECORD GUIDE *For choreographers interested in commissioning scores for their dance pieces, the information contained in this book is very useful. -- Mark Kappel * NEWSNOTES DANCE BLOG *Sophie Redfern's new book on Leonard Bernstein and Jerome Robbins provides a rich portrait of their collaborative relationship [and] the first in-depth, published analysis of their ballets. Her book adds many insights into the working relationship between these two influential figures. A fascinating narrative arc emerges. Redfern's book is important reading for scholars...who want to think more deeply about collaborative relationships between composers and choreographers. * STUDIES IN MUSICAL THEATRE *Rich [archival] materials and Redfern's thorough analysis of Bernstein's music constructively articulate how each artist's individual contributions defined the futures of both ballet and musical theater in the United States...Some of the most compelling highlight Bernstein's adaptation of popular and Latin music into the classical French structure of ballet. Fancy Free's inclusion of defined character motifs, stacked ostinatos, tone rows, and rhythmic complexity would give American ballet a definitive form. * SOCIETY FOR AMERICAN MUSIC BULLETIN *Table of ContentsIntroduction Setting the Scene: American Ballet and Jerome Robbins Towards a First Ballet: Fancy Free Takes Shape Creating Fancy Free: A Long-Distance Collaboration The Music of Fancy Free: The Sketches and Score Explored The Fancy Free Premiere and a Move to Broadway Towards a Second Ballet: Bye Bye Jackie and the Creation of Facsimile The Music of Facsimile: The Sketches and Score Explored The Facsimile Premiere and Legacy of the Ballets Epilogue: Bernstein and Dance Bibliography Index

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Book Synopsis'Sharply insightful and vividly imaginative... the perfect Christmas gift for anyone asking: 'How do I get into classical music?'' - Rupert Christiansen, Mail on Sunday'A treat from the very first page... written with style and humour, this is a perfect introduction to classical music for a beginner, a companion for the music lover, and sheer entertainment for both.' - Joanna LumleyNearly all of us have the capacity to enjoy classical music but too often we are put off by not knowing where to look, or what we are actually looking for. We feel the need of a guide to help navigate such vast and varied artistic terrain.With this delightful book, historian Tim Bouverie provides just this. Drawing on his lifelong passion for music, he has created a compilation of 100 classical masterpieces sure to move and be enjoyed by almost anyone. Some are well-known, some more idiosyncratic, others hidden gems waiting to be brought into the light. All are intended to comfort and inspire. He provides a short introduction to each piece - variously anecdotal, personal, historical and quirky - and a recommended recording to try.Highly accessible and entertaining, Perfect Pitch is filled with engrossing stories and insights that bring to life 300 years of the world's greatest music.An accompanying playlist is available on Spotify.

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Book SynopsisThe Northern Soul scene is a dance-based music culture that originated in the English North and Midlands in the early 1970s, it still thrives today with a mix of fifty-year olds and new converts, and its celebration of 1960s Soul has an international following. This innovative and distinctive book brings together original commissioned essays and pivotal scholarly articles that have defined the field so far, interspersed with dossiers of published journalistic articles and photographs, and interviews with, for instance, producers and directors of Northern Soul-themed films. This publication represents a subject-defining book on the history and contemporary nature of the scene, and the first anthology of work in the field, which will provide a forum for vibrant dialogue and debate for a readership of lecturers and researchers, students and general readers interested in creative analyses and interpretations of the scene, past and present. The book links academic research, photography, film production and journalism in the documentation and analysis of historic and current music scenes. Representations of the scene from different media and different historical locations are juxtaposed to construct a rich and diverse statement about the music, people, places and practices that constitute the Northern Soul scene in the UK.

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Book SynopsisThe Northern Soul scene is a dance-based music culture that originated in the English North and Midlands in the early 1970s, it still thrives today with a mix of fifty-year olds and new converts, and its celebration of 1960s Soul has an international following. This innovative and distinctive book brings together original commissioned essays and pivotal scholarly articles that have defined the field so far, interspersed with dossiers of published journalistic articles and photographs, and interviews with, for instance, producers and directors of Northern Soul-themed films. This publication represents a subject-defining book on the history and contemporary nature of the scene, and the first anthology of work in the field, which will provide a forum for vibrant dialogue and debate for a readership of lecturers and researchers, students and general readers interested in creative analyses and interpretations of the scene, past and present. The book links academic research, photography, film production and journalism in the documentation and analysis of historic and current music scenes. Representations of the scene from different media and different historical locations are juxtaposed to construct a rich and diverse statement about the music, people, places and practices that constitute the Northern Soul scene in the UK.

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Book SynopsisTwo Bold Singermen and the English Folk Revival explores the lives and song traditions of two of the most influential English traditional singers: Sam Larner and Harry Cox. Using extensive primary evidence, including recorded interviews with both men, the book provides the first detailed biographies of these great singers, placing their singing and repertoires within the social and cultural contexts in which they lived. Larner and Cox were born within six years and 15 miles of each other, in late-nineteenth century Norfolk. Both men grew up in large, working-class, families, started work before their teens, spent their working lives in hard manual labour - Sam as a trawlerman, Harry as a farm labourer - married late and lived into their 80s. Crucially, both men were singers from an early age, amassed large repertoires of songs that are now established in the traditional canon and became key figures in the 'folk revival' of the 1950s and 60s. They directly influenced performers such as Martin Carthy, Shirley Collins, Peggy Seeger, Young Tradition and Steeleye Span, and indirectly influenced Paul Simon and Bob Dylan. Their impact extends to the current generation of performers and composers in the folk, Americana and singer/songwriter fields and even to Hollywood.Table of ContentsINTRODUCTION CHAPTER 1: Fields and Fishing CHAPTER 2: Two Norfolk Families CHAPTER 3: First Work, First Songs CHAPTER 4: The First Folk Revival CHAPTER 5: A World Turned Upside Down CHAPTER 6: Mr Moeran Comes Collecting CHAPTER 7: Harry Finds Fame CHAPTER 8: Building the Repertoire CHAPTER 9: "All we had for entertainment" CHAPTER 10: Sam is "discovered" CHAPTER 11: On the Road CHAPTER 12: The Road Goes on Forever? SELECTED DISCOGRAPHY

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Book SynopsisNevermind, Achtung Baby, Use Your Illusion 1&2 – the 90s saw some classic albums produced by artists such as Nirvana, U2, Gun n’ Roses and Red Hot Chili Peppers, as well as a resurgence in country music popularized by Shania Twain and Garth Brooks. Combining information from both the US and UK charts provided by the Recording Industry Association of America (RIAA) and British Phonographic Industry (BPI), 100 Best Selling Albums of the 90s features chart-topping work from Michael Jackson, Puff Daddy and Green Day. Each album entry is accompanied by the original sleeve artwork – front and back – and is packed full of facts and recording information, including a complete track listing, musician and production credits, and an authoritative commentary on the record and its place in cultural history. Soundtracks featured include the 60s and 70s hits on Forrest Gump, the Elton John/Tim Rice songs in The Lion King, and the orchestral score for Titanic (and Celine Dion’s Oscar-winning My Heart Will Go On). Other stand-out albums include the Eagles’ reforming to make Hell Freezes Over and Eric Clapton’s Unplugged, a career revival for him in the popular 90s back-to-basics semi-acoustic series. With vinyl sales now at their highest in 25 years, 100 Best Selling Albums of the 90s is an expert celebration of popular music from Sheryl Crow to Shania Twain, from the Spice Girls to the Backstreet Boys, from Gloria Estefan to Michael Jackson to Lauryn Hill.Table of ContentsShania Twain – Come On Over Whitney Houston – The Bodyguard Alanis Morissette – Jagged Little Pill Hootie & The Blowfish – Cracked Rear View Garth Brooks – No Fences Garth Brooks – Double Live Santana – Supernatural Backstreet Boys – Backstreet Boys Garth Brooks – Ropin’ The Wind Britney Spears - …Baby One More Time Backstreet Boys – Millennium Celine Dion - Falling Into You Shania Twain – The Woman In Me Dixie Chicks – Wide Open Spaces Soundtrack – Forrest Gump Kenny G – Breathless Pearl Jam – Ten Matchbox 20 – Yourself Or Someone Like You Boyz ii Men Soundtrack –Titanic Celine Dion – Let’s Talk About Love Mariah Carey – Music Box TLC – CrazySexyCool Kid Rock – Devil Without A Cause Jewel – Pieces Of You Eric Clapton –Unplugged Mariah Carey – Daydream Nirvana – Nevermind MC Hammer – Please Hammer Don’t Hurt Em No Doubt – Tragic Kingdom Soundtrack – The Lion King Green Day – Dookie Creed – Human Clay Dixie Chicks – Fly Notorious BIG – Life After Death Spice Girls – Spice Britney Spears – Oops! …I Did It Again Will Smith – Big Willie Style Smashing Pumpkins – Mellon Collie and… Mariah Carey – Mariah Carey U2 –Achtung Baby Michael Bolton – Time, Love & Tenderness Ace Of Base – The Sign Billy Ray Cyrus – Some Gave All Boyz ii Men – ColeyHighHarmony Destiny’s Chld – The Writing’s On The Wall Michael Jackson – Dangerous Lauryn Hill – The Miseducation Of Lauryn Hill Toni Braxton – Secrets R. Kelly – R Backstreet Boys – Black & Blue Christina Aguilera – Christina Aguilera Tupac – All Eyez On Me Live – Throwing Copper Garth Brooks – In Pieces Toni Braxton – Toni Braxton Stone Temple Pilots – Core Faith Hill – Breathe Sarah McLachlan – Surfacing Kenny G – Miracles Aerosmith – Get a Grip Garth Brooks - The Chase Oasis - Morning Glory The Cranberries – No Need To Argue Savage Garden – Savage Garden Sheryl Crow – Tuesday Night Music Club Celine Dion - The Colour of My Love Ricky Martin – Ricky Martin Red Hot Chili Peppers – Blood Sugar Sex Magick Guns’n’Roses – Use Your Illusion 1&2 Vanilla Ice – To The Extreme Fugees – The Score Limp Bizkit – Significant Other Garth Brooks – Sevens Puff Daddy – No Way Out Eagles – Hell Freezes Over Pearl Jam – Vs. Counting Crows – August & Everything After ‘N Sync – ‘N Sync Dave Matthews Band – Crash Soundtrack – Waiting To Exhale Bonnie Raitt – Luck Of The Draw Meat Loaf - Bat Out Of Hell II Janet Jackson – Janet TLC – Fanmail Dr Dre – Dr Dre 2001 Usher – My Way Soundtrack – Space Jam Garth Brooks – Fresh Horses Stone Temple Pilots – Purple R. Kelly – 12 Play Chicago – Chicago 17 Creed – My Own Prison Third Eye Blind – Third Eye Blind Leann Rimes – Blue Bush – Sixteen Stone Dave Matthews Band – Under The Table And Dreaming Blues Traveller – Four Offspring – Smash Mana – Donde Jugaran Los Ninos

