History of music Books

Book SynopsisThis new biography examines the life and work of Lionel Tertis, almost solely responsible for the rise of the viola in the twentieth century. Lionel Tertis [1876-1975] stands in the company of Ysaÿe, Kreisler, Casals, Thibaud and Rubinstein as one of the greatest instrumentalists - and arguably the greatest viola player - of all time. Such composers as Arnold Bax, Holst, and Vaughan Williams all wrote significant works for him; he was a member of a number of prominent string quartets; and he was later to design and promote his own 'Tertis model' viola. He is virtually synonymous with the increasing importance of the viola as a solo and recital instrument alongside the violin and the cello. This biography, the first full-length survey of his life, tells how he rose from humble beginnings to become 'the father of themodern viola'. It explores in detail his long and distinguished career, persuading composers to write works for the viola, arranging existing works for the instrument, editing and performing the music, teaching and coaching in Great Britain, and his performances in the United States. JOHN WHITE is a prominent viola teacher and performer; in 2000 he was awarded the International Viola Society's highest award for distinguished scholarship and contributions to the viola.Trade ReviewIn this exhaustively researched and compellingly written biography John White encapsulates this noble man and artist as never before...White's achievement is to bring not only his subject fully to life but also the times in which he lived via an impressive range of articles, recollections, reviews and letters...magnificent. * BBC MUSIC MAGAZINE [Julian Haylock] *A finely woven narrative drawn from a rich array of primary sources. -- Richard Osborne * THE OLDIE *White, himself a distinguished violist, has written a highly informed and engaging biography...He offers an abundance of correspondence, articles, personal recollections and tributes; these, complemented by touching photographs, vividly bring to life Tertis's indomitable, sometimes fearsome, yet lovable character and even physical presence...This book is a must for violists and lovers of the instrument, and will interest many beyond this sphere. -- Nathaniel Vallois * THE STRAD *With a variety of endearing photographs and a useful discography...the book contains a wealth of characterful detail...many things to be grateful for. -- Benjamin Ivry * CLASSIC RECORD COLLECTOR *John White's superb full length biography...all of us with an interest in the heartland of the British musical renaissance should lose no time in getting this book. * BRITISH MUSIC SOCIETY NEWSLETTER *The detailing and readability of this magnificent book from John White, the doyen of the viola and viola literature, is remarkable...anyone with an interest in the English musical renaissance will find the pages thronged with composers from that era. A well structured, sturdy and fascinating account of a life - a crusade for the viola and its repertoire. * MUSIC WEB INTERNATIONAL *This book belongs in the library of every school of music and in the personal library of every serious violist. NEWSLETTER of the * CANADIAN VIOLA SOCIETY *Hopefully this book, easily one of the greatest ever written about a violist, will find its way into hundreds of studios and libraries...and put Lionel Tertis' fascinating life and achievements into proper perspective. * JOURNAL OF THE AMERICAN VIOLA SOCIETY *Table of ContentsThe Tertis Family Early Career The First World War Chamber Music Players American Tours Return to the Royal Academy of Music The Elgar and Walton Concertos The BBC Orchestra, Delius, Bax and Vaughan Williams A Shock Retirement The Richardson-Tertis Viola The Second World War Promoting the Tertis Model Viola Return to America and Eightieth Birthday Celebrations Second Marriage and Last Appearance TV Profile and Ninetieth Birhtday Final Years

