History of music Books

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

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Book SynopsisIn August 1965, during a sweltering heatwave, 56,000 people traveled by plane, car, bus, ferry, and subway train to pack New York''s Shea Stadium on a Sunday eveningnot for a baseball game, but for a rock and roll concert. This idea was the crazy dream of concert promoter Sid Bernstein. No rock band had ever played a baseball stadium, and no one believed he could pull it off. But on that glorious night, The Beatles sold out Shea Stadium, shattering all existing box office and attendance records in show business history. Oh, and they also changed the world. Against the backdrop of a remarkably volatile year in our nation''s history, Top of the Mountain: The Beatles at Shea Stadium, 1965 delivers all the detail and excitement of Shea and the spirited, curious new generation who would soon claim the decade for its own. Told through first-person interviews and quotes, a unique cast of characters tells the story: celebrities then and celebrities now, writers, agents, producers, ph

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Book SynopsisThe Child Ballads are a series of over 300 traditional ballads from England and Scotland that, along with their American variants, were anthologized by folklorist Francis James Child in the nineteenth century. An Evolving Tradition is the story of the Child Balladsthe world's best-known and most highly regarded repository of traditional English folk songs, and the wellspring for approximately 10,000 recordings over the last century, from obscure musicological archives to classic releases from Bob Dylan, Simon & Garfunkel, and Led Zeppelin.Drawing on interviews with numerous scholars and musicians, author Dave Thompson explains what a ballad is, outlines their dominant themes, and recounts how these ballads survived to become a mainstay of field recordings made by Cecil Sharp, Alan Lomax, and others as they traveled the English and American countryside in search of old songs. Thompson traverses the entire spectrum of rock, pop, folk, roots, experimental music, industrial, and

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Book SynopsisOne of Europe's foremost experts on early guitar music explores this little-known but richly rewarding repertoire. In the seventeenth century, like today, the guitar was often used for chord strumming ("battuto" in Italian) in songs and popular dance genres, such as the ciaccona or sarabanda. In the golden age of the baroque guitar, Italy gave rise to a unique solo repertoire, in which chord strumming and lute-like plucked ("pizzicato") styles were mixed. Italian Guitar Music of the Seventeenth Century: Battuto and Pizzicato explores this little-known repertoire, providing a historical background and examining particular performance issues. The book is accompanied by audio examples on a companion website. Lex Eisenhardt is one of Europe's foremost experts on early guitar. He teaches both classical guitar and historical plucked instruments at the Conservatory of Amsterdam. He has produced a number of highly acclaimed CD recordings, and has given concerts and masterclasses in Europe, the United States, and Australia.Trade ReviewThe book is very much to be recommended for its clear English, its varied structure, and the author's comprehensive knowledge of the subject matter. . . . Those who want to learn about and experience an epoch of guitar-playing that hasn't previously been highlighted are very well served by Eisenhart's book. It has the EGTA editors' full recommendation for purchase. * EUROPEAN GUITAR TEACHERS' JOURNAL *Lex Eisenhardt literally wrote the book on Baroque guitar, in Italian Guitar Music of the Seventeenth Century: Battuto and Pizzicato. Eisenhardt's own considerable discography comprises not only Corbetta and other Baroque guitarists, but also later guitarists like Sor and Giuliani, as well as the sixteenth-century vihuela school. Yet the best source of Eisenhardt's interpretations of Corbetta . . . are openly available for streaming on his website . . . http://www.lexeisenhardt.com/audio. . . .We owe him a debt of thanks for this superb gift. -- Ellwood Colahan * SOUNDBOARD SCHOLAR *Eisenhardt discusses many topics of interest to the player as well to the scholar. . . [H]ighly recommended for anyone seriously interested in the Baroque guitar, the period or the music written for the instrument. * SOUNDBOARD MAGAZINE *An important study for all performers concerned with the relevance of the five-course guitar as a solo instrument and its role in one of the largest printed repertories of secular song in the 17th century. The biggest virtue of Eisenhardt's book is its careful, thorough analysis of the complexities encountered when performing solo music for the five-course guitar [or guitar-accompanied song]. This book will prove especially useful, then, for the modern performer interested in the five-course guitar, upon whom ultimately falls the task of answering the many remaining riddles that arise from the instrument's widely acknowledged imperfections. * EARLY MUSIC *[E]ngaging, well written, and well researched. It is a much-needed contribution to the current discussion of baroque guitar history [...], stringing, and performance. Eisenhardt's summary of past and current thought on performance related issues, combined with his references to translated original source material, allows even novices to understand and engage with the issues presented. * LUTE SOCIETY OF AMERICA *Presents the issue of tuning in a practice-based approach, written by one of the foremost performers on the instrument. A fascinating . . . exploration of the repertoire of the Baroque guitar in Italy, how it was exported to France and how also in Spain there was a revival of instrumental music inspired by folklore in which the guitar played an important role. To make the author's arguments more clear, we can listen to many musical examples on-line. * NOSTALGIA *In every sense a worthy successor to [Tyler's] The Early Guitar. Mr. Eisenhardt has long been known as a skillful and sensitive performer on a wide variety of historical guitars and with the present work he has shown himself to be equally impressive as a scholar and writer. Well worth the attention of anyone with an interest in the music of the 17th century. * EARLY MUSIC REVIEW *Table of ContentsList of Illustrations List of Audio Examples Preface Introduction The Rise of the Five-Course Guitar in Spain and Italy, 1580-1630 Italian Guitarists at Home and Abroad Accompaniment Solo Music Counterpoint Stringing Matters Pandora's Lyre The Baroque Guitar Unmasked? Appendix Notes Bibliography

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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 SynopsisA beneficiary of the pioneering incorporation of sound and synchronicity into cinema, the Hollywood musical became the most popular film genre in America’s thirties and forties. Its eastward migration resulted in a barrage of Polish screen musicals that relied on the country’s famous cabaret stars, while in the Soviet Union it inspired the audience-pleasing kolkhoz musicals of Ivan Pyr’ev and their urban counterpart, directed by Grigorii Aleksandrov. Like Stalin, Slavic moviegoers delectated tuneful melodies, mobile bodies in choreographed dance numbers, colorful costumes, and the notion that “all’s well that ends well.” Yet Slavic versions of the musical elaborated scenarios that differed from the Hollywood model. This volume examines the vagaries of this genre in both countries, from its early instantiations to its contemporary variations almost a century after its dramatic birth.Trade Review"This volume will excite scholars looking for novel scholarly work on the history, aesthetics, and culture of the film musical in general and Polish-Russian-Soviet film in particular." — A. J. DeBlasio, Dickinson College, CHOICE“In Singing a Different Tune: The Slavic Film Musical in a Transnational Context, Goscilo as editor works the magic that only the best directors can achieve: all her contributors give outstanding performances, covering material from two different countries and multiple time periods while never missing a step. The essays in this volume confirm what Busby Berkeley showed his audiences in Gold Diggers of 1933: tough times can make for great musicals.” — Eliot Borenstein, Professor & Chair, Russian & Slavic Studies, New York University “Singing a Different Tune brings Polish and Soviet film musicals into conversation with each other and with their well-known American counterparts. The result is an engaging, interesting, and uniformly excellent collection of essays. Written by leading film scholars, the chapters explore the popular Polish film musicals of the interwar era, reinterpret the Stalinist kolkhoz musicals of Ivan Py'rev and the carnivalesque Thaw-era films that followed, analyze the seminal 1967 Polish musical A Marriage of Convenience, and situate the rise of pop divas such as Alla Pugacheva within late Soviet celebrity culture. Three chapters take the story up to the present day in order to understand the continued popularity of the genre in contemporary Poland and Russia. Singing a Different Tune succeeds in showing how Slavic filmmakers have adapted the film musical in creative ways.”— Stephen M. Norris, Miami University (OH)“Rich with historical detail and cinematic examples, this collection traces unusual biographies of Polish and Russian musicals over the last hundred years. While being inspired by Hollywood classics, Slavic musicals managed to retain their own specifics by rooting their narratives and performances in the local traditions of cabaret, operetta, vaudeville, circus, and even balagan. Prominently focusing on the relationships between genre and gender, Singing a Different Tune is a welcome addition to the critical studies of entertainment and popular culture.”— Serguei Alex. Oushakine, Princeton UniversityTable of ContentsAcknowledgementsIntroductionPart One—Polish Musical Films1. Early Polish Language Musicals: The Tug of War between Genre Film and CabaretBeth Holmgren2. Between the Market and the Mirror: Stanisław Bareja’s Marriage of ConvenienceHelena Goscilo3. Paweł Pawlikowski’s Cold War: Music, Space, and IdentityElżbieta Ostrowska4. The Allure of Agnieszka Smoczyńska’s Lure (2015) as an Intrepid Feminist HybridHelena GosciloPart Two—Russian Musical Films5. Perplexing Popularity: Ivan Pyr′ev’s Kolkhoz Musical Comedy FilmsRimgaila Salys 6. The Thaw as Carnival: Soviet Musical Comedy after StalinLilya Kaganovsky7. Constructing the Pop Diva: Alla Pugacheva, Sofia Rotaru, and the Celebrity Musical of the 1970s–1980sAlexander Prokhorov and Elena Prokhorov8. Postmodernity, Freedom, and Authenticity in Kirill Serebrennikov’s Leto (2018)Justin WilmesFilmography