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Book SynopsisA full account of the making, during 1909-10, of Der Rosenkavalier with emphasis on its derivation from a French opérette of 1907, L'Ingenu libertin. L'Ingenu libertin was seen in Paris by Count Harry Kessler and formed the basis of the opera then to be written by Hofmannsthal and Strauss. Previous scholarship has credited the narrative and characters of Der Rosenkavalier to much older French sources known to and studied by Hofmannsthal, but this book shows clearly how every element in L'Ingenu libertin is in fact taken (and transformed) by Kessler and Hofmannsthal into the work that made fortunes for Hofmannsthal and Strauss, but left Kessler on the sidelines. Michael Reynolds casts a major new light on Strauss's most popular operatic success, highlighting in particular how it was that Hofmannsthal - who had not until then had any theatrical success as an original playwright - was advised and empowered by Kessler to produce a work that succeeded onstage from its very first performance and went rapidly on to conquer the stages of the world. Michael Reynolds is an established writer on opera, a translator and an online music critic, an interest that he sustained throughout thirty years in the world of international diplomacy. His previous book for Boydell, About Suffolk, was an anthology of writing about his adopted county.Trade ReviewReynolds's book will reward both scholars and opera-lovers who are interested in Der Rosenkavalier's co-creators or are fascinated by collaboration and the creative process. * MUSIC LIBRARY ASSOCIATION NOTES *The 'Preface' to Michael Reynolds's charming book begins with a pithy statement: 'This is a book about creation, authorship and relationships'. Thus, in a nutshell, he lays out succinctly the course his monograph takes from uncovering a largely overlooked backstory to the creation of one of the most successful operas of the twentieth century. He presents a detailed account of the nature and origins of its authorship via a considered and sensitively pitched examination of the artistic relationships that underpinned it. * MUSIC AND LETTERS *If you love Der Rosenkavalier, Reynolds' book is essential-and fascinating-reading. Exoticandirrational Blog * . *This newly released paperback edition of Michael Reynolds' 2016 beautiful hardcover book will contain much that is news to fans - and who isn't? - of Richard Strauss' opera Der Rosenkavalier. * Limelight *Table of ContentsOverture Beginners On the page... ...and onto the stage Act One:The Young Libertine Act Two: Who was Harry Kessler? Act Three in two scenes and an Epilogue: Creating Der Rosenkavalier Scene One - devising the scenario Scene Two - characterisation and authorship Epilogue Creating Der Rosenkavalier - a retrospective Bibliography

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Book SynopsisThe first full length study of Sir George Thomas Smart (1776-1867), musical animateur and early champion of the music of Beethoven Sir George Thomas Smart (1776-1867) was a significant musical animateur of the early nineteenth century, who earned his living primarily as a conductor but was also significant as an organist, composer and recorder of events. Smart established successful and pioneering London concert series, was a prime mover in the setting up of the Philharmonic Society and the Royal Academy of Music, and taught many of the leading singers of the day, being well versed in the Handelian concert tradition. He also conducted the opera at the Covent Garden Theatre and introduced significant new works to the public - he was most notably an early champion of the music of Beethoven. His journeys to Europe, and his contacts with the leading European musical figures of the day (including Weber, Meyerbeer, Spohr, and Mendelssohn), were crucial to the direction music was to take in nineteenth-century Britain. This detailed account of Smart's life and career presents him within the context of the vibrant concert life of London and wider European musical culture. It is the first full length, critical study of this influential musical figure. JOHN CARNELLEY is Deputy Director of Music and Head of Academic Music, Dulwich College, London. He holds a PhD in Historical Musicology from the University of London (Goldsmiths College) and has previously published research on the eighteenth-century organ manuscripts of John Reading, held in the Dulwich College Archive.Trade ReviewThis book has been written with warmth and enthusiasm underpinned by exhaustive research. Setting out as a record of the everyday working life of an individual professional musician, it is ultimately and important biography of an exceptional man. * NINETEENTH-CENTURY MUSIC REVIEW *Certainly deserves a place on the shelves of every respectable music library. * BRIO *Sympathetic and intensively researched volume will do much to restore [Sir George Smart's] reputation. * THE MUSICAL TIMES *[A] very rich trove here: the book is an invaluable source of reference for this period and for contemporary research on it. * MUSIC & LETTERS *A fascinating glimpse into a little known but immensely influential era of British musical life. * AMERICAN RECORD GUIDE *Conductor Sir George Smart dominated musical life in London in the 1820s and 1830s. In this biography, Carnelley . . . details Smart's life and his role in the London concert scene. Though events such as Weber's and Mendelssohn's London visits have been previously documented, Carnelley is the first to place those special occasions in the context of routine musical life . . . and Smart's attempts to broaden musical tastes . . . . Summing Up: Recommended. * CHOICE *Table of ContentsPreface George Smart and the Musical Profession: 1776-1825 London Concert Life 1800-25 George Smart's Concert Activities 1800-25 Interlude - London and the Continent in 1825 New Musical Directions 1826-30 Change and Conflict 1830-44 Retirement and Old Age 1844-1867 Appendices Bibliography

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Book SynopsisA new collection with contributions from performing musicians and Grainger scholars and a detailed Catalogue of Works. In the thirty years since his Centenary in 1982 it has become even clearer that Percy Grainger [1882-1961] - composer, pianist and revolutionary - was a man born out of his time. Many of his ideas, both musical and social, sit farmore easily in our contemporary world. Those thirty years have also seen a notable expansion of interest in Grainger's music. Innumerable recordings have been made, including the first complete Grainger recording survey by Chandos in its monumental Grainger Edition. The growth of the internet has made it possible, as never before, for Grainger's music to be heard widely. The central theme of The New Percy Grainger Companion is to give information and help from established musicians for performing and listening to this life-celebrating repertoire. The Companion's fully detailed, up-to-date Catalogue of Works - the most complete of any existing catalogue - givesinvaluable assistance. Authoritative contextual chapters in the Companion offer some surprising new background information, together with thoughtful evaluations which signal a new twenty-first century perspective in Grainger scholarship. PENELOPE THWAITES is recognised internationally as a leading Grainger exponent. Her research, performances and extensive Grainger discography over four decades reflect a unique understanding of the manand his music. Contributors: BRIAN ALLISON, TERESA BALOUGH, ROGER COVELL, KAY DREYFUS, LEWIS FOREMAN, PAUL JACKSON, JAMES JUDD, JAMES KOEHNE, ASTRID BRITT KRAUTSCHNEIDER, BARRY PETER OULD, STEWART MANVILLE, MURRAY MCLACHLAN, TIMOTHY REYNISH, BRUCE CLUNIES ROSS, DESMOND SCOTT, PETER SCULTHORPE, GEOFFREY SIMON, RONALD STEVENSON, STEPHEN VARCOE, DAVID WALKERTrade ReviewAn essential handbook for anyone doing research on Percy Grainger himself, on the musical world of his time, or on the types and forms of music which he wrote or researched...handbooks such as this provide the folklorist with the background to understanding the life and work of a figure who had a deep interest in folk music and the music of the non-Western world. * FOLKLORE *A highly readable and important volume. [It will] prove invaluable to both performers and researchers in years to come. * BRITISH MUSIC SOCIETY *The New Percy Grainger Companion [...] does Grainger's legacy a great service because of the rich, and at times unexpected, contexts against which the man and his music are set. * MUSIC & LETTERS *This book successfully removes his masks of bravado, outrageousness, contradictions and obsessions to reveal a vulnerable, warm humane man, who was proud to call Australia home. * STRINGENDO *It is a breath of fresh air [...] to encounter a book that concentrates exclusively on Grainger's work as a composer, pianist and pioneering thinker. [...] it contributes very usefully to a better understanding of this truly remarkable Australian figure. * MUSIC FORUM *Grainger is not just a composer, or a pianist, or an arranger, he is a phenomenon. And in The New Percy Grainger Companion we are given a vision of that phenomenon in the wealth of his music and in his wide global context. * . *Thwaites and her fellow contributors go far in restoring to general consciousness the full scope of Grainger's work as composer, performer, and ethnomusicologist. The book has something to offer almost every conceivable audience. [...] Recommended. * CHOICE *This is an invaluable book about one of music's least understood practitioners. [...] British-born Australian pianist and composer Penelope Thwaites has done a terrific job piecing together the jigsaw that was Grainger. * THE AUSTRALIAN *[T]his handsome volume is an invaluable - and essential - contribution towards a fuller understanding of a composer on the cusp of overdue rediscovery. * CLASSICAL MUSIC *Recommended without hesitation. * THE DELIAN *This book is full of useful advice. * SYDNEY MORNING HERALD *Generously filled with black and white photographs, reproductions of programmes and musical illustrations, this handsome volume is an invaluable - and essential - contribution towards a fuller understanding of a composer on the cusp of overdue recovery. * INTERNATIONAL PIANO *Thwaites has already contributed substantially to a Grainger revival [...]. Here, as an editor, she manages the trick of finely balancing the various competing aspects of Grainger's energetic and highly productive life [...]. This New Companion succeeds in its aim to portray a complicated man in all his variety [...]. * TLS *