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Book SynopsisExamines Czech musical culture c. 1600-1750 and the society that created and shaped it Traditional polemical histories of Bohemia and Moravia identify the period from the early seventeenth to the mid-eighteenth century as a "period of darkness" - particularly in terms of Czech-language culture. This book challengesthat interpretation from the perspective of musical culture and demonstrates that this was actually a vibrant, productive and innovative period, both for music in the Czech language and instrumental music. By focussing on the distinctive nature of Czech-language education and devotional traditions (rehabilitated along Catholic lines after the Thirty Years War), the book reveals a new understanding of Czech musical practices and repertoires as a beguiling blend of the older, non-conformist, vernacular traditions with the new, theatrical, Italian styles and genres. Drawing on a broad range of genres including sonatas, concertos, oratorios, Passion music, masses, motets, litanies andoperas, Bohemian Baroque reveals a fascinating culture and repertoire that have long been overlooked. In the Czech lands, seventeenth-century courtly life emerged in a much different way from many other European countries. Bohemian Baroque underscores the prominent role of rural life in shaping musical culture more broadly in Bohemia and Moravia and consequently draws attention to the works and environments of composers whose careers were primarily in the Czech lands (in contrast to the traditional focus on more famous émigré composers). The book also considers the influence of Germanic traditions on Czech musical culture; several areas of overlap reveal newly identified examples of shared repertoires-in some cases, German and Czech even appear within a single work. Taken as a whole, Bohemian Baroque posits a new paradigm in which received notions of "Czechness" in the musical culture of the seventeenth and eighteenth centuries might be reconsidered. Bohemian Baroque will be required reading for anyone interested in the music of the Habsburg Empire and Central Europe, cultural history, or baroque music more generally. Students and scholars of musical style and music and identity will equally find much of interest here. Robert G. Rawson is Reader in Musicology and Performance at Canterbury Christ Church University.Trade Review[P]rovides a detailed and thorough study of music of the Bohemian Baroque. Rawson's understanding of the complex, blended culture of the time and place is noteworthy and provides an ideal backdrop for the discussion of the musical practices and repertoire. * SEVENTEENTH-CENTURY MUSIC *Unique and engaging. * SLAVIC AND EAST EUROPEAN JOURNAL *Bohemian Baroque emphasizes the vibrant networks of Baroque music-making, uncovers long-forgotten connections, and forges scholarly dialogue in twenty-first-century Europe. * MUSIC & LETTERS *Rawson's book is an extremely valuable and timely reassessment of a musical (and literary) culture that has languished in obscurity ... The musical culture of the Bohemian baroque has finally received the scholarly attention it deserves. * SLAVIC REVIEW *An admirably sensitive appraisal of a musical culture that has for too long remained in the dark while opening up numerous avenues for further research. * EARLY MUSIC *Rawson has mastered the Czech language ... Fascinating ... Rawson is a skilful guide. * MUSICAL TIMES *It fills a unique niche that has to date been unoccupied on the shelves of our music libraries, and paves the way for the search for Czech music at a more fundamental level. * THE CONSORT *Table of ContentsIntroduction National Narratives and Identities Cultural and Musical Idioms of Town and Country Devotional Practices and the Culture of Conversion 'Thither From the Country'-Village Life and Education Christmas Pastorellas 'Melancholy Ditties about Dirt and Disorder' Musical Devotions and the (re)Engineering of Patron Saints Between Venice and Prague-the Vivaldi Connection Identity on the Stage

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Book SynopsisLeo Black, a pupil of Rubbra in the 1950s, presents a full-scale study of his symphonies (the first for twenty years). A biographical sketch throws light on legends about the BBC and Rubbra; there are full programme notes on eachsymphony, with accounts of important non-symphonic works. The music of Edmund Rubbra (1901-1986) has been unjustly neglected - arguably because its wide-ranging nature makes it difficult to categorise. He is perhaps best known as a symphonist; his eleven symphonies covered a period of musical and political upheaval [1934 - 1980], the first four reflecting the uneasy later 1930s, with a second global conflict no longer avoidable. The immediately-post-war ones document new emotional depths and his conversion, whilethe final symphonies show a man still in search of peace and reconciliation, overlooked by the world but certain he was on the right path. Leo Black, a pupil of Rubbra at Oxford in the 1950s, here presents a sympatheticfull-scale study of these works (the first for some twenty years). A succinct biographical sketch throws light on legends about the BBC and Rubbra; there are full programme notes on each symphony, with shorter accounts of important non-symphonic works, in particular a 'triptych' of concertos from the 1950s and major liturgical pieces composed around the time of the Second Vatican Council, after Rubbra's conversion to Catholicism. He also deals with the vexed question of Rubbra's mysticism. LEO BLACK is a former BBC chief producer for music and author of the highly-acclaimed Franz Schubert: Music and Belief [2003].Trade ReviewThis handsomely produced volume can be read with profit by amateurs, connoisseurs, and scholars alike ...Thoughtful, erudite and compelling. A labor of love, it is also the brief of a skilled advocate; Rubbra's music, now lost in the twilight of musical limbo, fully merits such a committed redeemer. * NOTES *The reader is treated to a wide-ranging discussion that is stylishly written and invitingly presented. * MUSICAL TIMES *[An] excellent new biography. * TLS *Such are [Black's] skill and insights that there are few works about which he does not have something penetrating to say. His discussion of individual works engages the interest of the lay reader in a way that eludes...most other writers on matters musical. He brings the music and the issues it raises alive...This is an important book that should be in the library of every self-respecting music lover. -- Robert Layton * INTERNATIONAL RECORD REVIEW *