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Trade ReviewRiveting -- Wall Street Journal "A biting, in-depth chronicle of Nashville's most tumultuous era told through the voices of iconic artists who used their music to accomplish significant changes in the music industry." -- Kirkus Reviews (starred review) Offers a look at the how the 'outlaw' music of Waylon Jennings, Willie Nelson and Kris Kristofferson shook up Nashville in the late '60s and '70s... Author Streissguth has country music bona fides: He also wrote Johnny Cash: The Biography. -- USA Today A riveting look at how how three Texans joined forces to liberate Nashville from its company-town ways in the 1970s. It is a small group portrait, tightly focused and well told by Michael Streissguth. -- Wall Street Journal Outlaw is an entertaining, authoritative account of Nashville's rebel years. -- popmatters.com "Compulsively readable..." -- Publishers Weekly (starred review) Streissguth goes widescreen with this look at the social and musical ferment that produced the Seventies outlaw-country movement... [he] skillfully portrays Sixties Nashville's studio politics and their gradual loosening up, alongside a city where post-Sixties social change took its time arriving. -- Rolling Stone

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Book SynopsisThis international collection of eleven original essays on Australian Aboriginal literature provides a comprehensive critical companion that contextualizes the Aboriginal canon for scholars, researchers, students, and general readers. Australian Aboriginal literature, once relegated to the margins of Australian literary studies, now receives both national and international attention. Not only has the number of published texts by contemporary Australian Aboriginals risen sharply, but scholars and publishers have also recently begun recovering earlier published and unpublished Indigenous works. Writing by Australian Aboriginals is making a decisive impression in fiction, autobiography, biography, poetry, film, drama, and music, and has recently been anthologized in Oceania and North America. Until now, however, there has been no comprehensive critical companion that contextualizes the Aboriginal canon for scholars, researchers, students, and general readers. This international collection of eleven original essays fills this gap by discussing crucial aspects of Australian Aboriginal literature and tracing the development of Aboriginalliteracy from the oral tradition up until today, contextualizing the work of Aboriginal artists and writers and exploring aspects of Aboriginal life writing such as obstacles toward publishing, questions of editorial control (orthe lack thereof), intergenerational and interracial collaborations combining oral history and life writing, and the pros and cons of translation into European languages. Contributors: Katrin Althans, Maryrose Casey, Danica Cerce, Stuart Cooke, Paula Anca Farca, Michael R. Griffiths, Oliver Haag, Martina Horakova, Jennifer Jones, Nicholas Jose, Andrew King, Jeanine Leane, Theodore F. Sheckels, Belinda Wheeler. Belinda Wheeler is Associate Professor of English at Claflin University, Orangeburg, SC.Trade Review[The editor] and the contributors have used the book's position as one of the only international introductory texts on Australian Aboriginal literature as a gateway to understanding Aboriginal output more broadly. . . . * WASAFIRI *[C]hallenges the very notion of literature itself. . . . [I]nsist[s] on the literary quality and seriousness of Australian Aboriginal texts. . . . [H]ighly recommended. . . . [F]ills a large gap in Asia-Pacific literary and cultural studies. It will be of benefit to teachers and students, artists and critics, scholars and general readers, the indigenous and nonindigenous. * PACIFIC ASIA INQUIRY *This comprehensive anthology gives students and beginning researchers a clear overview of the issues at play in indigenous Australian literature today. . . . Handsomely produced and well indexed, this volume is a substantial contribution to the literature. . . . Highly recommended. * CHOICE *

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Book SynopsisAn examination of the role of the pedal clavichord in understanding the work of J. S. Bach, as well as its relevance to contemporary organ performances. Friederich Griepenkerl, in his 1844 introduction to Volume 1 of the first complete edition of J. S. Bach's organ works, wrote: "Actually the six Sonatas and the Passacaglia were written for a clavichord with two manuals and pedal,an instrument that, in those days, every beginning organist possessed, which they used beforehand, to practice playing with hands and feet in order to make effective use of them at the organ. It would be a good thing to let suchinstruments be made again, because actually no one who wants to study to be an organist can really do without one." What was the role of the pedal clavichord in music history? Was it a cheap practice instrument for organistsor was Griepenkerl right? Was it a teaching tool that helped contribute to the quality of organ playing in its golden age? Most twentieth-century commentary on the pedal clavichord as an historical phenomenon was written in a kindof vacuum, since there were no playable historical models with which to experiment and from which to make an informed judgment. At the heart of Bach and the Pedal Clavichord: An Organist's Guide are some extraordinary recentexperiments from the Göteborg Organ Art Center [GOArt] at Göteborg University. The Johan David Gerstenberg pedal clavichord from 1766, now in the Leipzig University museum, was documented and reconstructed; the new copy was thenused for several years as a living instrument for organ students and teachers to experience. On the basis of these experiments and experiences, the book explores, in new and artful ways, Bach's keyboard technique, a technique preserved by his first biographer, J. N. Forkel [1802], and by Forkel's own student, Griepenkerl.Trade ReviewThis is an extremely important study which brings together valuable musicological research and practical experimentation in a unique way -- every organist should read it! * CHOIR & ORGAN, September 2004 *Synthesizing a wealth of historical documentation along with the results of new, experimental studies, Speerstra [Eastman School of Music] has written a thorough analysis of the musicological and performance issues that surround the ambigious history and usage of the pedal clavichord. Despite its subtitle, this book should prove valuable for a broad audience not limited to organists; it speaks to all keyboardists interested in expanding their interpretation of Baroque literature. Highly recommended. * CHOICE *Joel Speerstra's work presents a fascinating paradigm for the study of J.S. Bach's organ music that leads performance practice research in a new direction . . . [Speerstra] lays a path for a living performance practice that promotes an integral relationship between the organ and the pedal clavichord. * NOTES, March 2005 *There is much of brilliance in this book. * EARLY MUSIC, January 2005 *Joel Speerstra's book is a wide-ranging study of the pedal clavichord's role in the interpretation of Bach's organ music. Whether one accepts the author's premise or not, organists and clavichordists without access to such a rare instrument may discover new insights into baroque performance practice that can be applied to more readily available instruments. EIGHTEENTH-CENTURY MUSIC, 2005 [Stewart Pollens] Original and brilliant study . . . Anyone interested in keyboard instruments of any kind will find in it a great fund of information and insight into matters of general musical interest, especially the performance of Bach's music. * EARLY MUSIC TODAY *Table of ContentsThe Historical Pedal Clavichord J.S. Bach's Trip Sonatas: A Reception History of a Rumor Reconstructing the Gerstenberg Pedal Clavichord J.S. Bach and the Clavichord: A Reception History of a Technique Performance Practice at the Pedal Clavichord Musica Poetica and Figural Notation J.S. Bach's Passacaglia in C Minor, BWV 582: A Case Study The Pedal Clavichord and the Organ in Dialogue