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Book SynopsisExamines the genesis of Ernest Newman's major publications in the context of prevailing intellectual trends in history, criticism and biography. Ernest Newman (1868-1959) left an indelible mark on British musical criticism in a career spanning more than seventy years. His magisterial Life of Richard Wagner, published in four volumes between 1933 and 1946, is regarded as his crowning achievement, but Newman wrote many other influential books and essays on a variety of subjects ranging from early music to Schoenberg. In this book, the geneses of Newman's major publications are examined in thecontext of prevailing intellectual trends in history, criticism and biography. Newman's career as a writer is traced across a wide range of subjects including English and French literature, evolutionary theory and biographical method, and French, German and Russian music. Underpinning many of these works is Newman's preoccupation with rationalism and historical method. By examining particular sets of writings such as composer-biographies and essays from leading newspapers such as the Manchester Guardian and the Sunday Times, this book illustrates the ways in which Newman's work was grounded in late nineteenth-century intellectual paradigms that made him a unique and at times controversial figure. PAUL WATT is Senior Lecturer in Musicology in the Sir Zelman Cowen School of Music at Monash University.Trade ReviewA coherent, engaging, and well-researched study . . . an important book for scholars of music criticism as well as music in Britain. * NOTES, JOURNAL OF THE MUSIC LIBRARY ASSOCIATION *A useful study exploring a fascinating field. * FONTES ARTIS MUSICAE *One comes away from Watt's book with a detailed portrait of Newman the writer and a profound admiration for the way in which the author has painstakingly researched and documented his achievements in the field. * BRIO *Reveals that...Newman's fascinating non-musical background that he brought to music criticism...is the secret of Newman's deeply human renaissance qualities as a writer...[This] critical biography erects the intangible monument that no-one reputedly raises in bronze or marble to critics. * WAGNER NEWS OF VICTORIA *Unpredictably refreshing...Watt has done a very great amount of reading and put these results creditably at our disposal. * GRAMOPHONE *This is indeed a very good and stimulating read. * SOUNDS MAGAZINE *An immensely stimulating and readable book, raising many interesting and ever-relevant questions concerning the nature of music biography and criticism, and how they are affected by extra-musical issue of contemporary social and intellectual preoccupation. * THE MUSICAL TIMES *Thanks to Watt, we know that Newman was personally indebted to his Freethought associates...[this is an] impressively researched book'. -- David Cormack * THE WAGNER JOURNAL *This book is important and will help to keep Newman's contribution to our musical heritage in perspective and alive. * SPIRITED, THE GAZETTE OF THE ENGLISH MUSIC FESTIVAL *The book is extremely well written, referenced, and produced, and shows an exemplary attention to detail...Paul Watt has done scholars a considerable service, this being the first book to place the whole span of Newman's career and the most significant parts of his writing in both context and continuum. -- Paul Rodmell * CONTEXT: JOURNAL OF MUSIC RESEARCH *Newman's thinking...comes into focus remarkably well...This is a readable book, with plenty to tell us about the development of an influential mind. -- Stephen Johnson * BBC MUSIC MAGAZINE *[A] well-researched, well-written, well-presented book, drawing upon an impressive bibliography, both musicological and more broadly historiographical. * NABMSA REVIEWS *Ernest Newman was Wagner's most detailed biographer - and despite the age of his four-volume 'Life Of Richard Wagner' it remains indispensable. Ernest Newman finds himself and his work treated to an equally fine biography by Paul Watt. Well worth your attention. * THE WAGNERIAN *This excellent and detailed biography demands to be consulted in conjunction with Newman's writings. * AUSTRALIAN BOOK REVIEW *Table of ContentsErnest Newman and the Challenge of Critical Biography Formation of a Critical Sensibility: The 1880s and 1890s Social, Literary and Musical Criticism: 1893-1897 A Rationalist Manifesto: Pseudo-Philosophy at the end of the Nineteenth Century, 1897 Music History and the Comparative Method: Gluck and the Opera, 1895 From Manchester to Moscow: Essays on Music, 1900-1920 'The World of Music': Essays in The Sunday Times, 1920-1958 Biographical and Musicological Tensions: The Man Liszt, 1934 Sceptical and Transforming: Books on Wagner, 1899-1959 Conclusion: Ernest Newman Remembered Appendix: Newman's Freethought Lectures, 1894-1896

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Book SynopsisThe book offers unprecedented access to primary sources that have been unavailable in English, or which lay unknown on archival shelves. Music and Soviet Power offers cultural history told through documents - both colourfuland representative - with an extensive commentary and annotation throughout. The October Revolution of 1917 tore the fabric of Russian musical life: institutions collapsed, and leading composers emigrated or fell into silence. But in 1932, at the outset of the 'socialist realist' period, a new Stalinist music culture was emerging. Between these two dates lies a turbulent period of change which this book charts year by year. It sheds light on the vicious power struggles and ideological wars, the birth of new aesthetic credos, and the gradual increase of Party and state control over music, in the opera houses, the concert halls, the workers' clubs, and on the streets. The book not only provides a detailed and nuanced depiction of the early Soviet musical landscape, but brings it to life by giving voice to the leading actors and commentators of the day. The vibrant public discourse on music is presented through a selection of press articles, reviews and manifestos, all suppliedwith ample commentary. These myriad sources offer a new context for our understanding of Shostakovich, Prokofiev and Myaskovsky, while also showing how Western music was received in the USSR. This, however, is only half the story.The other half emerges from the private dimension of this cultural upheaval, traced through the letters, diaries and memoirs left by composers and other major players in the music world. These materials address the beliefs, motivations and actions of the Russian musical intelligentsia during the painful period of their adjustment to the changing demands of the new state. While following the twists and turns of official policies on music, the authors also offer their own explanations for the outcomes. The book offers unprecedented access to primary sources that have been unavailable in English, or which lay unknown on archival shelves. Music and Soviet Power offers cultural history told through documents - both colourful and representative - with an extensive commentary and annotation throughout. MARINA FROLOVA-WALKER is Professor in Music History at the University of Cambridge anda Fellow of Clare College, Cambridge. JONATHAN WALKER, who has a PhD in Musicology, is a freelance writer, teacher and pianist.Trade Review[A] valuable source for both students and specialists of Soviet history and music. * INT'L JOURNAL OF RUSSIAN STUDIES *Frolova-Walker and Walker have done an admirable job of selecting documents that shed new light on the time period. This is an invaluable source for students of Soviet history and music, and even specialists will find much new material in the range of articles presented here. * REVOLUTIONARY RUSSIA *Highly recommended to those with a specialist or general interest in music [...] or, more broadly, in cultural politics or just politics. * JCES *[A] fascinating and invaluable book [...] It navigates an absorbing way through this difficult and complex period, and presents fresh material that should be made available beyond the confines of academic libraries and their scholars. * MUSICAL TIMES *Few will penetrate the archives as comprehensively as the authors, and the riches they have brought back will help to change and deepen our understanding of early Soviet music. * SCRSS NEWSLETTER *Frolova [sic] and Walker describe these years of relative but tightly circumscribed freedom through the great number of documents they have translated, with excellent introductions and annotations. Some of the authors of these texts are already known, but their work appears here for the first time in a Western language and shows how fiercely the battle was waged on both sides * NRC HANDELSBLAD *[T]o immerse oneself in this collection of manifestos and other cultural polemics is revealing. [...] The apparatus [...] supplies invaluable guideposts. [...] Highly recommended. * CHOICE *Enrich[es] the developing sense of how Soviet artists worked with and against the official dictates of their time, and how they responded to the incidental squabbles and long-term preoccupations with which they had to contend. * TLS *[A] subtly nuanced and painstakingly annotated account of this period unearthing a wealth of documentary information [...] The resulting narrative is extraordinarily vivid, bringing to light much significant material that alters long-established historical preconceptions. * BBC MUSIC MAGAZINE *This is an important book and one that makes compelling reading. With their careful selection and commentary, the authors have brought a level gaze to bear upon dark and difficult times in which optimism and torment seemed to alternate unpredictably. * GRAMOPHONE *