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Book SynopsisMusic and musical entertainments are here shown to be used for different ends, by both monarch and courtiers. Queen Elizabeth I (1558-1603) had a strong reputation for musicality; her court musicians, Thomas Tallis and William Byrd, even suggested that music was indispensable to the state. But what roles did music play in Elizabethan court politics? How did a musical image assist the Queen in projecting her royal authority? What influence did her private performances have on her courtships, diplomatic affairs, and relationships with courtiers? To what extent did Elizabeth control court music, or could others appropriate performances to enhance their own status and achieve their ambitions? Could noblemen, civic leaders, or even musicians take advantage of Elizabeth's love of music to present their complaints and petitions in song? This book unravels the connotations surrounding Elizabeth's musical image and traces the political roles of music at the Elizabethan court. It scrutinizes the most intimate performances within the Privy Chamber, analyses the masques and plays performed in the palaces, and explores the grandest musical pageantry of tournaments, civic entries, and royal progresses. This reveals how music served as a valuable means for both the tactful influencing of policies and patronage, and the construction of political identities and relationships. In the late Tudor period music was simultaneously a tool of authority for the monarch and an instrumentof persuasion for the nobility. KATHERINE BUTLER is a Senior Lecturer at Northumbria University, Newcastle.Trade ReviewA fascinating book. * THE CONSORT *No one who reads this fine study will again treat music as a background to the Elizabethan court. * AMERICAN HISTORICAL REVIEW *[A] major undertaking of importance, a careful and thorough study of numerous examples of secular music that is undergirded by a keen understanding of music's role in the political life of a fascinating era. * EARLY MUSIC *Tightly organized and impeccably researched, this engaging study triangulates the disciplines of musicology, literary history, and iconography to present the political roles music could play within Elizabeth's court, and adds welcome nuance to the preexisting scholarly narratives of monarchial control over the arts. * RENAISSANCE QUARTERLY *[O]ffers a ... detailed and focused look at the application of music to the specific context of the world of the Elizabethan court. * NORTHERN RENAISSANCE *Table of ContentsIntroduction Music, Authority, and the Royal Image The Politics of Intimacy The Royal Household and its Revels Noble Masculinity at the Tournaments Politics, Petition, and Complaint on the Royal Progresses Conclusion Appendices Bibliography

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Book SynopsisAn examination of if and how medieval romance was performed, uniquely uniting the perspective of a scholar and practitioner. Although English medieval minstrels performed gestes, a genre closely related to romance, often playing the harp or the fiddle, the question of if, and how, Middle English romance was performed has been hotly debated. Here,the performance tradition is explored by combining textual, historical and musicological scholarship with practical experience from a noted musician. Using previously unrecognised evidence, the author reconstructs a realistic model of minstrel performance, showing how a simple melody can interact with the text, and vice versa. She argues that elements in Middle English romance which may seem simplistic or repetitive may in fact be incomplete, as missing an integral musical dimension; metrical irregularities, for example, may be relics of sophisticated rhythmic variation that make sense only with music. Overall, the study offers both a more accurate comprehension of minstrel performance, and a deeper appreciation of the romances themselves. Linda Marie Zaerr is Professor of Medieval Studies at Boise State University.Trade Review[O]ffers the first comprehensive list of references to minstrel performances in the Middle English romances. . . . Zaerr's vivid account . . . provides a strong sense of how much we have lost now that we can only read the romances on the page. * EARLY MUSIC *Offer[s] a fresh perspective on Middle English romances not just as texts but also as performance acts. * COMITATUS 44 *[T]his is a splendid book, presenting a fine collection of textual evidence and commentary, which is a most valuable contribution to the field of medieval musicology. * THE CONSORT *This is a fascinating book, a sort of dialogue between scholar and performer, both being the same person [. . .] stimulating. * EARLY MUSIC REVIEW *With huge experience in performing Middle English romances, Professor Zaerr brings her valuable perspective as a performer to current textual, historical and musicological scholarship, in order to understand better how medieval minstrels performed romances with music. She shows how a broader, more fluid concept of romance can lead us to more profound understanding, and exciting revelations. -- Professor Marilyn Lawrence, New York University.Table of ContentsIntroduction Continental Traditions of Narrative Performance The English Minstrel in History and Romance Musical Instruments and Narrative Meter, Accent, and Rhythm Music and the Middle English Romance Conclusions Appendix A: Minstrel References in the Middle English Verse Romances Appendix B: Medieval Fiddle Tuning and Implications for Narrative Performance Glossary of Terms Bibliography