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Book SynopsisAn engaging, practical, sometimes poetic account of the new world of percussion music -- from the 1930s (Varese, Cage) to today -- by one of its leading practitioners. In the beginning there was noise. Drumming, the world's most ancient instrumental tradition, re-emerged explosively in the concert music of the twentieth century as music for percussion, involving drums and many other kinds of noisemakers. The music that resulted has spanned an expressive and intellectual gamut: from Cage, Varèse, and Cowell came the first ear-splitting sounds of an American percussion revolution that began in the 1930s; from Stockhausen,Ferneyhough, and Xenakis we have music whose intellectual demands are matched by a vibrant physicality; Feldman gave us gently unfolding structures; John Luther Adams finds music within the earth itself. The Percussionist's Art: Same Bed, Different Dreams examines this music through the eyes of a performer. The book is a practical philosophy, looking not just at the big ideas behind these and other pieces, but also at how those ideas find expressionin sound. Foreword written by Paul Griffiths. Contains a Compact Disc of Steven Schick performing eight musical works that he discusses in detail in the book. Composers include John Luther Adams, Brian Ferneyhough, Michael Gordon, David Lang, Edgard Varèse, Charles Wuorinen, and Iannis Xenakis. Steven Schick is the world's leading exponent of solo percussion music involving multiple instruments. He has commissioned more than one hundred piecesfrom renowned composers including David Lang, Brian Ferneyhough, and Roger Reynolds. He was a founding member of the Bang on a Can All-Stars (1992-2002) and Artistic Director of the Centre International de Percussion de Genève (Switzerland, 2002-4). He teaches at the University of California, San Diego, where he directs the percussion group "red fish blue fish."Trade ReviewA thoroughly impressive endeavour by master percussionist Steven Schick, The Percussionist's Art: Same Bed, Different Dreams is hugely informative and entertaining. Based entirely on Schick's first-hand experiences as a musician, The Percussionist's Art encompasses great insight into some of the great music written for solo percussion. A 'must read' for every breathing musician, The Percussionist's Art will also fascinate those curious to know more about the current explosion of interest in the percussion world. -- -- Dr. Evelyn Glennie, OBE, world-renowned solo percussionistThis is a really well-written, extremely knowledgeable, and thoroughly enjoyable book. . . . Incredible insights into and analysis of a huge array of important percussion music by one of our finest players. Highly recommended! -- -- Steve Reich, composer, and author of Writings on Music (1965-2000)Life-affirming. . . The 'Art' in the title is a massive understatement, it should ideally be 'The Percussionist's Philosophy, Psychology, Physiology, Theatricality, Choreography, Memory, Learning Process and Freedom of Choice' . . . Handsomely presented with copious score excerpts throughout and a CD of Schick's performances of seven of the pieces examined. -- Paul Sarcich, Music and Vision The full review can be consulted at http://www.mvdaily.com/articles/2006/12/schick1.htmThis book gives scholars, composers, aficionados of percussion music, and percussion students and teachers an invaluable resource that can be considered the definitive source of information about the major works in the solo repertoire and the art of multiple percussion performance. One can scarcely turn the page without finding observations by the author that will help percussionists develop musically, intellectually, emotionally, physically, and spiritually. , 2006 * PERCUSSIVE NOTES *A magnificent work and indispensable book! [Magnifique ouvrage! Indispensable bouquin!] The production aspects (typography, page layout, readability of music examples) match the high standard of the writing. . . . A study written with rigor, but a rigor that leaves room for poetry. -- Michel Faligand * PERCU_INFOS 271 *Steven Schick's recent book The Percussionist's Art: Same Bed, Different Dreams is an extraordinary example of musical writing that comes from inside the action. -- -- Paul GriffithsTable of ContentsForeword by Paul Griffiths Preface Because the World is Round Learning Bone Alphabet The Affliction of memory Face the Music: A look at Percussion Playing Selected Discography This Is Not a Drum: Manipulating the Material of Percussion Music Same Bed, Different Dreams: A Personal Epilogue Bibliography Index

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Book SynopsisUniquely revealing interviews with one of the world's greatest living composers. György Kurtág (b. 1926) is widely regarded as one of the foremost composers in the second half of the twentieth century and the early twenty-first. Born in Romania, he received crucial training in Paris from Olivier Messiaen and Marianne Stein. He was also shaped by his broadening contact there with the music of Webern and such challenging literary works as the plays of Samuel Beckett. After many years in Hungary, teaching at the Budapest Academy of Music,Kurtág settled near Bordeaux with his wife Márta. The two regularly perform duo-recitals of his music. In 2006, his . . . concertante . . . (2003, for violin, viola and orchestra) won the coveted Grawemeyer Award for MusicComposition. This unique set of interviews with Kurtág, alone or with his wife, gives a fascinating insight into the composer's personality, which is marked by shyness but also an unquenchable thirst for impressions of every kind [artistic, natural and human]. The two speak with disarming openness about their lives -- the background against which masterpieces like Messages of the Late Miss R. V. Troussova (1976-80, for soprano and chamber orchestra) or Stele (1994, for orchestra) were written. The analysis of certain of Kurtág's works, especially of . . . concertante . . ., shows the way that his mind works: no system, no dogma, no formulae -- rather, basic human emotions expressed through means that speak directly to the listener's innermost feelings. The Hungarian music publisher Bálint András Varga has spent nearly forty years working for and with composers.He has published several books, including extensive interviews with Lutoslawski, Berio, and Xenakis.Trade ReviewOffers telling insights . . . [on the] linkage between teaching and communicating, teaching and composing. . . . Reach[es] to the core of Kurtag's essential expressionism. . . . [Kurtag's] tributes to [Ligeti] provide . . . the shrewdest, clearest-eyed judgment of his friend's achievements. 'Mementos of a friendship' . . . is as artfully assembled as any of Kurtag's compositions. -- Arnold Whittall * MUSICAL TIMES *Like many of Kurtág's finest pieces, [this book] is short but densely packed. In three extended interviews with Varga, the composer provides piercing insights into a vast range of music and addresses his own work with startling clarity, candor, and humility. He also delivers three tributes to his longtime friend György Ligeti, revealing more of Ligeti's psychology and creativity than any commentator in print. -- Alex Ross * THE NEW YORKER *Read the full review at http://www.newyorker.com/online/blogs/alexross/2009/10/gyorgy-kurtag.html * . *This book provides a fascinating and unique insight into the life, mind, and personality of the Hungarian composer György Kurtág [.] this volume surely will play a significant role in enhancing and enlightening the way we experience Kurtág's music, both as listeners and as scholars. MUSIC & LETTERS, May 2011 * . *An important introduction to the music and the personality of this unique composer. -- Pierre BoulezA uniquely sensitive look at Kurtág's extraordinary work, character, and personality. --Kent Nagano, General Music Director of the Bavarian State Opera and Orchestra and Music Director of the Montreal Symphony Orchestra * . *Table of ContentsIntroduction: A Portrait Sketch of György Kurtág in Three Sittings Three Questions to György Kurtág (1982-1985) The Three Questions Again (1996) Key Words (2007-2008) Mementos of a Friendship: György Kurtág on György Ligeti A Brief Biography of György Kurtág Personalia List of Works Discography Notes Bibliography Index

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Book SynopsisUnlocks the secrets behind the images and music of an important Spanish musical manuscript compiled for a brotherhood of suspected heretics ca. 1500. The Rosary Cantoral is a rare and beautifully decorated manuscript of Latin plainchant for the Catholic Mass compiled in Toledo, Spain, around the year 1500. In an engaging and richly interdisciplinary essay, Lorenzo Candelaria approaches the Rosary Cantoral as a cultural artifact, unlocking the secrets behind its images and music to reveal the social history and rituals of an elite brotherhood dedicated to the rosary and aspects of the religious communityit served: the Dominicans of San Pedro Mártir de Toledo. The Rosary Cantoral: Ritual and Social Design in a Chantbook from Early Renaissance Toledo presents a model for realizing the fuller significance of illuminatedmusic manuscripts as cultural artifacts and offers unprecedented insights into the social and devotional life of Toledo, Spain, around the turn of the sixteenth century. After solving the mystery of the Rosary Cantoral's origins,subsequent essays probe the meaning and cultural significance of the manuscript's iconography (including a border decoration after Albrecht Dürer), its rare Spanish chants for the Mass, and two striking musical works for multiplevoices (one by Josquin Desprez and another on "L'homme armé"). Ultimately, this book focuses on the extraordinary circumstances that engendered the compilation of the Rosary Cantoral around 1500: a system of patronage between a brotherhood of suspected heretics and a religious house that was a key supporter of the Inquisition in Toledo. Lorenzo Candelaria (University of Texas at Austin) is co-author of American Music: A Panorama.Trade ReviewWinner of the American Musicological Society's Robert M. Stevenson Award for Outstanding Scholarship in Iberian Music, 2009 * . *Scholars such as [Candelaria], informed, analytical and well-balanced, deserve to reach as large a number of the interested academic world as possible. BIBLIOTHEQUE D'HUMANISME ET RENAISSANCE [Leonard R. N. Ashley] [An] impressive piece of historical detection...which successfully straddles the concerns of liturgy, polyphony, and manuscript illumination. [It] will stand as an intriguing contribution to a much-overlooked field. -- Iain Fenlon * AMERICAN HISTORICAL REVIEW *The scope of the book. . . makes this valuable reading for scholars in a wide variety of disciplines, while its lucid and clear writing style makes it accessible to anyone interested in Spanish cultural history, liturgy, or medieval and early-modern studies. -- James Boyce O.Carm. * SPECULUM *The author is to be applauded for shining a much-needed spotlight on the vast corpus of similar Spanish and New World cantorales that until very recently have been regarded as 'of very little interest. -- Michael Noone * MUSIC LIBRARY ASSOCIATION NOTES *Few [interdisciplinary] studies have been more compelling. . . . [Candelaria] is equally at home when dealing with the finer points of art history or the sometimes murky nature of the antiquities market. . . . [He] crafts a story that rivals good detective fiction. It even has a surprise at the end that involves the dark halls of the Spanish Inqusition. -- Michael B. O'Connor * RENAISSANCE QUARTERLY *The book is in many ways a detective story which identifies the MS's provenance and function by fascinating and devious approaches: I won't try to summarise it and spoil the story. . . .This study throws light not only on this particular MS but on the usage of the Rosary in Spanish politics and history. And there is a moral for art historians studying MSS with music and vice-versa: see beyond your own discipline. -- Clifford Bartlett * EARLY MUSIC REVIEW *. . . one of the most attractive and intriguing books on Spanish music history to reach the market in recent years. . . . It is thoroughly to be recommended. -- Bernadette Nelson * EARLY MUSIC *Table of ContentsIntroduction The Mystery of the Rosary Cantoral San Pedro Mártir de Toledo "El Cavaller de Colunya": A Legend of the Rosary The Emblem of the Five Wounds Hercules and Albrecht Dürer's Das Meerwunder Roses for the Blessed Virgin: The Music The Confraternity of Toledo and Its Patronage Epilogue Appendices 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 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 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 SynopsisA fresh appraisal of Schubert's nature and beliefs, deriving from close study of his works. Remarkable new study...Its central submission, that we have hitherto disregarded or misinterpreted the most profound intuitions of a unique composer, certainly carries conviction. And even after one reading there are already musical passages that this Schubert enthusiast finds himself hearing in quite a new way. Bayan Northcott, BBC MUSIC MAGAZINE The old stereotypes of Schubert as Bohemian artist and unselfconscious creator have been replaced over the past half-century with a picture of a difficult man in difficult times. The author aims to redress the balance, concentrating firstly on works where Schubert's beliefs are clearly expressed (masses, other religious music, songs amounting to Geistliche Lieder). This also prompts an examination of instrumental masterpieces [Unfinished and Great C Major Symphonies, and the Wanderer Fantasy], which show that Schubert's religious side encompasses awe and terror as well as wonder. Schubert's 'complete voice' is thus clearly heard, rather than the sombre one currently emphasised in both literature and concert. LEO BLACK is a former BBC chief producer for music.Trade ReviewRemarkable new study. -- Bayan Northcott * BBC MUSIC MAGAZINE *A thoroughly convincing study of the music, beautifully and unpretentiously written... Excellent study does memorable justice to the composer. * CLASSIC FM *An important and absorbing addition to the canon of Schubert literature. * GRAMOPHONE *[This] book is an invaluable addition to Schubert studies, not only as a treasure trove for the academic, but also for the performing musician.... The author is clearly a musicologist of the highest order, but he also proves to be a philosopher of insight and generosity, and it is here that his genius lies.... Leo Black has written a masterpiece and a monument. Robert Tear in * THE OLDIE *There is much that is interesting and original in this book. * MUSIC & LETTERS *