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Book SynopsisThe first full-length treatment of the operatic querelles in eighteenth-century France, placing individual querelles in historical context and tracing common themes of authority, national prestige and the power of music over popular sentiment. In the eighteenth and early nineteenth centuries, French cultural life seethed with debates about the proper nature and form of musical expression, particularly in opera. Expressed in a flood of pamphlets, articles, letters and poems as well as in the actual disruption of performances, these so-called querelles were seen at the time as a distinctively French phenomenon and have been mined by scholars since for what they can tell us about French politics and culture in the revolutionary period. This is the first full-length treatment of the entire history of this phenomenon, from its beginnings in the last years of Louis XIV to the 1820s when the new musical challenges of Berlioz and Wagner put an end to this particular form of debate. Arnold analyses the individual querelles, showing how they reflected and played their part in wider political and cultural events. At the same time, hetraces themes common in varying degrees to them all - questions of authority, the issue of national prestige, and the relation of language to music. Where some scholars have characterised these disputes as simply politics by proxy, Arnold paints a more nuanced picture, showing that music itself was taken seriously beyond artistic circles because it was seen as having great, potentially limitless, power over popular sentiment and thus implicitly power to reform society and change the world. R.J. Arnold is an honorary research fellow at Birkbeck, University of LondonTrade ReviewArnold demonstrates an extraordinary command of interdisciplinary bibliography - both primary sources and secondary literature - that is helpful to those of us seeking to situate music in the context of political or cultural history. -- Beverly Wilcox * SOCIETY FOR EIGHTEENTH-CENTURY MUSIC NEWSLETTER *Contains more than enough to provoke a new generation of readers into exploring the social dissonances of France. * FONTES ARTIS MUSICAE *[An] admirable and probing study. * THE MUSICAL TIMES *Table of ContentsIntroduction Parallels, Comparisons and Ripostes: The Raguenet-Lecerf Controversy, 1702-32 Spectators, Satirists and Sectarians: The Ramiste-Lulliste Querelle, 1733-51 'A Vast Negotiation': The Querelle des Bouffons, 1752-54 The Spirit of Contradiction: The Gluckiste-Piccinniste Querelle, 1774-88 A Revolutionary Interlude, 1789-1800 The End of the Party: New Avenues for Musical Dispute, 1800-30 Conclusion Bibliography

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Book SynopsisDescribed in the Radio Times (27 July 2015) as 'A remarkable, unique institution lying at the heart of British life', the Three Choirs Festival celebrated its three-hundred-year anniversary in 2015. Described in the Radio Times (27 July 2015) as 'A remarkable, unique institution lying at the heart of British life', the Three Choirs Festival celebrated its three-hundred-year anniversary in 2015. Rotating each summer between the English cathedral cities of Hereford, Gloucester and Worcester, the Festival is a week-long programme of choral and orchestral concerts, cathedral services, solo and chamber music recitals, master classes, talks, theatre and exhibitions. At the heart of the modern festival are the daily services of Choral Evensong, representing the tradition of Anglican music and liturgy, and the large-scale evening concerts featuring established favourites of the British classical choral tradition with works drawn from a broader, more international musical canvas. Many special commissions and other works, including compositions by British composers such as Jonathan Harvey, James Macmillan, Judith Bingham and John McCabe, and composers from abroad, such as Gerard Schurmann, Jackson Hill and Torsten Rasch, have received their first performances at Three Choirs. Originally published in 1992, this revised edition bringsthe history of the oldest surviving non-competitive music festival in Britain thoroughly up to date. It traces the development of the Festival from its origins in the early eighteenth century to its tercentenary in 2015, along the way touching on many musical milestones - premieres by Parry, Elgar, Vaughan Williams, Saint-Saëns, Holst, and Howells, among others - and luminaries - Sullivan, Stanford, Dvorák, Delius, Bax, and Britten, to name but a few - associated with it. British music enthusiasts especially will find this new edition invaluable. ANTHONY BODEN is a writer with particular interests in music and literature. In 1989 he was appointed as Administrator of theGloucester Three Choirs Festival, a post he held until his retirement in 1999. In 1995 he became the founding Chairman of the Ivor Gurney Society, of which he was elected President in 2015. His other books include Thomas Tomkins: The Last Elizabethan (2004) and The Parrys of the Golden Vale (1998). PAUL HEDLEY is a partner in Exart Performances, an Associate Fellow at the Saïd Business School, University of Oxford, has a PhD in theoretical linguistics, and spent five years as Chief Executive of the Three Choirs Festival.Trade ReviewToday the festival remains one of very few with the major choral repertoire at its heart, and amongst its distinguishing features has been its consistent fostering of contemporary British music, with a natural emphasis on composers with local links, headed by the remarkable cluster of Parry, Elgar, Holst, Vaughan Williams and Howells. * BRIO *One of the many joys of the book is the large number of contemporary reviews covering every aspect of the Festivals...a treasure trove of detail...it must now be the 'really definitive' history of one of the 'Essentially English Institutions'. * THE ORGAN *Beautifully written and lavishly illustrated, this history is laden with compelling insights, many of them as amusing as they are revealing. We are treated to beguiling pen portraits of diverse characters whose creative work is part of our national consciousness...this human aspect above all makes the book hard to put down. * SPIRITED, THE GAZETTE OF THE ENGLISH MUSIC FESTIVAL *What better way to celebrate such a resilient and quintessentially English musical institution than by acquiring this comprehensive historical account of the Three Choirs Festival...this handsome book will appeal particularly to British music enthusiasts. * GRAMOPHONE *This book, makes for fascinating reading and is an invaluable book, for not only musicians, music lovers, festival attendees, but anyone really interested in the musical arts of Britain. -- Peter Byrom-Smith * THE BRITISH MUSIC SOCIETY *[A] scrupulously detailed history of The Three Choirs Festival...Priceless! * BBC MUSIC MAGAZINE *Brings us truly up to date with the ups and downs of an institution already more than three centuries old -- and fortunately there are more ups. * BIRMINGHAM POST *Highly readable...The product of evidently thorough research. An absorbing and invaluable record of one of Europe's most distinguished music festivals. * MUSICWEB *Table of ContentsOrigins A Fortuitous and Friendly Proposal A Numerous Appearance of Gentry 'The Musick of my Admiration Handel' The Gentlemen and the Players Avoiding Shipwreck Prima Voce Favourites and Flops Sacred and Profane Froissart The Unreasonable Man The Dream Beyond These Voices An Essentially English Institution The Elgar Festivals Dona Nobis Pacem Recovery Association A New Epoch Jubilee Theme with Variations Houses of the Mind A Gold-Plated Orchestra A New Millenium Reorganisation An Invitation to the Palace Appendix: Three Choirs Festival Timeline

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Book SynopsisThe first regional history of music in England. Music in the West Country is the first regional history of music in England. Ranging over seven hundred years, from the minstrels, waits, and cathedral choristers of the fourteenth century to the Bristol Sound of the late twentieth, the book explores the region's soundscape, from its gateway cities of Bristol and Salisbury in the east to the Isles of Scilly in the west, and examines music-making in tiny villages as well as conditions in important centres such as Bath, Exeter, Plymouth, and Bournemouth. What emerges is both a study of the typical - musical practices which would apply to any English region - and a portrait of the unique - features born of the region's physicalisolation and charm, among them the growth of festival culture, the mythologising of folk music, the late survival of parish psalmody and nonconformist carolling, and the unique continuance, today, of a professional resort orchestra, the Bournemouth Symphony Orchestra. Banfield's vividly written and extremely readable history of music in the west country considers an array of subjects, firmly centred on people's stories: musical inventions and theidea of tradition, music as cultural capital, the economics of musical employment and the demographics of musicianship, musical networks, the relationship of the hinterlands to the metropolis, the influence of topography, the importance of institutions and events, and the question of how to measure value. A study in prosopography, it shows how people went about their lives with music and explores how things changed for them - or did not. STEPHENBANFIELD is Emeritus Professor of Music at the University of Bristol.Trade ReviewIt shows how Devon situates itself within the greater regional soundscape...'non-music' historians ought not to leave this book on the shelf for it contains absolute gems where individuals, families, towns, villages and institutions are concerned. * THE DEVON HISTORIAN *[An] impressive book...offering valuable insights into the social and cultural 'musicking' of the West Country. * JOURNAL OF THE ROYAL ANTHROPOLOGICAL INSTITUTE *Banfield's monograph is finely written and teeming with information. . . . Within each chapter, Banfield's mastery of the subject matter comes to the fore. . . . [It is] an expansive, thought-provoking, deeply researched consideration of the varieties of musicking in the West Country from the fourteenth century to the present day. . . . [T]his book [is] perfectly suited for scholars of English music and culture. . . . One hopes it will become a framework that future scholars will build upon. -- Timothy M. Love * NINETEENTH-CENTURY MUSIC REVIEW *A major contribution to the study of music in Devon and the rest of the West Country...will long stand as an essential reference for anybody embarking on further work...Highly readable. * REPORT AND TRANSACTIONS OF THE DEVONSHIRE ASSOCIATION *Scrupulously researched and beautifully written. * JOURNAL OF HISTORICAL GEOGRAPHY *Stephen Banfield has written a wonderful book. Drawing connections between place and music, he finds new ways of interpreting both as he guides the reader over nearly 8,000 square miles and more than 600 years of West Country 'musicking'. * MUSIC & LETTERS *A useful resource...[offers a] vast prosopography of west country people who made their living from music.from networks of patronage, family and marriage, to musical servants, townwaits, tutors and apprentices, and from instrument makers and repairers to music dealers, any of these groupings offer avenues for fruitful further research. * SOCIAL HISTORY *A huge, impressive study. * POPULAR MUSIC *There is certainly plenty in relation to folk song...Banfield highlights the importance of the West Country. * FOLK MUSIC JOURNAL *There is much to be enjoyed in this book...it is well-written with a great deal of social history woven into the musical story, making it an excellent read for both the historian as well as the musician. * OLD CORNWALL, THE JOURNAL OF THE FEDERATION OF OLD CORNWALL SOCIETIES *A very readable account tracing the way in which amateur and professional performers, players and composers of music went about their business in the past...You are going to meet an awful lot of fascinating, weird and wonderful people along the way. * BRISTOL POST *With an acute instinct for social history, Banfield uncovers many curiosities...[in] this cornucopia of fascinating information. * MUSICAL OPINION QUARTERLY *Table of ContentsPreface and acknowledgements Landscapes and soundscapes Musical authority: organs Musical incorporation: bands and choirs Musical livings I: the prosopography Musical livings II: individual case studies Musical capitalisation I: events and inventions Musical capitalisation II: institutions Epilogue

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Book SynopsisA relentless innovator, scoring chart hits while simultaneously incorporating radical and ground-breaking elements into his work.As with all great pop stars, Bowie's image changed with almost every new album release. This appetite for reinvention, both musically and visually, saw him dubbed the 'chameleon of pop'. But Bowie's influence extended well beyond his discography and make-up drawer. His androgynous qualities and public statements on his sexuality proved liberating for those who were uncertain about their own. Lives of the Musicians: David Bowie covers the years he spent struggling to find the right artistic outlet to the dramatic breakthrough in 1972 with Ziggy Stardust - and afterwards, the excessive lifestyle that nearly cost him his sanity. It continues with his artistic rebirth in Berlin during the late Seventies, the mainstream success he achieved with Let's Dance in 1983 and the artistic price that he paid for it.