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Book SynopsisA reconstruction of the life and works of a sixteenth-century minstrel, showing the tradition to be flourishing well into the Tudor period. Richard Sheale, a harper and balladeer from Tamworth, is virtually the only English minstrel whose life story is known to us in any detail. It had been thought that by the sixteenth century minstrels had generally been downgradedto the role of mere jesters. However, through a careful examination of the manuscript which Sheale almost certainly "wrote" (Bodleian Ashmole 48) and other records, the author argues that the oral tradition remained vibrant at this period, contrary to the common idea that print had by this stage destroyed traditional minstrelsy. The author shows that under the patronage of Edward Stanley, earl of Derby, and his son, from one of the most important aristocratic families in England, Sheale recited and collected ballads and travelled to and from London to market them. Amongst his repertoire was the famous Chevy Chase, which Sir Philip Sidney said moved his heart "more than witha trumpet". Sheale also composed his own verse, including a lament on being robbed of 60 on his way to London; the poem is reproduced in this volume. ANDREW TAYLOR lectures in the Department of English, University of Ottawa.Trade Review[A] carefully researched study of one minstrel, one manuscript, and a social world in which they were both living and already taking on an antiqued patina. * JOURNAL OF FOLKLORE RESEARCH *Impressive, productive and insightful. * ENGLISH HISTORICAL REVIEW *Contains a wealth of information useful to any student of early modern musical traditions. * HISTORY, December 2013 *Provides a fascinating insight into a transitional moment in the history of English balladry. . This is an intriguing book, highly recommended. * FOLK MUSIC JOURNAL *Offers important revisions to our understanding of the sixteenth century musician and his relationship to the various communities he served. * THE MEDIEVAL REVIEW *[A] stimulating and well written study. [...] Historians, literary scholars, folklorists, anthropologists, and singers will all find [...] material to set them thinking. * RENAISSANCE QUARTERLY *[A] valuable study. * REVIEW OF ENGLISH STUDIES *Taylor's piecing together of Sheale's life and work adds greatly to our understanding of late minstrelsy and the social and political world that formed its background. * EARLY MUSIC *Table of ContentsPreface Introduction: The Minstrel Rides Out The Minstrel of Tamworth and His Audiences The Stanleys, The Stanley Poem, and the Campaign of 1558 Ashmole 48 and Its History The Hunting of the Cheviot and the Battle of Otterburn 'More than with a Trumpet': Tudor Responses to the Cheviot Ballads The Lay of the Last Minstrel Appendix: Five Poems Bearing the Name of Richard Sheale Bibliography

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Book SynopsisA manuscript rather obliquely named from its once having been at Rosslyn Castle, but that at the time of this edition had come to the Advocates' Library at Edinburgh, which since 1925 is part of the National Library of Scotland (MS Advocates 18.5.19). Lawlor dated it to the late 13th or early 14th century, and saw it as an English copy of an Irish exemplar in turn descended from a book belonging to the Benedictine nuns of St Werbugh, Chester, in the 12thcentury.