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Book SynopsisWe knew from her recordings that Susan Tomes is a superb chamber player; now we know that she's a superb writer too. Michael Church, INDEPENDENT In this widely acclaimed volume, Susan Tomes, a rare example of a leading musicianwho writes about the craft of performance, describes her experience of twenty years of rehearsal, concerts and recording. We knew from her recordings that Susan Tomes is a superb chamber player; now we know that she's a superb writer too. Michael Church, INDEPENDENT She is as sensitive an observer and as subtle a writer as she is one of our finest chamber musicians...This is a book that should be read by practising musicians and music-lovers alike: here's one performer who really can communicate in words as well as music. JAMES JOLLY, GRAMOPHONE Susan Tomes's bookgives you an intensely illuminating picture of the life of a pianist...she is a brilliant writer...Just as she magnetises with her playing, so too with her words. EDWARD GREENFIELD, GUARDIAN In this widely acclaimed volume, Susan Tomes, a rare example of a leading musician who writes about the craft of performance, describes her experience of twenty years of rehearsal, concerts and recording. Her performing life has been centred on chamber music and the need to communicate it fully to an audience hungry for meaningful musical experience. She was a founder member and the pianist of both Domus and the Florestan Trio, award-winning groups at the top of their field. Part One is a series of diaries describing their travels and performances: Domus in the 1980s with its own portable concert hall, struggling to create the conditions for informal but intense concert performances, and the Florestan Trio, currently one of the world's finest piano trios. Part Two is a collection of thought-provoking essays about teachers, making records, practising and rehearsing, audiences, earning a living, and the particular challenges of being a concert pianist. Beyond the Notes gives an unusually candid view of the complexities of a life in music. SUSAN TOMES, alongside her packed concert schedule, is a frequent contributor, on music and other subjects, to a number of publications.Trade ReviewA delight and a revelation...She writes with Schubertian intimacy, modesty and grace. -- Boyd Tonkin * INDEPENDENT *This book reveals [Tomes'] talents as a writer, too, one with a capacity for imaginative enquiry and a gift for the telling phrase... as natural and compelling a communicator in words as she is in music. * BBC MUSIC MAGAZINE *Professional musicians will sigh with recognition at page after page; readers...will have their eyes opened to the realities of the performer's life. I found the book absolutely enthralling. * CLASSICAL MUSIC *For more words on music, consider a wonderful book by pianist Susan Tomes of the Florestan Trio...Just reissued in paperback, Beyond the Notes is fascinating reading for anyone interested in the life of the touring concert artist. Her words are intimate and insightful, and her gentle frankness charms as she chronicles the role of the collaborative pianist. -- Susan Isaacs Nisbett * ANN ARBOR NEWS *

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Book SynopsisThe author of Beyond the Notes demonstrates how a working musician draws energy from the events of daily life, and sometimes seeks a refuge from them in music. Out of Silence is a diary of a year in Susan Tomes's life as a performer. Taking as its inspiration Schumann's remark that 'I am affected by everything that goes on in the world, and I think it all over in my own way', it aims to show how a working musician mulls over and draws energy from the events of everyday life. We follow this internationally renowned pianist as she prepares for concerts and performs, both as a soloist and as part of a chamber ensemble; we experience the highs and lows of practising and the challenges of live performance, we see her planning masterclasses and interacting with both musicians and audiences. She casts her mind back to her childhood - practicing before school on cold Edinburgh mornings, playing 'Danny Boy' for a relative - and reflects on paintings, dance, books, sport and gardening. 'A delight and a revelation...She writes with Schubertian intimacy, modesty and grace,' said the Independent of her first book, Beyond the Notes. Here Susan Tomes strives to unlock the secrets of great music and to understand its place in the wider world. SUSAN TOMES has won a number of awards for her recordings of chamber music. For fifteen years she was the pianist of Domus, and for another fifteen she has been the pianist of the Florestan Trio, one of the world's leading piano trios. She is the author of Beyond the Notes and A Musician's Alphabet. She writes occasionally for the Guardian and on a blog on her own website, www.susantomes.com.Trade ReviewThe Japanese translation of Out of Silence has been chosen as one of the best books of 2012 by Chopin magazine, Japan. * . *With a sure literary touch, that outstanding pianist and educator Susan Tomes [takes] us inside the world of the over-worked, under-valued classical player in 'Out of Silence'. I wish idiots who bleat about the 'elitism' of the classical tradition could at least pick up this generous, friendly, revealing diary of a year's hard slog. THE INDEPENDENT, Best Books for Christmas 2010 feature * THE INDEPENDENT, Best Books for Christmas 2010 feature *A distinguished performer who writes with penetration, fluency and charm...Tomes has the unique gift of answering questions about the musical life that every other literary register seems to overlook. A supreme chamber performer, she writes with all the qualities of her chosen field: intimate, exact, conversational; a style of mutual respect...Open this insightful and delightful book on any page, and learn with pleasure. * INDEPENDENT *Susan Tomes has contributed two remarkably probing books, Beyond the Notes and Out of Silence, to the literature [of performers writing about their craft]. -- Simon Callow * GUARDIAN *There have been books about the experience of playing...but none by so naturally gifted a writer as Tomes...[who] has a particular understanding of humanity rare in writing about music. * TIMES LITERARY SUPPLEMENT *Packed full of fascinating material reflecting upon the difficult and sometimes intangible issues that face a busy professional pianist...what emerges from these pages is Tomes's strong sense of humility, her quirky humour, and above all her tremendous love and driving enthusiasm for her work...a compelling read. * BBC MUSIC *Tomes joins that small band of musicians whose literary skill runs parallel to their musical talent...[she] extracts on almost every page a life lesson for the rest of us, whether or not we are musicians. * CLASSIC FM MAGAZINE *This is an essentially practical volume that encapsulates what it is to be a jobbing professional who is sensitive to the interconnectivity of the world at large...by the end, I felt I not only knew more about the author, but also about myself. Highly recommended. * INTERNATIONAL PIANO *For a parent with a musically gifted child the collection is essential reading. * OLDIE *

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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 Reader in Music History at the University of Cambridge and 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 *Table of ContentsOctober 1917-18 Out of Chaos 1919 Depression and Fever 1920 Bureaucracy on the Rise 1921 Should I stay or should I go? 1922 Just Like the Old Days? 1923 The Birth of ASM and RAPM 1924 ASM in the Ascendant 1925 Equilibrium 1926 Guests from the West 1927 Celebrations 1928 At the Crossroads 1929 "Velikiy perelom" - "The Great Turning Point" 1930 RAPM's Glorious Year? 1931 RAPM's Fortunes Turning 1932 The Rules Change