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Book SynopsisThis collection of essays addresses a very broad range of E. T. A. Hoffmann’s most significant works, examining them through the lens of “transgression.” Transgression bears relevance to Hoffmann’s life and professions in three ways. First, his official career path was that of jurisprudence; he was active as a lawyer, a judge and eventually as one of the most important magistrates in Berlin. Second, his personal life was marked by numerous conflicts with political and social authorities. Seemingly no matter where he went, he experienced much chaos, grief and impoverishment in leading his always precarious existence. Third, his works explore characters and concepts beyond the boundaries of what was considered aesthetically acceptable. “Normal” bourgeois existence was often juxtaposed to the lives of criminals, sinners, and other deviants, both within the spaces of the known world as well as in supernatural realms. He, perhaps more than any other author of the German Romantic movement, regularly portrayed the dark side of existence in his works, including unconscious psychological phenomena, nightmares, somnambulism, vampirism, mesmerism, Doppelgänger, and other forms of transgressive behavior. It is the intention of this volume to provide a new look at Hoffmann’s very diverse body of work from numerous perspectives, stimulating interest in Hoffmann in English language audiences.Trade ReviewReviews'This new resource is both enjoyable and thoroughly thought-provoking—and so is well worth consultation by faculty and students.'Seán Williams, European Romantic Review'Transgressive Romanticism engages its central spatial metaphor to make Hoffmann’s complex potential as a protorealist clear: expertly attuned to the forms of life and literature with which he was familiar, while always ready to subvert and think beyond them.'Polly Dickson, German Studies ReviewTable of ContentsAcknowledgements Introduction --- Christopher R. Clason, Oakland UniversityI. Transgression and Institutions1. “A poor, imprisoned animal.” Persons, Property, and the Unnatural Nature of the Law in E.T.A. Hoffmann’s “Das Majorat.” --- Alexander Schlutz, John Jay College and CUNY Graduate Center2. Vergiftete Gaben: Violating the Laws of Hospitality in E. T. A. Hoffmann’s “Das Fräulein von Scuderi” --- Peter Erickson, Colorado State University 3. Transgressive Science in E.T.A. Hoffmann’s Fantastic Tales --- Paola Mayer, University of GuelphII. Transgression and the Arts4. E. T. A. Hoffmann and the Bamberg Theater --- Frederick Burwick, University of California, Los Angeles5. Transitions and Slippages of Mimesis in E.T.A. Hoffmann’s “Der goldene Topf,” “Die Fermate,” and “Das öde Haus.” --- Beate Allert, Purdue University6. Transgressions: On the (De-)Figuration of the Vampire in E. T. A. Hoffmann’s “Vampyrism" --- Nicole Sütterlin, Harvard UniversityIII. Transgression in the Märchen 7. Transgressive Play and Uncanny Toys in E.T.A. Hoffmann’s “Das fremde Kind” --- Christina Weiler, Purdue University8. Attending to the Everyday: Idiosyncrasy in E.T.A. Hoffmann’s “The Golden Pot” --- Ruth Kellar, University of Wisconsin, Madison9. Prinzessin Brambilla: The Aesthetic between Public and Private --- Howard Pollack-Millgate, DePauw UniversityIV. Transgression of Reception in Kater Murr10. Hoffmann’s “Two Worlds” and the Problem of Life-Writing --- Julian Knox, Georgia College11. “Real Humor Cannot Be Captured in a Novel”: Kierkegaard Reading E.T.A. Hoffmann’s Lebens-Ansichten des Katers Murr --- James Rasmussen, United States Air Force AcademyWorks CitedIndex

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Book Synopsis'If you stay alive long enough, people eventually catch up' Born in rural Georgia in 1947, Jayne moved to New York and became part of the 60s art scene surrounding Andy Warhol's Factory. Jayne's story follows the arc of LGBT liberation in the US - she came of age living hand-to-mouth, faced off against police at Stonewall and came out as a trans woman while she was touring Europe with her band. She went everywhere and met everyone and lived to tell the tale. Man Enough to Be a Woman is the funny, fierce memoir of Jayne's extraordinary journey, now including a new epilogue where she reflects on how the world has (almost) caught up with her.Trade ReviewRead this book! Live and learn, suckers -- Debbie HarryFull of insights ... an enjoyable alternative to stories that prioritise a desire to fit into bourgeois norms. * Guardian *Rock's first openly trans singer. Jayne County took part in the Stonewall uprising and influenced artists like David Bowie, The Ramones and Patti Smith. * Stonewall's List of 13 LGBT Heroes You Should Know About *The saga of a true rock & roll eccentric ... hilariously brash, this autobiography offers a raw and raunchy tour of the underground music scene. * Publishers Weekly *I implore you, dear readers, think of all the things you could have been, if Jayne County were your mother. * Alternative Press *A rollickin' time capsule that reads like a dishy who's who of freakdom ... Inspired, intelligent storytelling ... spellbinding. Testifies to County's unflagging and inspirational courage. * Rolling Stone *Jayne County's autobiography is intelligent and thoughtful. Only she expresses compassion for the casualties of that era. * Guardian *A masterpiece of transsexual healing, a rock-and-roll Naked Civil Servant.' -- Tony ParsonsAn utterly shameless read, packed solid with superstar cameos ... a captivating, though often disturbing read. Probably the most honest, in-your-face rock book ever written. * Manchester Evening News *It's one of the most extraordinary sagas in rock history: you read her autobiography with your mouth hanging open, not least because, throughout it all, County never really stopped wrecking. No matter where she fetches up, she somehow manages to end up shocking not just the solids, but the other people intent on shocking the solids. -- Alexis Petridis * Guardian *Her revealing memoir Man Enough To Be A Woman moves through the most exciting counter-cultural scenes in the 20th century... fulfils its promise as an enthralling, riotous memoir by a truly radical individual. * Dazed *County wants to be herself, wants you to be yourself, and wants you to be so without apologizing or self-censoring. Man Enough to Be a Woman offers an alternative, less respectable, more punk blueprint for a new kind of trans and gender non-conforming liberation. -- Sam Moore * Frieze *Intimate storytelling from trailblazing trans singer ... inspiring, absorbing * Mojo magazine *

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Book SynopsisIdiosyncratic.Iconoclastic.Acerbic.Hilarious.The influence of Tom Hibbert's music writing across print, radio, TV and podcasts is incomparable. From his genre-defining work at Smash Hits to his 'Who the Hell ... ?' profiles for Q magazine and beyond, this book brings together many of Hibbert's funniest writings.Compiled by Barney Hoskyns and Jasper Murison-Bowie at Rock's Backpages, the archive of music journalism, Phew, Eh Readers? showcases some of Hibbert's greatest pieces. Presented thematically and chronologically, they highlight his marvellously eccentric perspective on life and popular culture.Many leading writers and journalists attest to Hibbert's genius. This compendium supplements his writing with new reflections on Tom from some of his peers, colleagues and admirers, including Mark Ellen, Bob Stanley, Tom Doyle, Chris Heath, Sylvia Patterson, along with his widow Allyce.Phew, Eh Readers? is a must-read homage to one of the most influential writers of our time, a man who left an indelible mark on our cultural landscape.Trade Review'The funniest and most revealing of all music journalists.' -- Neil Tennant