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Book SynopsisThis manuscript, now now Huntington Library, MS EL 34 B 7, contains a fifteenth- century Latin text interesting for its admixture of English rubrics, as well as prayers and hymns. Chester was in the Lichfield diocese, and thus inthe Province of Canterbury, so it is no surprise that the text is closer to Sarum than York usage.

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Book SynopsisThe order for the coronation of William III and Mary at Westminster on 11 April 1689 (from London, College of Arms, MS L.19; Lambeth Palace, Misc.MS 1077) with a fourteenth century Anglo-French text (Cambridge, Corpus Christi College, MS 20) and an eleventh century rite for the coronation of an Anglo-Saxon kingfrom an English pontifical (Cambridge, Corpus Christi College, MS 44). With apparatus and considerable notes.

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Book SynopsisThe Directorium Sacerdotum is a sort of ordinal or directory for the Sarum Use, which though a private compilation by the Brigittine Clement Maydeston, acquired a de facto official status. The text here is taken from the quarto edition published by Wynkyn de Worde in 1495 (Duff, n. 294; GW 8460; STC 17724), and is furnished with indices. Vol. 20 in the present series is the first part, this volume is the second part.

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Book SynopsisThe Rouen edition of 1505 published by Inghelbert Haghe (BB 2275; STC 15793; copies in Worcester, Cathedral Library, I.k.14; Oxford, Bodleian Library, Gough Missals, 69, pars aestivalis only) with use of MSS London, British Library, Harley MS 2983; Hereford, Cathedral Chapter Library, P.9.VII; Oxford, Balliol College, MS 321; Oxford, University College, MS 7; Worcester, Cathedral Chapter Library, MS Q.86. See also volumes 40 and 46 in the present series.

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Book SynopsisThe Exeter Ordinale is a huge ordinal issued by John de Grandisson, bishop of Exeter [1327-69], in 1337; it is edited on the basis of manuscripts that belonged to, and were annotated by, the bishop himself. The compilationmarked an important point in medieval study of the liturgy, and the Legenda [liturgical readings for saints' days] which it contains are regarded as one of the most important sources for the study of English medieval hagiography, particularly for saints of English origin.

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Book SynopsisThe influence of Rome on medieval plainsong and liturgy explored in depth. Containing substantial new studies in music, liturgy, history, art history, and palaeography from established and emerging scholars, this volume takes a cross-disciplinary approach to one of the most celebrated and vexing questions about plainsong and liturgy in the Middle Ages: how to understand the influence of Rome? Some essays address this question directly, examining Roman sources, Roman liturgy, or Roman practice, whilst others consider the sway ofRome more indirectly, by looking later sources, received practices, or emerging traditions that owe a foundational debt to Rome. Daniel J. DiCenso is Assistant Professor of Music at the College of the Holy Cross; Rebecca Maloy is Professor of Musicology at the University of Colorado Boulder. Contributors: Charles M. Atkinson, Rebecca A. Baltzer, James Borders, Susan Boynton, Catherine Carver, Daniel J. DiCenso, David Ganz, Barbara Haggh-Huglo, David Hiley, Emma Hornby, Thomas Forrest Kelly, William Mahrt, Charles B. McClendon, Luisa Nardini, Edward Nowacki , Christopher Page, Susan Rankin, John F. Romano, Mary E. WolinskiTrade ReviewOverall this book is a fitting tribute to Joseph Dyer and will be of interest to a wide variety of medieval scholars. * SPECULUM *Impressive.. For students of medieval liturgy, especially relating to the continent, this is an important volume. * PARERGON *Table of ContentsDoxa en ipsistis Theo: Its Textual and Melodic Tradition in the 'Missa graeca' - Charles M Atkinson The Changing Roles of Old Saint Peter's in Late Antique and Early Medieval Rome - Charles McClendon The Archdeacon, Power, and Liturgy before 1000 - John Romano The Earliest Antiphons of the Roman Office - Edward Nowacki The Paschal Vigil in Medieval Rome - Thomas Kelly As the Bells Toll: Parish Proximity in Medieval Rome - Catherine Carver McCurrach The Moment of Scrutiny in the Missale Gallicanum Vetus and the Instruction of Catechumens in Merovingian and Carolingian Francia - David Ganz Melodic Style and the Transmission History of the Beneventan Easter Vigil Canticles - Emma Hornby Fitting New Texts into Old Melodies: The Diffusion and Technique of Prosulas for Tracts and Graduals - Luisa Nardini Singing the Psalter in the Early Middle Ages - Susan K Rankin The Tonality of the Numerical Offices in Cambrai, Médiathèque municipale, MS 38 - Barbara Haggh-Huglo Revisiting the Admonitio generalis - Daniel J. DiCenso An Overlooked Source of the Pontifical romain du XIIe siècle and its Chants: Lyon, Bibliothèque des Facultés catholiques, MS Réserve 1/0011 [olim MS 2] - James Borders Music and the Cluniac Vision of History in Paris, Bibliothèque nationale de France, lat. 17716 - Susan Boynton To Chant in a Vale of Tears - Melodic Trope as Modal Rhetoric - William Mahrt Proper Office Chants for St George in South German Manuscripts - David Hiley Notre-Dame and the Challenge of the Sainte-Chapelle in Thirteenth-Century Paris - Rebecca Baltzer Music for the Confraternity of St James in Paris - Mary Wolinski Publications by Joseph Dyer