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Book SynopsisThis book presents accounts of creative processes and contextual issues of current-day and early-twentieth century women composers. This collection of essays balances narratives of struggle, artistic prowess, and of "breaking through" the obstacles in the profession. Part I: Creative Work – Then and Now illuminates historical and present-day women’s composition and various iterations and conceptions of the “feminine voice”; Part II: The State of the Industry in the Present Day provides solutions from the frontline to sector inequities; and Part III: Creating; Collaborating: Composer and Performer Reflections offers personal stories of current creation in music. A Century of Composition by Women: Music Against the Odds draws together topical issues in feminist musicology over the past century. This volume provides insight into the professional and compositional procedures of creative women in music and stands to be relevant for composers, performers, industry professionals, students, and feminist and musicological scholars for many years to come.Table of ContentsChapter 1 Introduction: Composing Women’s (Very) Long 100-year Fight: Evolutions, Illuminations, Solutions, Linda KouvarasPart I Creative Work—Then and NowChapter 2 Synaesthetic Associations and Gendered Nature Imagery: Female Agency in the Piano Music of Amy Beach, Sabrina ClarkeCChapter 3 “Australian Bush Songs” as Multimodal Discourse: The Remarkable Collaboration of Ida Rentoul Outhwaite, Annie Rentoul, and Georgette Peterson, Johanna SelleckChapter 4 The 1940s Australian Ballet that “Far Outstripped ... ‘Swan Lake’ in Popular Appeal”: Esther Rofe’s Ground-Breaking Ballet, Sea Legend, Emma TownsendChapter 5 Italians, Indians and Indigenous People: Innovative Themes and Materials Found in the Operas of Early-C20th Australian Women Composers, Jeanell CarriganChapter 6 “Conjuring Up the Magic”: Helen Gifford’s Compositional Passage to the Creation of Fable for Solo Harp, Jacinta DennettChapter 7 Of Broken Trees and Elephant Ivories: The Revivification of the Colonial Piano Manifested Through a New Work by Catherine Milliken, Gabriella SmartChapter 8 Beyond Exploitation: Feminist Satire in Jennifer Walshe's XXX_LIVE_NUDE_GIRLS!!!, Jaslyn RobertsonChapter 9 Hildegard’s Daughters: Women Composers “Overcoming Their Astonishment”, Natalie WilliamsChapter 10 Is the Category of the “Woman Artist” Still Helpful?, Susan Best.- Part II The State of the Industry in the Present DayChapter 11 “Dear Women Composers in Australia (and Beyond):” (A Letter from a Music Critic), Rosalind ApplebyChapter 12 Programming Orchestral Repertoire by Women Composers: Challenges and Opportunity, Joanna DrimatisChapter 13 Troubleshooting Gender in the Australian Screen Music Industry: An Insider Perspective, Felicity WilcoxChapter 14 Programming with Gender Parity in Call-Based New Music Festivals, Alice BennettChapter 15 Mentoring Emerging Women Composers, Maria GrenfellChapter 16 Content Targets Work: A Practical Example of Changing Behaviours and Processes in Programming Women Composers, Naomi Johnson and Matthew DeweyChapter 17 Working Towards Gender Equality and Empowerment in Australian Music Culture, Cat Hope.- Part III Creating; Collaborating: Composer and Performer ReflectionsChapter 18 The Book of Daughters and The Sonic aGender Guitar Project: Inclusivity as Guiding Principle, Lisa MacKinneyChapter 19 When We Speak: Creating (“Something Personal”) in a Three-Level Collaboration, Lisa CheneyChapter 20 “It Gently Makes Itself Known...”: A Composer and a Violist Discuss their Collaboration on Cranes, Phoebe GreenChapter 21 Children’s Opera in the Twenty-First Century: The Child-Centred Approach to Writing, Emma JayakumarChapter 22 Making Music in A Chorus of Women, Glenda Cloughley and Johanna McBride

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Book SynopsisIn this behind-the-scenes look at the making of Fleetwood Mac's epic, platinum-selling double album, Tusk, producers and engineers Ken Caillat and Hernan Rojas tell their stories of spending a year with the band in their new million-dollar studio trying to follow up Rumours, the biggest rock album of the time. Following their massive success, the band continued its infamous soap opera when its musical leader and guitarist, Lindsey Buckingham, threatened to quit if he didn't get things his way, resulting in clashes not only with his band but especially Caillat, who had been essential to the band's Grammy-winning sound. Hernan Rojas's story recounts a young man who leaves Chile after General Pinochet's coup to seek his future in the music industry of Los Angeles, where he finds success at one of the hottest studios in town. When Fleetwood Mac arrives, Rojas falls in love with its star singer, Stevie Nicks, and the two of them become romantically involved.

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Book SynopsisMoving Pictures takes a novel historical approach to the making and recording of Rush''s album by the same name. This 1981 release was a landmark record, not only for Rush, but also for the entirety of progressive rock.There''s nothing else like it in the Rush catalog. Permanent Waves and Hemispheres were important releases in their evolution as a progressive band, but neither provided the necessary commercial firepower to blast the Canadian trio into the stratosphere of rock stardom. Moving Pictures, with its thematic work and positioning as the antithesis of a concept record, balanced opposing creative sensibilities, garnered the attention of radio programmers across North America, and sold millions of copies around the globe.As the title of the record suggests, each track projects unique filmic properties, allowing the collective work to escape into the realm of the audiovisual. Unparalleled in the band''s recorded output, Moving Pictures boasts multisensory qualiti

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Book SynopsisIn Take a Sad Song: The Emotional Currency of Hey Jude, James Campion dives deeply into the song''s origins, recording, visual presentation, impact, and eventual influence, while also discovering what makes Hey Jude a classic musical expression of personal comfort and societal unity conceived by a master songwriter, Paul McCartney. Within its melodic brilliance and lyrical touchstones of empathy and nostalgia resides McCartney''s personal and professional relationship with his childhood friend and songwriting partner, John Lennon, and their simultaneous pursuit of the women who would complete them. There are also clues to the growing turmoil within the Beatles and their splintering generation scarred by war, assassination, and virulent protest.Campion''s journey into the song includes the insights of academic experts and professors in the field of musicology, sociology, philosophy, psychology, and history. Campion also reveals commentary from noted Beatles authors, biographer

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Book SynopsisAlmost thirty years after Rock Opera, his first book on Jesus Christ Superstar, Ellis Nassour returns to the world of Andrew Lloyd Webber and Tim Rice to complete the fascinating story of the Broadway musical that rocked the stage and pushed boundaries. Nassour goes behind the scenes to show the evolution of Jesus Christ Superstar from an album to a Broadway musical, exploring not only the breakthroughs, but also the frustrations and pitfalls. With never-before-seen photos and new interviews, Superstar presents a detailed account of the life of the musical from 19691973.

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Book SynopsisKSAN!: The Hippie Radio Revolution that Rocked America is an oral history of America's first hippie underground FM station which broadcasted the countercultural consciousness of the 60s and 70s to a new generation. A communal radio band of intrepid hellraisers, pranksters, and drug-enlightened geniuses defined this psychedelic era, from the Summer of Love in Golden Gate Park, to the rebellion and bitter end of the late 1970s, which launched the Reagan Revolution.Founded in San Francisco by Tom Donahue, a 1996 inductee into the Rock & Roll Hall of Fame, an entire generation of Americans discovered a new musical universe among dance clubs, light shows and street feststhe original pop-ups. Almost overnight, KSAN became an audio clubhouse, where anyone could belong with friends and the cool cats and hipsters they just met.Rock gods, political stars, and literary celebrities, including Jerry Garcia, Ken Kesey, Sly Stone, and John Lennon were all interviewed by founder Tom D

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Book SynopsisDancing to the Drum Machine is a never-before-attempted history of what is perhaps the most controversial musical instrument ever invented: the drum machine. Here, author Dan LeRoy reveals the untold story of how their mechanical pulse became the new heartbeat of popular music. The pristine snap of the LinnDrum. The bottom-heavy beats of the Roland 808. The groundbreaking samples of the E-MUSP-1200. All these machinesand their weirder, wilder-sounding cousinschanged composition, recording, and performance habits forever. Their distinctive sounds and styles helped create new genres of music, like hip hop and EDM. But they altered every musical style, from mainstream pop to heavy metal to jazz. Dan LeRoy traces the drum machine from its low-tech beginnings in the Fifties and Sixties to its evolution in the Seventies and its ubiquity in the Eighties, when seemingly overnight, it infiltrated every genre of music. Drum machines put some drummers out of work, while keeping othTrade ReviewDan LeRoy takes on a subject that could easily result in a dry, strictly-for-geeks read – the history of machine-rhythm - and turns out a juicy deep-dive that will appeal equally to the lay-person interested in the evolution of pop culture as to the gear-head and serious musician. What this richly researched and entertaining book shows is that far from dehumanizing and deskilling music, the drum machine depended on human imagination: the vision and dedication needed to create the technology in the first place, the ingenuity of amateur and professional musicians alike, as they struggled with these newfangled boxes and extracted magic from them. It’s a story that’s largely untold and LeRoy tells it with vivid clarity. * Simon Reynolds, author of Energy Flash: A Journey Through Rave Music and Dance Culture and Rip It Up and Start Again: Postpunk 1978-84 *Table of ContentsForeword by Nick Rhodes: Timing is Everything Prologue 1. From Boats to Babies: How Drum Machines Began 2. The Rhythm Aces 3. Beat Brothers: Sly Stone and J.J. Cale 4. “The Machines Are Fighting Back” 5. Teutonic Sonics: Germany and Programmed Rhythm 6. Turn the Beat Around: Eno, Disco and the Drum Machine 7. Our Drum Machine Could Be Your Band 8. The Drum Machines That Weren’t 9. Punch the Clock: The Joy and Pain of Drum Programming 10. Without Me, You Would Not Even Have Thought of Writing This Book 11. Give the (Electronic) Drummer Some 12. Inside and Outside the Box: The Linn Revolution 13. “Have You Seen This New Drum Machine? Shit!” 14. 808 State 15. Hip Hop’s Electric Guitar 16. Worker Bees of the DMX 17. Destination Emulation 18. Mr. K’s Last Laugh 19. The Mammals Arrive: The Linn 9000 and the End of the Drum Machine 20. Computer Love 21. Time Out of Time Appendix: I Am Echo Acknowledgments

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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 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 SynopsisPresents a collection of some thirty profiles which have appeared periodically in "Ireland's Own". This book aims to give readers an overview of some of the most interesting and important figures in Irish music. It can be used as a work of reference, for writing or preparing programme notes for a concert, or, simply to be read from cover to cover.