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Book SynopsisA Louder than War Book of the Year A Waterstones Book of the YearA Rough Trade Book of the YearA Resident Book of the Year 'All Ian Broudie's great gifts as a songwriter - melody, vulnerability, empathy, hope - turn out to be in his prose too. A lovely read' - DAVID BADDIEL'Full of heart and sparkling melancholy' - THE IFew musicians have lived a musical life as rich as the songwriter and producer Ian Broudie.From recording the glorious uplifting psychedelic pop of his band the Lightning Seeds to producing bands like Echo & the Bunnymen and the Fall, Ian has journeyed from the energy and potential of the 1970s punk scene to the madness of '90s indie - and out the other side.Throughout nearly fifty years of making music, he has had a front-row seat working with generations of fantastic musicians in the creation of countless groundbreaking records. In Tomorrow's Here Today, he reveals what he has learnt about creativity, how to work with musicians touched by genius and what it is like to stumble through an exploding industry without losing sight of your dreams.Along the way, Ian shares how he wrote the million-selling album Jollification and how - along with the comedians David Baddiel and Frank Skinner - he wrote and recorded the only single in chart history to reach number one in the UK on four separate occasions. 'Three Lions' has since become the undisputed unofficial anthem of English football, soundtracking heartbreaking defeats as well as the wondrous victories of the Lionesses.Following 2022's long-awaited Lightning Seeds comeback, Ian reflects on a life of cosmic adventures spent in thrall to the power of music.Trade Review'His excellent new memoir Tomorrow's Here Today reads like one of his own songs: full of heart and sparkling melancholy. It contains highly entertaining, often self-deprecating stories about a journey that began immersed in the thriving Liverpool punk scene of the late '70s that was populated with an improbable number of future pop stars.' * The i *'All Ian Broudie's great gifts as a songwriter - melody, vulnerability, empathy, hope - turn out to be in his prose too. A lovely read.' -- David Baddiel'The best start to an autobiography I've read. I've got "Pure" on a loop this morning.' -- Bonehead, Oasis'He tells an enthralling tale with the wide-eyed wonder of an innocent bystander. Tomorrow's Here Today is a pure delight.' * four stars, Classic Pop *'One of the greatest rock 'n' roll stories of the past fifty years recounted with warmth and wisdom.' * Hot Press *'Ian's story is a great one. And, as his memoir attests, he tells it really well.' -- Pete Paphides'He may appear quiet, but it would be wrong to think that he does not have strong opinions. What comes over from this book is how driven he is when it comes to music. Each chapter sounds as if Ian is talking directly to you. Revealing ... [and] sharply observational.' * Louder Than War *'A fascinating memoir ... there are points in the book where you suddenly find yourself moving in deep water. Love, loss, grief. The stuff of being human.' * The Sunday Post *'[A] hilarious and touching memoir.' * Daily Express *'Not only is Broudie a terrific gossip, his ability to capture what music has given him is heroic. Funny and revealing.' * four stars, Record Collector *

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Book SynopsisThis is the first English language biography of Ottorino Respighi, the most performed Italian composer of the twentieth century. Best known for his so-called Roman trilogy, (Fountains of Rome, Pines of Rome and Roman Festivals), this book documents the story of his rise to fame and offers a fascinating insight into the active lifestyle of an internationally renowned musician, who made an important contribution to the revival of interest in early music. It also takes a closer look at Respighi’s associations with eminent figures such as Arturo Toscanini, Serge Diaghilev, Gabriele D’Annunzio and even Albert Einstein which make his story deeply engaging and take us beyond the realms of music into a world of Russian émigrés, wealthy patrons and Nobel Prize winners, while also documenting some of the early effects of fascism on art and culture.

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Book SynopsisElvis, Eddie, Chuck, Gene, Buddy and Little Richard were the original rockers. Dylan, The Beatles, The Stones and The Who formed rock’s second coming. As the 1960s turned into the 1970s, the crucial question was who would lead rock ’n’ roll’s third generation? Pin-Ups 1972 tracks the London music scene during this pivotal year, all Soho sleaze, neon, grease and leather. It begins with the dissolution of the underground and the chart success of Marc Bolan. T. Rextasy formed the backdrop to Lou Reed and Iggy Pop’s British exile and their collaborations with David Bowie. This was the year Bowie became a star and redefined the teenage wasteland. In his wake followed Roxy Music and the New York Dolls, future tense rock ’n’ roll revivalists. Bowie, Bolan, Iggy, Lou, Roxy and the Dolls – pin-ups for a new generation.

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Book SynopsisThis first academic collection dedicated to popular music in Leeds - developed from the work of interdisciplinary scholars, drawn from a major public museum exhibition “Sounds of Our City” and built upon contemporary research. Leeds has rich musical histories and heritage, a long tradition of vibrant music venues, nightclubs, dance halls, pubs and other sites of musical entertainment. The city has spawned crooners, folk singers, punks, post- punks, Goths, DJs, popstars, rappers and indie rockers, yet – with a few exceptions - Leeds has not been studied for its scenes in ways that other UK cities have. In ways that the chapters explore, Leeds’ popular music exemplifies and informs understandings of broader cultural and urban changes – both in Britain and across wider global contexts – of the social and historical significance of music as mass media; music and migration; music, racialisation and social equity; industrial decline, de-industrialisation, neoliberalism and the rise of the 24-hour city. Charting moments of stark musical politicisation and de-politicisation, while concomitantly tracing arguments about “heritagising” popular music within discussions about music’s “place” in museums and in the urban economy, this book contributes to debates about why music matters, has mattered, and continues to matter in Leeds, and beyond. Table of ContentsList of Figures ix Acknowledgements xi Foreword xiii Jez Willis Introducing Leeds 1 Brett Lashua, Karl Spracklen, Kitty Ross and Paul Thompson PART 1. PLACES OF LEEDS’ POPULAR MUSIC 13 1. Dance and Drink the Fenton: Fighting for Territory in Leeds’ Culture Wars 15 Rio Goldhammer 2. When Mr Fox Met Kit Calvert, the Maker of Wensleydale Cheese: Constructing Yorkshireness in the Sixties Leeds Folk Scene 31 Karl Spracklen 3. Park Life: When Roundhay Went Pop 43 Peter Mills 4. ‘Everything Is Brilliant in Leeds’: Venues in the Leeds Indie Scene 1992–2012 57 Dan Lomax 5. Noise, Power Electronics and the No-Audience Underground: Place, Performance and Discourse in Leeds’ Experimental Music Scene 70 Theo Gowans, Phil Legard and Dave Procter PART 2. PEOPLE: LEEDS’ MUSICAL COMMUNITIES AND CULTURAL IDENTITIES 85 6. La-Di-Dah: Some Thoughts on Jake Thackray and British Popular Culture 87 Stephen Wagg 7. Home Is Where the Music Is: Migrants and Belonging in Leeds 102 Jonathan Long 8. A Tale of Two Artists: Thinking Intersectionally About Women and Music in Leeds 117 Beccy Watson 9. Leeds Punk through a Feminist Lens 130 Mallory McGovern 10. Americana and Leeds: Narrating the American South with Northern Grit 144 Dave Robinson PART 3. HISTORIES OF POPULAR MUSIC IN LEEDS 159 11. Leeds City Varieties in the 1950s and 1960s: Decline, Nudity and Nostalgia in the British Variety Industry 161 Dave Russell 12. The Evolution of DIY Venues as Dancing Spaces in Leeds from the 1940s to 2020s 176 Stuart Moss 13. Music of the Leeds West Indian Carnival 191 Danny Friar 14. Jazz in Leeds, 1940s–50s 205 Michael Meadowcroft PART 4. POPULAR MUSIC HERITAGE, LEGACIES AND FUTURES 215 15. Sounds of Our City Exhibition: Music and Materiality in Leeds’ Abbey House Museum 217 Kitty Ross and Paul Thompson 16. Where You’re From and Where They’re At: Connecting Voices, Generations and Place to Create a Leeds Hip Hop Archive 235 Sarah Little and Alex Stevenson 17. A Splendid Time is Guaranteed for All: A Psychogeography of Leeds’ Popular Music Heritage 250 Brett Lashua and Paul Thompson 18. Music: Leeds – Supporting a Regionalized Music Sector and Scene 264 Paul Thompson and Sam Nicholls Conclusion: Putting Popular Music in Leeds ‘On the Map’ 279 Brett Lashua, Paul Thompson, Kitty Ross and Karl Spracklen Notes on Contributors 287 Index 299

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Book SynopsisAn Open Access edition of this book will be available on the Liverpool University Press website and the OAPEN library.At the turn of the 21st century, the Brazilian punk and hardcore music scene joined forces with political militants to foster a new social movement that demanded the universal right to free public transportation. These groups collaborated in numerous venues and media: music shows, protests, festivals, conferences, radio stations, posters, albums, slogans, and digital and printed publications. Throughout this time, the single demand for free public transportation reconceptualized notions of urban space in Brazil and led masses of people across the country to protest. This book shows how the anti-capitalist, anti-bourgeoisie stance present in the discourse of a number of Brazilian bands that performed from the late 1990s to the beginning of the 21st century in the underground music scenes of Florianópolis and São Paulo encountered a reverberation in the rhetoric emanating from the Campaign for the Free Fare, subsequently known as the Free Fare Movement (Movimento Passe Livre, or MPL). This allowed the engaged bands and the movement for free public transportation to contribute to each other’s development. The book also includes reflections on the Bus Revolt that occurred in the northeastern city of Salvador, unveiling traces of the punk and anarcho-punk movements, and the Revolution Carnivals that occurred in the city of Belo Horizonte, an event that mixed lectures, vegetarianism, protests, soccer, and punk rock music.Trade Review‘Distortion and Subversion is a creative experiment. The author captivates the reader’s interest while providing an accurate and engaging analysis of recent events in Brazil’s urban history. Lopes de Barros’s powerful narrative is comparable to the potency of the punk music he analyses… I believe that Rodrigo Lopes de Barros's book, which aroused so many nostalgic feelings in me, can provoke in readers the desire for better public transport in Brazil and beyond, and hope for a world without turnstiles.’ Caio Fernandes Barbosa, NACLATable of ContentsAcknowledgmentsIntroduction1. The Revolution Will Be Posted Online2. Manifesto for an Independent Revolutionary Youth: From Salvador to Florianópolis3. Island of Wars: Florianópolis Once Again4. The Happiness of Punks: Carnival and Soccer in Belo Horizonte and Beyond5. Punks’ Jungle: São PauloEpilogList of the Interviewed and the ConsultedWorks and Documents Cited