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Book SynopsisThis book explores the artistic principles of Arturo Benedetti Michelangeli, his concert activities, his art of piano playing, as well as his pedagogy and his attitude towards his students. The author presents the biographical data of the artist as well as the list of his recordings and introduces this extraordinary artist to a wider audience, especially to admirers of beautiful music and its performers. The book aims at encouraging in particular the young to follow the high artistic principles required in such a refined and unique art.Table of ContentsContents: How I Met Michelangeli – Arturo Benedetti Michelangeli at Close Quarters – Artistic Views and Principles – Concert Activity – The Repertoire and its Preparation – Michelangeli’s Performance Art and Playing Style – Michelangeli’s Teaching Method – Our Maestro and His Pupils – Michelangeli’s Pianistic Art: Top Achievement of Contemporary Musical Performance Culture – A Few Biographical Notes on Michelangeli – Major Recordings Authorized by Arturo Benedetti Michelangeli.

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Book SynopsisAlfred Brendel und Peter Gülke pflegen die Kunst des Interpretierens auf einzigartige Weise: Brendel als weltberühmter Pianist, der auch Bücher über Musik publiziert, Peter Gülke als mehrfach für seine Sprach-Kunst des Interpretierens ausgezeichneter Autor, der auch Dirigent ist. In diesem Buch denken sie in einem intellektuell und emotional berührenden Ideen- und Erfahrungsaustausch gemeinsam über die Praxis des Interpretierens nach. Einerseits geschieht dies ganz konkret bezogen auf Schuberts und Beethovens Musik. Andererseits diskutieren sie über Grundsätzliches wie die Frage, welche Freiheit Musikerinnen und Musiker beim Aufführen von Musik haben, und über die Möglichkeiten, sinnvoll über Musik zu sprechen, das heißt: sie sprachlich zu interpretieren.Trade Review“... Belehrsam und vertieft philosophieren die beiden Herren über ihr Metier, widersprechen sich auch einmal und machen unterschiedliche Argumente geltend. ... Alfred Brendel und Peter Gülke nähern sich zwar mit den Erfahrungen ihres Interpretierens den Werken ...” (Neue musikalische Blätter, Mai 2021)“... Sprache interpretieren heisse Sprache «verstehen»; Musik interpretieren bedeute hingegen Musik «machen». Ganz so einfach, wie es Adornos berühmtes Diktum in lustvoller Übertreibung zuspitzt, ist es eben nicht: Es gibt verstehendes Musizieren und musikalisches Verstehen, die sich dort begegnen, wohin auch Sprache zielt. Hier kann man zwei Meistern ihres Fachs zuhören, die beides können.” (Hans-Joachim Hinrichsen, in: NZZ Neue Zürcher Zeitung, 4. Januar 2021)“Fortgeschrittene werden dagegen großen Gewinn aus den Dialogen der beiden Granden einer sehr reflektierten Annäherung an das Repertoire ziehen, aus einem offen gestalteten Gedankenaustausch voller überraschender Wendungen beim Mäandern durch das Beziehungsgeflecht zwischen den Komponisten und darüber hinaus – fazinierende Teilhabe an einem unfassbaren Erfahrungsschatz.” (Michael Wackerbauer, in: Neue Musikzeitung, Heft 2, 2021)“... Es ist für musikalische Praktiker wie Musik-Hörer, für Laien wie Professionelle aufschlußreich. Es bietet hohes Lesevergnügen ... Für bibliothekarische Musikbestände ist es vom allgemeinen „populären“ bis zum speziellen musikwissenschaftlichen Angebot ausgesprochen empfehlenswert.” (Albert Raffelt, in: Informationsmittel für Bibliotheken, informationsmittel-fuer-bibliotheken.de, Jg. 29, Heft 1, 2021)Table of ContentsVorwort.- Schuberts letzte Sonaten.- Gespräche.- Briefwechsel

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Book SynopsisJohann Sebastian Bach krönte sein Schaffen geistlicher Musik mit Weihnachts-, Oster- und Himmelfahrtsoratorien sowie mit fünf Messvertonungen – gipfelnd in der monumentalen h-Moll-Messe, die als Vermächtnis angesehen werden kann. Für diese Werke verwendete er im Parodieverfahren häufig frühere Sätze, passte sie aber für die neue Komposition sorgfältig an. Durch Textvergleiche und die musikalische Gegenüberstellung von Vorlage und Parodie analysiert Friedhelm Krummacher den Aufbau dieser sehr besonderen Werke von der Gesamtanlage bis ins Detail und macht die Kunstfertigkeit des Bach’schen Verfahrens anschaulich. Dieses neue Buch ergänzt die zweibändige Publikation „Johann Sebastian Bach. Die Kantaten und Passionen“ (2018) von Krummacher zu einer Gesamtschau des geistlichen Werkes.Trade Review“... Diese ist Voraussetzung für interpretatorische Bemühungen, aber durchaus auch für ein „intellektuelles" Hören, das die kompositorischen Strukturen verstehen will. Darin liegt die Stärke des Bandes. ... Für einschlägige Bibliotheksbestände ist der Band neben den beiden anfangs genannten Bänden zu den Kantaten und Passionen ein Muß.” (Albert Raffelt, in: Informationsmittel für Bibliotheken, informationsmittel-fuer-bibliotheken.de, Jg. 30, Heft 4, 2022)Table of ContentsA. Die Oratorien.- I. Oster-Oratorium (BWV 249).- II. Weihnachtsoratorium (BWV 248).- III. Himmelfahrts-Oratorium (BWV 11).- B. Die Messen.- IV. Die Kyrie-Gloria-Messen.- 1. Missa in A (BWV 234).- 2. Missa in G (BWV 236).- 3. Missa in F (BWV 233).- 4. Missa in g (BWV 235).- V. Die h-Moll-Messe (BWV 232)- Literaturverzeichnis.- Register (BWV-Nummern).- Register (Textincipits)