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Book SynopsisThis collection of essays addresses a very broad range of E. T. A. Hoffmann’s most significant works, examining them through the lens of “transgression.” Transgression bears relevance to Hoffmann’s life and professions in three ways. First, his official career path was that of jurisprudence; he was active as a lawyer, a judge and eventually as one of the most important magistrates in Berlin. Second, his personal life was marked by numerous conflicts with political and social authorities. Seemingly no matter where he went, he experienced much chaos, grief and impoverishment in leading his always precarious existence. Third, his works explore characters and concepts beyond the boundaries of what was considered aesthetically acceptable. “Normal” bourgeois existence was often juxtaposed to the lives of criminals, sinners, and other deviants, both within the spaces of the known world as well as in supernatural realms. He, perhaps more than any other author of the German Romantic movement, regularly portrayed the dark side of existence in his works, including unconscious psychological phenomena, nightmares, somnambulism, vampirism, mesmerism, Doppelgänger, and other forms of transgressive behavior. It is the intention of this volume to provide a new look at Hoffmann’s very diverse body of work from numerous perspectives, stimulating interest in Hoffmann in English language audiences.Trade ReviewReviews'This new resource is both enjoyable and thoroughly thought-provoking—and so is well worth consultation by faculty and students.'Seán Williams, European Romantic Review'Transgressive Romanticism engages its central spatial metaphor to make Hoffmann’s complex potential as a protorealist clear: expertly attuned to the forms of life and literature with which he was familiar, while always ready to subvert and think beyond them.'Polly Dickson, German Studies ReviewTable of ContentsAcknowledgements Introduction --- Christopher R. Clason, Oakland UniversityI. Transgression and Institutions1. “A poor, imprisoned animal.” Persons, Property, and the Unnatural Nature of the Law in E.T.A. Hoffmann’s “Das Majorat.” --- Alexander Schlutz, John Jay College and CUNY Graduate Center2. Vergiftete Gaben: Violating the Laws of Hospitality in E. T. A. Hoffmann’s “Das Fräulein von Scuderi” --- Peter Erickson, Colorado State University 3. Transgressive Science in E.T.A. Hoffmann’s Fantastic Tales --- Paola Mayer, University of GuelphII. Transgression and the Arts4. E. T. A. Hoffmann and the Bamberg Theater --- Frederick Burwick, University of California, Los Angeles5. Transitions and Slippages of Mimesis in E.T.A. Hoffmann’s “Der goldene Topf,” “Die Fermate,” and “Das öde Haus.” --- Beate Allert, Purdue University6. Transgressions: On the (De-)Figuration of the Vampire in E. T. A. Hoffmann’s “Vampyrism" --- Nicole Sütterlin, Harvard UniversityIII. Transgression in the Märchen 7. Transgressive Play and Uncanny Toys in E.T.A. Hoffmann’s “Das fremde Kind” --- Christina Weiler, Purdue University8. Attending to the Everyday: Idiosyncrasy in E.T.A. Hoffmann’s “The Golden Pot” --- Ruth Kellar, University of Wisconsin, Madison9. Prinzessin Brambilla: The Aesthetic between Public and Private --- Howard Pollack-Millgate, DePauw UniversityIV. Transgression of Reception in Kater Murr10. Hoffmann’s “Two Worlds” and the Problem of Life-Writing --- Julian Knox, Georgia College11. “Real Humor Cannot Be Captured in a Novel”: Kierkegaard Reading E.T.A. Hoffmann’s Lebens-Ansichten des Katers Murr --- James Rasmussen, United States Air Force AcademyWorks CitedIndex

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Book Synopsis***'Eddie was there very early doors. His story is of the many.' Paul Weller'A total riot! Takes me right back to the 70s. A Superb book' Mani, The Stone Roses'What a wonderful book. Mod isn't about what decade you lived in, it's about your attitude, and this book has tons of it' Kenney Jones, The Small Faces'A charismatic storyteller, witty and unpretentious, he is at once an engaging protagonist and an indisputable authority, giving a live-wire, visceral perspective on mod life in that short flash of time. He manages to create a welcoming space in this rather exclusive world while never losing his formidable edge as a narrator' - The Big Issue'Buy it on sight. You won't be disappointed' - Louder Than War'Eddie's book is really good!' - Robert Elms'Akin to being in the company of someone with plenty of entertaining tales to tell.... the comradery and spirit of like-minded souls is inspiring.' - Paul Ritchie, Shindig! MagazineWITH A FOREWORD BY PAUL WELLERThis is the memoir of a teenage mod from the East End of London.A journey of discovery for a schoolboy dabbling with punk, funk, record shops, discos and clothes, and then... WHAAAM! An unstoppable wave of like-minded kids fall headlong in love with 60s mod culture, revived and reformatted for the 70s and 80s generation.Eddie Piller was one such kid. His life was changed forever. Written with humour, passion and attention to detail, CLEAN LIVING UNDER DIFFICULT CIRCUMSTANCES is perhaps the ultimate mod memoir, taking us from meeting the Small Faces as a toddler, to the 1979 Mod revival, through the more purist 1980s mod scene and eventually to Acid Jazz.A born storyteller, Eddie takes us evocatively into a world of scooters, clothes, and music. We run with the crowd to decaying seaside towns, East End backstreet boozers and sweaty teenage gigs, all fizzing with an uncontainable excitement and often exploding into violence.Once mod touched your soul it changed the way you looked at life, unexpectedly broadening your horizons. In Eddie it awakens a can-do attitude that sees him setting up a fanzine, putting on club nights, hustling jobs in the music industry, and eventually setting up a record label. It even takes him to Ireland at the height of the troubles and to Australia where the local mods take him on a military exercise...Visceral and always entertaining, CLEAN LIVING UNDER DIFFICULT CIRCUMSTANCES is a stand-out memoir that relives the thrill of the 70s and 80s, and the movement that helped make mod the most enduring and successful British youth culture of all time.Trade ReviewIf I'd have lived through the mod movement in London in the 60s my heroes would've been Guy Stevens and Pete Meaden - but as a teenage mod in the early 1980's Eddie Piller was that guy. This book is a glorious testament to that. -- David HolmesEddie Piller's life in music (and elsewhere) is quite a tale. He always strikes me as one of the lucky few who win the lottery by making up their own job description. Deejay, broadcaster, self-taught producer, he's covered many angles in his time. This book is as fun and engaging as the man himself. -- Martin FreemanA charismatic storyteller, witty and unpretentious, he is at once an engaging protagonist and an indisputable authority, giving a live-wire, visceral perspective on mod life in that short flash of time. He manages to create a welcoming space in this rather exclusive world while never losing his formidable edge as a narrator. * The Big Issue *[CLEAN LIVING UNDER DIFFICULT CIRCUMSTANCES] never loses its percussive humour or whip-hand sense of style... Piller is one of those inspirational figures (a lot like Creations Alan McGee ) who has always acted like a conduit between creative talent, lighting the blue touch paper for those with musical chops and similar vision. If this book is his legacy, then it's a fantastic one, for his is most certainly a life less ordinary. Buy it on sight. You won't be disappointed. * Louder than war *Eddie's book is really good! * Robert Elms *Akin to being in the company of someone with plenty of entertaining tales to tell .... the comradery and spirit of like-minded souls is inspiring. -- Paul Ritchie * Shindig! Magazine *

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Book SynopsisTo mark the first issue of this exciting new journal, Liverpool University Press are publishing a commemorative paperback edition of The Journal of Beatles Studies which will be available alongside the Open Access Journal edition.The Journal of Beatles Studies is the first journal to establish The Beatles as an object of academic research, and will publish original, rigorously researched essays, notes, as well as book and media reviews.The journal aims are; to provide a voice to new and emerging research locating the Beatles in new contexts, groups and communities from within and beyond academic institutions; to inaugurate, innovate, interrogate and challenge narrative, cultural historical and musicological tropes about the Beatles as both subject and object of study; to publish original and critical research from Beatles scholars around the globe and across disciplines.The Journal of Beatles Studies establishes a scholarly focal point for critique, dialogue and exchange on the nature, scope and value of The Beatles as an object of academic enquiry and seeks to examine and assess the continued economic value and cultural values generated by and around The Beatles, for policy makers, creative industries and consumers. The journal also seeks to approach The Beatles as a prism for accessing insight into wider historical, social and cultural issues.

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Book SynopsisSince the turn of the 21st century, there have been several genres birthed from or nurtured in Black Britain: funky & tribal House, Afrobeats, Grime, Afro Swing, UK Drill, Road Rap, Trap etc. This pioneering book brings together diverse diasporan sounds in conversation. A valuable resource for those interested in the study of 21st century Black music and related cultures in Britain, this book goes incorporates the significant Black Atlantean, global interactions within Black music across time and space. It examines and proposes theoretical approaches, contributing to building a holistic appreciation of 21st century Black British music and its multidimensional nature. This book proffers an academically curated, rigorous, holistic view of Black British music in the 21st century. Drawing from pioneering academics in the emerging field and industry professionals, the book will serve academic theory, as well as the views, debates and experiences of industry professionals in a complementary style that shows the synergies between diasporas and interdisciplinary conversations. The book is interdisciplinary. It draws from sociology, musicology and the emerging digital humanities fields, to make its arguments and develop a multi-disciplinary perspective about Black British music in the 21st century.