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Book SynopsisDas Handbuch zeichnet die Tendenzen des Umgangs mit „Alter Musik“ heute und in der Vergangenheit nach und informiert konkret und detailreich über die verschiedenen Richtungen der Historischen Aufführungspraxis. Es betrachtet typische Erscheinungsformen der Szene, analysiert das Verhältnis zwischen Musikforschung und Musikbetrieb und nimmt die sozialen Bedingungen von Musikern in den Blick. Ergänzt werden die von renommierten internationalen Autorinnen und Autoren verfassten Sachkapitel durch 14 Interviews mit Leitfiguren der Alte Musik-Szene u.a. Jordi Savall, Katharina Bäuml, Christophe Rousset, René Jacobs oder Dorothee Oberlinger. Anfangs eine Sache weniger Spezialisten, wurde das Musizieren auf historischen Instrumenten und mit historischen Spielweisen in den 1970er- und 1980er-Jahren zu einer Bewegung mit kulturpolitischen Implikationen und ist heute selbstverständlicher Bestandteil des Musiklebens. Die Szene ist mittlerweile auch durch Pragmatismus, vor allem aber durch die Suche nach künstlerischen Entfaltungsmöglichkeiten der ganz überwiegend freien Ensembles geprägt. So hat die Historische Aufführungspraxis z. B. zu einer Renaissance der Barockoper an den Bühnen geführt, eine neue Kultur des Improvisierens und Arrangierens befördert, das Ziel einer Erweiterung des Repertoires für Alte Musik bis ins 19. Jahrhundert hinein verfolgt, Techniken der Rekonstruktion nicht schriftlich überlieferter Musik erarbeitet und Grenzüberschreitungen zu andern Musikgenres betrieben. All dies kommt in diesem Handbuch anschaulich zur Sprache.Table of ContentsKapitel I: Interpretationsgeschichte.- Zeitgeist und Zeitstil.- Geschichte der Aufführungspraxis Alter Musik: Ein Überblick.- Spiegelbild einer lebendigen Szene: Das Forum Alte Musik Köln.- Eine Interpretationsgeschichte der Alten Musik: Die »Brandenburgischen Konzerte^- KAPITEL III: Historische Instrumente heute: Annäherungen aus der Praxis.- Besaitete historische Tasteninstrumente.- Holz- und Blechblasinstrumente.- Historische Geigen.- KAPITEL IV: Musikwissenschaft, Editionspraxis, künstlerische Forschung.- Von Musikeditionen, »authentischer« Aufführungspraxis und Bedeutungszuschreibungen.- Künstlerische Forschung in der Alten Musik.- KAPITEL V: Alte Musik im Musikleben.- Wirtschaftliche und soziale Herausforderungen der freien Ensembles.- Modellfall Alte Musik? Aktuelle Fragestellungen in der Hochschulausbildung.- Neue Konzertformate.- INTERVIEWS.- »Die Komposition ist kein Besitz des Musikers. Er soll ihr mit Respekt, Ehrfurcht und Liebe begegnen.« Der Cembalist, Organist und Dirigent Gustav Leonhardt im Gespräch mit Richard Lorber.- »Ich spiele nach meinem inneren Gesang.« Der Gambist, Dirigent und Musikforscher Jordi Savall im Gespräch mit Kirsten Betke.- »Ich mache eigentlich nur das, was man damals von einem Kapellmeister erwartete.« Der Dirigent Rene Jacobs im Gespräch mit Richard Lorber.- »Ich werde ganz sicher nie sagen: Wie wir das machen, so muss es sein!« Der Dirigent und Chorleiter Philippe Herreweghe im Gespräch mit Helga Heyder-Späth.- Eine Art Avantgarde. Der Sänger, Harfenspieler und Ensembleleiter Benjamin Bagby im Gespräch mit Richard Lorber.- Kreativität aus dem Wissen der Zeit. Der Geiger, Dirigent, Musikwissenschaftler und Dozent Reinhard Goebel im Gespräch mit Sabine Radermacher.- »Mich interessiert der Klang mehr als die Rhetorik.« Der Dirigent und Leiter der Tallis Scholars Peter Phillips im Gespräch mit Bernd Heyder.- Wenn er Bach spielt, dann klingt das französisch. Der Cembalist und Dirigent Christophe Rousset im Gespräch mit Richard Lorber.- »Als Interpreten sollten wir Musik wie ein Gemälde sehen und hören.« Der Cembalist, Organist und Dirigent Andrea Marcon im Gespräch mit Sabine Radermacher.- »Die Arbeit mit Sangern ist für mich eine grosse Inspirationsquelle.« Die Blockflötistin, Hochschullehrerin, Ensembleleiterin und Dirigentin Dorothee Oberlinger im Gespräch mit Thomas Daun.- »Meine Programme sollen Geschichten erzählen.« Die Schalmeispielerin und Ensembleleiterin Katharina Bäuml im Gespräch mit Helga Heyder-Spath.- »Alles, was ich in der Musik ausdrücken will, konnte ich allein mit Bach ausdrücken.« Die Sopranistin Dorothee Mields im Gespräch mit Kirsten Betke.- Historisch informiert jeder Art von Musik näherkommen. Die Geigerin Chouchane Siranossian im Gespräch mit Bernd Heyder.- Von der Barockoper bis zum Crossover. Der Countertenor Valer Sabadus im Gespräch mit Gela Birckenstaedt.- ANHANG.- Alte Musik heute: Ein gemeinsames Projekt von vier Kölner Institutionen.- Forum Alte Musik Köln.- Historische Musik im Fokus der Musikforschung und Aufführungspraxis an der Hochschule für Musik und Tanz Köln.- Alte Musik im Westdeutschen Rundfunk.- zamus: Zentrum fur Alte Musik Köln. Abbildungsnachweis.- Register

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Book SynopsisZum 200. Geburtstag von Anton Bruckner legt Felix Diergarten die lang erwartete, grundlegend neu recherchierte Biographie vor. Zugänglich und anschaulich geschrieben, werden alte und neue Bruckner-Bilder anhand der Quellen überprüft. Jedes der 25 chronologisch angeordneten Kapitel beleuchtet eine Lebensphase, eine Begebenheit, einen Ort oder ein besonderes Thema aus Bruckners Leben mit Musik. Das Buch macht so erfahrbar, wie sich Bruckners Kompositionen in seine Lebenswelten fügen: vom oberösterreichischen Dorf in die Metropolen Europas, vom Dorfschulhaus an die Universität, von der Dorfkirche an den neugotischen Dom, von den Dorfmusikanten zu den Wiener Philharmonikern.Table of ContentsGeleitwort Herbert Blomstedt.- Bruckner-Bilder.- Die frühen Jahre (1824-1855).- Linz (1856-1868).- Das erste Wiener Jahrzehnt (1868-1878).- Die späten Jahre (1879-1896).- Nachwort.- Register der Werke Bruckners.- Personenregister

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Book SynopsisThis interdisciplinary study uncovers a fascination with women cross dressers in the popular literature of early modern Britain, in a wide range of texts from popular ballads and chapbook life histories to the comedies and tragedies of aristocratic literature.Table of ContentsList of illustrations Preface Acknowledgments List of abbreviations Prologue 1: Popular balladry, Mary Ambree, and the beginnings of the Female Warrior motif, 1600-1650 2: The fashion for Female Warrior ballads: new "hits" and old favorites, 1650-1800 3: The museum life of Mary Ambree and the decline of the Female Warrior, 1800 to the present 4: The Female Warrior motif as an idea 5: The Female Warrior and everyday life in the early modern world 6: The Female Warrior and the construction of gender 7: Hic-Mulier: imaginative preoccupation and genotype for the Female Warrior 8: The Female Warrior, Gay's Polly, and the heroic ideal Epilogue Appendix Select bibliography Index

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Book SynopsisBela Bartok, who died in New York, is one of the most frequently performed twentieth-century composers. He is also the subject of a growing critical and analytical literature. Divided into three parts, this volume aims to provide insights into the life and reception of this musician, especially in Hungary.Trade Review"Adds important material to the slim library of English-language studies of Bartok's achievements."--The New York TimesTable of ContentsPrefaceAcknowledgmentsOut of Hungary: Bartok, Modernism, and the Cultural Politics of Twentieth-Century Music3Why Is a Bartok Thematic Catalog Sorely Needed?64The Gallows and the Altar: Poetic Criticism and Critical Poetry about Bartok in Hungary79Bartok's Reception in America, 1940-1945101Bluebeard as Theater: The Influence of Maeterlinck and Hebbel on Balazs's Bluebeard Drama119The Miraculous Mandarin: Melchior Lengyel, His Pantomime, and His Connections to Bela Bartok149Bartok and Stravinsky: Respect, Competition, Influence, and the Hungarian Reaction to Modernism in the 1920s172Travel Reports from Three Continents: A Selection of Letters from Bela Bartok203Bela Bartok: An Interview by Dezso Kosztolanyi228A Conversation with Bela Bartok235Recollections of Bela Bartok243A Change in Style276Bartok's Third String Quartet278Bartok's Foreign Tour282Two Bartok Obituaries290A Selection of Poems Inspired by Bela Bartok296Index of Names and Compositions307List of Contributors313

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Book SynopsisDerived from the colorful traditions of vaudeville, burlesque, revue, and operetta, the musical has blossomed into America's most popular form of theater. Scott McMillin has developed a fresh aesthetic theory of this underrated art form, exploring the musical as a type of drama deserving the kind of critical and theoretical regard given to ChekhovTrade ReviewWinner of the 2007 George Jean Nathan Award for Dramatic Criticism "A scholarly work, with good supporting bibliographic footnotes, this book merits serious study... Highly recommended."--Choice "Scott McMillin is giving musicals the respect they deserve. If you want to know how a car is constructed, you might consult a Chilton's vehicle manual. If you want to know how a pie is constructed, you might consult the Fanny Farmer Cookbook. If you want to know how a musical is constructed, you might consult The Musical as Drama by Scott McMillin. This adoring yet studious book dissects familiar musicals as if they were biology frogs and academically discusses their skeletal and muscular systems."--Eve Lichtgarn, Westside Chronicle "Rarely does a book come along that seems to elegantly summarize what has come before while taking its subject to the next level. The Musical as Drama is just such a book. ...This volume encapsulates an entire career's reflection on the nature and structure of musical theater...This well-written, lucid, and effective book should serve as a fine addition to the expanding scholarship on America's musical theater."--Elizabeth A. Wells, Notes "Staunchly defending a much-maligned genre, McMillin sets his sights high... Even if one disagrees with some of his tastes and arguments, his defense of the musicals of the last half-century is convincing and, appropriately, an entertaining one."--Heather Heckman, Screening the Past "McMillin's specific examples are at once astute and persuasive and somehow obvious (and I mean this as the highest compliment). Anyone who reads this book (and all with even a passing interest in musical theatre should) will constantly be struck with a 'Why didn't I think of that?' feeling."--Stacy Wolf, Text & PresentationTable of ContentsList of Illustrations vii Preface ix CHAPTER ONE: Integration and Difference 1 CHAPTER TWO: The Book and the Numbers 31 CHAPTER THREE:Character and the Voice of the Musical 54 CHAPTER FOUR: The Ensemble Effect 78 CHAPTER FIVE: The Drama of Numbers 102 CHAPTER SIX: The Orchestra 126 CHAPTER SEVEN: Narration and Technology: Systems of Omniscience 149 CHAPTER EIGHT: What Kind of Drama Is This? 179 Bibliography 213 Index 221