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Book SynopsisA pioneering work which delves into and reveals the links between music, moral instruction and social reform. This book discusses the role of music in programmes of personal improvement and social reform in nineteenth-century Britain. The pursuit of morality through music was designed not just to improve personal and communal character but to affect social change and transformation. The book examines the musical education of children, women and men through a variety of literature published for various educational settings including mechanics' institutes. It also considers the role of music in narratives of social programs and community-building projects that sought to promote utility, well-being and freedom from the strictures of Christianity as the dominant moral and cultural force. The first book to connect the threads between music, moral instruction and social reform across the educational life cycle in nineteenth-century Britain, it shows how these threads are found in unlikely places, such as games, manners books, economics treatises and short stories. It deftly illustrates the links between everyday life, popular culture and discourses of morality and social reform of the period.Table of ContentsList of Illustrations Acknowledgements Introduction Part 1 Morality 1. Elementary Instruction 2. Manners and Etiquette 3. Mechanics' Institutes Part 2 Social Reform 4. Political Economy - William Stanley Jevons 5. Philanthropy - Hannah More and Octavia Hill 6. Utopia - Auguste Comte and Malcolm Quin Afterword Bibliography Index

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Book SynopsisBrings to life the day-to-day details of staging the premiere of one of the most iconic works of Western classical music. The Ninth Symphony of Ludwig van Beethoven with its final choral movement is one of the iconic works of Western classical music. And yet, the story never fully told concerns the months leading to the symphony's world premiere in Vienna on 7 May and repeat performance on 23 May 1824. In his new book, Theodore Albrecht brings to life the day-to-day details that it took to stage that premiere. It's a story of negotiating for performance halls and performers' payments, of hand-copying legible scores and individual parts for over 120 performers, of finding financiers, as well as space and time for rehearsals. Importantly, it is also a story of the relationship between Beethoven and the musicians who performed this symphonic masterpiece. In fact, as the maddening rehearsal schedule towards the symphony's premiere shows, it transpires that many passages of the Ninth have been tailored to specific orchestral players. Many modern-day musicians will recognize familiar situations in rehearsals, many scholars and students will relish unprecedented new detail. All this comes to the fore by reconstructing the story drawing on the (almost) deaf composer's Conversation Books which Beethoven had been using since 1818. In the performance story of the Ninth Symphony's premiere, Albrecht makes full use of these invaluable documents, which are now being translated for the first time into English in a series of 12 volumes published by the Boydell Press. THEODORE ALBRECHT, Professor Emeritus of Music at Kent State University, Ohio, is an award-winning Beethoven scholar. He has authored many important articles on the composer and is the editor of Letters to Beethoven and Other Correspondence (1996) as well as translator and editor of Beethoven's Conversation Books (Boydell Press).Table of ContentsPreface Acknowledgements Chapter 1: Composition of the Ninth Symphony Chapter 2: Petition, Preparations, Copying Chapter 3: Finding a Location Chapter 4: Final Preparations / First Rehearsals Chapter 5: Rehearsals and Confusion Chapter 6: Premiere and Celebratory Dinner Chapter 7: One More Time Chapter 8: Second Premiere and Financial Reality Appendix A: Anton Schindler's Acquaintance with Beethoven (March, 1814 - May, 1824) Appendix B: The Ludlamshöhle Petition, late February, 1824 Appendix C: Vienna's Principal Theaters and Halls in Beethoven's Time Appendix D: Orchestral Personnel, Kärntnertor Theater, 1822/1824 Appendix E: Choral Personnel, Kärntnertor Theater, 1822/1824 Appendix F: Gesellschaft der Musikfreunde's Volunteer Sign-Up Sheet, 1824 Appendix G: Schindler's Account of Beethoven's Post-Akademie Dinner in the Prater Bibliography Index of Beethoven's Ninth Symphony Index of Beethoven's Other Compositions General Index

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Book SynopsisA full account of the making, during 1909-10, of Der Rosenkavalier with emphasis on its derivation from a French opérette of 1907, L'Ingenu libertin. L'Ingenu libertin was seen in Paris by Count Harry Kessler and formed the basis of the opera then to be written by Hofmannsthal and Strauss. Previous scholarship has credited the narrative and characters of Der Rosenkavalier to much older French sources known to and studied by Hofmannsthal, but this book shows clearly how every element in L'Ingenu libertin is in fact taken (and transformed) by Kessler and Hofmannsthal into the work that made fortunes for Hofmannsthal and Strauss, but left Kessler on the sidelines. Michael Reynolds casts a major new light on Strauss's most popular operatic success, highlighting in particular how it was that Hofmannsthal - who had not until then had any theatrical success as an original playwright - was advised and empowered by Kessler to produce a work that succeeded onstage from its very first performance and went rapidly on to conquer the stages of the world. Michael Reynolds is an established writer on opera, a translator and an online music critic, an interest that he sustained throughout thirty years in the world of international diplomacy. His previous book for Boydell, About Suffolk, was an anthology of writing about his adopted county.Trade ReviewReynolds's book will reward both scholars and opera-lovers who are interested in Der Rosenkavalier's co-creators or are fascinated by collaboration and the creative process. * MUSIC LIBRARY ASSOCIATION NOTES *The 'Preface' to Michael Reynolds's charming book begins with a pithy statement: 'This is a book about creation, authorship and relationships'. Thus, in a nutshell, he lays out succinctly the course his monograph takes from uncovering a largely overlooked backstory to the creation of one of the most successful operas of the twentieth century. He presents a detailed account of the nature and origins of its authorship via a considered and sensitively pitched examination of the artistic relationships that underpinned it. * MUSIC AND LETTERS *If you love Der Rosenkavalier, Reynolds' book is essential-and fascinating-reading. Exoticandirrational Blog * . *This newly released paperback edition of Michael Reynolds' 2016 beautiful hardcover book will contain much that is news to fans - and who isn't? - of Richard Strauss' opera Der Rosenkavalier. * Limelight *Table of ContentsOverture Beginners On the page... ...and onto the stage Act One:The Young Libertine Act Two: Who was Harry Kessler? Act Three in two scenes and an Epilogue: Creating Der Rosenkavalier Scene One - devising the scenario Scene Two - characterisation and authorship Epilogue Creating Der Rosenkavalier - a retrospective Bibliography

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Book SynopsisDonald Mitchell's second book on the life and work of Gustav Mahler examines the fruitful years of the First to the Fourth Symphonies, as well as the earlier song cycles from the Gesellen lieder to the magical Ruckert songs. A work of painstaking and imaginative scholarship presented in eminently readable language. MUSICAL QUARTERLY Mitchell has amassed and processed an imposing amount of material, most of it new... It includes a section on Mahler and Freud, discusses Bach's influence on Mahler, and reproduces contemporary criticism... Invaluable for Mahler scholars and lovers. ECONOMIST Donald Mitchell's second book on the life and work of Gustav Mahler focuses principally on Mahler's first settings of Wunderhorn texts, volumes I and II of the Lieder und Gesaenge; his first song-cycle, the Lieder eines fahrenden Gesellen; and the later orchestral settings of Wunderhorn poems. The central section of the book explores the extraordinary and often eccentric chronology of the First, Second and Third Symphonies' composition, an often minute exploration which reveals the interpenetration of song and symphony in this period of Mahler's art, emphasizes the significance for these works of imagery drawn from the Wunderhorn anthology, and calls attention to the ambiguous position occupied by much of Mahler's music atthis time, suspended as it was between the rival claims - and forms - of symphony and symphonic poem. The final section of the book not only looks at the Fourth Symphony as the final, perhaps most perfect, flowering of Mahler's Wunderhorn symphonies, but also investigates such fascinating topics as the relationship between Mahler and Berlioz, and the influence of Bach on Mahler's later masterpieces. This new edition of the book offers an entirelynew preface, in which Mitchell gives a unique account of the influence of politics, nationalism and fascism on the reception and rejection of Mahler's music, after the composer's death until the Mahler Renaissance of the 1950s and 1960s. It also includes extensive corrigenda and amplifying addenda, making it clear that the Wunderhorn influence persisted beyond the end of the period during which the Wunderhorn anthology was a constant sourceof inspiration. It is completed by an international bibliography which documents chronologically the reception and study of his music both in the past, and the prodigiously different circumstances of the present. DONALD MITCHELL was Founder Professor of Music at the University of Sussex. He is well known for his major studies of Mahler, among his many other books and studies. He was awarded the CBE in 2000.Trade Review'A work of painstaking and imaginative scholarship presented in eminently readable language.' MUSICAL QUARTERLY Invaluable for Mahler scholars and lovers.' ECONOMIST

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Book SynopsisChrist Church cathedral is an Anglican cathedral in a catholic country. Musical and archival sources (the most extensive for any Irish cathedral) provide a unique perspective on the history of music in Ireland. Christ Church has had a complex and varied history as the cathedral church of Dublin, one of two Anglican cathedrals in the capital of a predominantly Catholic country and the church of the British administration in Ireland before1922. An Irish cathedral within the English tradition, yet through much of its history it was essentially an English cathedral in a foreign land. With close musical links to cathedrals in England, to St Patrick's cathedral in Dublin, and to the city's wider political and cultural life, Christ Church has the longest documented music history of any Irish institution, providing a unique perspective on the history of music in Ireland. Barra Boydell, a leading authority on Irish music history, has written a detailed study drawing on the most extensive musical and archival sources existing for any Irish cathedral. The choir, its composers and musicians, repertoire and organs are discussed within the wider context of city and state, and of the religious and political dynamics which have shaped Anglo-Irish relationships since medieval times. More than just a history of music at one cathedral, this book makesan important contribution to English cathedral music studies as well as to Irish musical and cultural history. BARRA BOYDELL is Senior Lecturer in Music, National University of Ireland, Maynooth.Trade Review[A] major achievement, the summation of an intensive programme of research in a particularly rich and rewarding institutional archive, which offers fascinating insights into a musical tradition shaped and nuanced by the political and religious dynamics of Irish society. - -- Rachel Cowgill * EARLY MUSIC *A conscientious and thorough account. * JOURNAL OF ECCLESIASTICAL HISTORY *Barra Boydell's resourceful and capable research has...set a shining example for future writers. [The book is] purposefully conceived, intelligently argued, and elegantly presented. -- Gerald Gifford * THE CONSORT *

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