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Book SynopsisBefore the nineteenth century, instrumental music was considered inferior to vocal music. Kant described wordless music as "more pleasure than culture," and Rousseau dismissed it for its inability to convey concepts. But by the early 1800s, a dramatic shift was under way. Purely instrumental music was now being hailed as a means to knowledge and emTrade Review"A fascinating new book."--Alex Ross, The New Yorker "This is a cogent and well-illustrated account of the theoretical basis for the changes in how instrumental music was listened to in the early decades of the 19th century. Bonds clarifies complex material and piles up evidence to make a convincing case for a 'revolution in listening.'"--Patricia Howard, Currents "Philosophical discussion of music can easily become dense, but Bonds presents his arguments and evidence in a clear, discernible manner such that readers with little exposure to the philosophical issues of the time period can follow his reasoning and come away illuminated by a first-hand account concerning the reception of the symphony in the first quarter of the nineteenth century."--John Stine, Music Research ForumTable of ContentsAcknowledgments xi Introduction xiii List of Abbreviations xxi PROLOGUE: An Unlikely Genre: The Rise of the Symphony 1 CHAPTER ONE: Listening with Imagination: The Revolution in Aesthetics 5 From Kant to Hoffmann 6 Idealism and the Changing Perception of Perception 10 Idealism and the New Aesthetics of Listening 22 CHAPTER TWO: Listening as Thinking: From Rhetoric to Philosophy 29 Listening in a Rhetorical Framework 30 Listening in a Philosophical Framework 33 Art as Philosophy 37 CHAPTER THREE: Listening to Truth: Beethoven's Fifth Symphony 44 The Infinite Sublime 45 History as Knowing 50 The Synthesis of Conscious and Unconscious 53 Organic Coherence 55 Beyond the Sublime 57 CHAPTER FOUR: Listening to the Aesthetic State: Cosmopolitanism 63 The Communal Voice of the Symphony 63 The Imperatives of Individual and Social Synthesis 68 The State as Organism 71 Schiller's Idea of the Aesthetic State 73 Goethe's Pedagogical Province 75 CHAPTER FIVE: Listening to the German State: Nationalism 79 German Nationalism 79 The Symphony as a "German" Genre 88 The Performance Politics of the Music Festival 92 The Symphony as Democracy 99 EPILOGUE: Listening to Form: The Refuge of Absolute Music 104 Notes 117 Bibliography 153 Index 167

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Book SynopsisTrade Review"Shortlisted for the Laura Shannon Prize in Contemporary European Studies, Nanovic Institute, University of Notre Dame""Winner of the 2018 PROSE Award in Music & the Performing Arts, Association of American Publishers""Winner of the 2018 Presidential Excellence Award for Distinguished Scholarship, Baruch College, City University of New York""One of the Evening Standard Best Books of 2017 (chosen by Anne McElvoy)""The Politics of Opera: A History from Monteverdi to Mozart has boldly placed Machiavelli and early modern political theory at the center of the early history of opera, reflecting creatively on the ways in which the reverberations of the great Florentine realist reached even into the musical realm. . . . Cohen has demonstrated that the history of opera is connected to the history of political theory, but operatic masterpieces also acquire new layers of political meaning as they encounter new generations and newly fraught political circumstances."---Larry Wolff, New York Review of Books"This subtly insightful book helps readers experience these timeless masterpieces anew." * Foreign Affairs *"Surprises await even the well-informed operaphile." * Opera News *"A fascinating study of opera's musicology, performance history, and the political operatives who were pulling the artistic strings." * New York Journal of Books *"Delving into the world of composers such as Monteverdi, Lully, Rameau and Mozart, the author reveals how operas, through story lines, symbols, harmonies and musical motifs, have spoken of politics--sometimes loudly, sometimes sotto voce." * Opera America *"[A] first-rate scholarly work . . . that is both instructive in itself and methodologically and conceptually valuable for other periods and, indeed, media."---Jeremy Black, Foreign Policy Research Institute"Mitchell Cohen has written a very erudite book that takes us down the highways and, especially, the byways of European political thought in the early modern period. . . . The persevering reader will find much instruction and new insight into some old favourites."---Tim Blanning, Literary Review"Operas, the author argues, change their political meanings according to their setting, and the deep research and clear prose here hit a high C."---Anne McElvoy, The Evening Standard"Suffice it to say, when Mitchell Cohen sees and hears an opera, he sees and hears a lot. To you, it may seem primarily a piece of music or a piece of lyric theater. For him, it reveals layer upon layer, politically, socially, and historically. . . . Cohen is very good at getting under the skin of a piece and gauging the environment in which it was created. At the same time, he realizes that a really good work of art transcends time and space. . . . A book such as Cohen’s may not be for everyone--whose is?--but it is certainly for some."---Jay Nordlinger, The Weekly Standard"How should the history of political thought be written? . . . [A bold] step has been taken by Mitchell Cohen in his new book. Cohen, a political scientist who is also a music lover, is equally interested in the place of music in politics (metaphors of harmony, for instance) and the place of politics in music. . . . [His book] discusses not only the political context of operas and what is said openly in their librettos but, more unusually, the music as well—changing keys, recurrent motifs, and their emotional associations. . . . He often impresses."---Peter Burke, Common Knowledge

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Book SynopsisTrade Review"Shortlisted for the Laura Shannon Prize in Contemporary European Studies, Nanovic Institute, University of Notre Dame""Winner of the 2018 PROSE Award in Music & the Performing Arts, Association of American Publishers""Winner of the 2018 Presidential Excellence Award for Distinguished Scholarship, Baruch College, City University of New York""One of the Evening Standard Best Books of 2017 (chosen by Anne McElvoy)"

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Book SynopsisNew essays demonstrating and exploring the abiding fascination of Wagner's controversial work. Richard Wagner's Parsifal remains an inexhaustible yet highly controversial work. This "stage consecration festival play," as the composer described it, represents the culmination of his efforts to bring medieval myth and modern music together in a dynamic relationship. Wagner's engagement with religion--Buddhist as well as Christian--reaches a climax here, as he seeks through artistic means "to rescue the essence of religion by perceiving its mythical symbols . . . according to their figurative value, enabling us to see their profound, hidden truth through idealized representation." The contributors to this collection break fresh ground in exploring the text, the music, andthe reception history of Parsifal. Wagner's borrowings-and departures-from the medieval sources of the Grail legend, Wolfram's Parzival and Chrétien's Perceval, are considered in detail, and the tensional relation of the work to Christianity is probed. New perspectives emerge that bear on the long genesis of the text and music, its affinities to Wagner's earlier works, particularly Tristan und Isolde, and the precise way in which the music was composed. Essays address the work's bold, modernistic musical language and its unprecedented soundscape involving hidden choruses and other unseen sources of sound. The turbulent, astonishing, and sometimes disturbing history of Parsifal performances from 1882 until 2004 is traced in vivid detail for the first time, demonstrating the abiding fascination exerted by this uniquely challenging work of art. Contributors: MaryA. Cicora, James M. McGlathery, Ulrike Kienzle, Warren Darcy, Roger Allen. William Kinderman and Katherine Syer teach at the University of Illinois at Urbana-Champaign, and often lead study seminars during the Wagner Festival in Bayreuth, Germany.Trade ReviewThis collection of essays makes a major contribution to Parsifal interpretation.... A must read for all Parsifalians. * OPERA TODAY *This marvelous Companion to Parsifal offers something of value to anyone interested in finding out more about Wagner's last work.... * GERMAN QUARTERLY *Kinderman and Syer have effectively succeeded in emulating a Wagnerian quality: to stimulate our appetite for more. * GERMAN STUDIES REVIEW *Table of ContentsIntroduction: The Challenge of Wagner's Parsifal - William Kinderman Medievalism and Metaphysics: The Literary Background for Parsifal - Mary Cicora Erotic Love in Chrétien's Perceval, Wolfram's Parzival, and Wagner's Parsifal - James M McGlathery Parsifal and Religion: A Christian Music-Drama? - Ulrike Kienzle The Genesis of the Music - William Kinderman Unseen Voices: Wagner's Musical-Dramatic Shaping of the Grail Scene of Act 1 - Katherine R. Syer "Die Zeit ist da": Rotational Form and Hexatonic Magic in Act 2 Scene 1 - Warren Darcy Die Weihe des Hauses (The Consecration of the House): Houston Stewart Chamberlain and the Early Reception of ParsifalParsifal - Roger Allen The Production History - Katherine R. Syer

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