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Book Synopsis The life and death, but also the creative work of famous musicians is closely linked to their personal medical histories. In "Famous Composers – Diseases Reloaded" these case histories are vividly reconstructed on the basis of authentic biographical testimonies and closely linked to the personalities of the musicians. The latest research findings on the pathophysiology of these composers will be woven into the overall picture. Was Paganini's "devilishness" caused by a hereditary disease? Did Scarlatti have strange signs of illness on his fingers? What did Bach really die of? How did "Christel" from a dubious milieu change Schumann's entire life? What aggravated Ravel's underlying illness so that he did not complete a single composition in the last five years before his death? How did Tárrega manage to play the guitar again after his stroke with hemiplegia? Did the Brazilian Villa-Lobos' worldwide reputation help him live longer thanks to the best treatment available to him? Andreas Otte, physician and musician, has incorporated the latest medical history research into the composers' pathographies. This book is an exciting and "well-tempered" reading experience not only for physicians, music lovers, musicologists and musicians, but for all readers who want to develop a basic understanding of the pathophysiology and life scores of these great masters under current conditions from today's perspective.Table of Contents1 Introductory to the Topic 1.1 The Fascination about Diseases of Famous Composers 1.2 The Difficulties of Retrodiagnoses 1.2.1 Diagnostic and Therapeutic Possibilities 1.2.2 Interpretation of Symptoms 1.2.3 Absence of Suspected Diagnosis 1.2.4 Later Appearance of Information about Diseases 1.2.5 Present-day Methods 1.2.6 Retrodiagnosis as Retrospective Diagnosis 1.2.7 Source Data 1.3 The Change of Diseases over Time 2 Johann Sebastian Bach (1685–1750) 2.1 Introduction 2.2 Bach´s Diseases 2.3 Conclusions 3 Domenico Scarlatti (1685–1757) 3.1 Introduction 3.2 Scarlatti´s Diseases 3.3 Conclusions 4 Nicolò Paganini (1782–1840) 4.1 Introduction 4.2 Paganini´s Diseases 4.3 Conclusions 5 Robert Schumann (1810–11856) 5.1 Introduction 5.2 Schumann´s Diseases 5.3 Conclusions 6 Francisco Tárrega (1852–1909) 5.1 Introduction 5.2 Tárrega´s Diseases 5.3 Conclusions 7 Maurice Ravel (1875–1937) 6.1 Introduction 6.2 Ravel´s Diseases 6.3 Conclusions 8 Heitor Villa-Lobos (1889–1959) 6.1 Introduction 6.2 Villa-Lobos´ Diseases 6.3 Conclusions Appendix A.1 The Nekrolog of Johann Sebastian Bach in Original Language A.2 Extract on Johann Sebastian Bach from "Musicalische LEXICON Oder Musicalische Bibliothek, …. Von Johann Gottfried Walthern, … Leipzig, 1732", translated into English by Walter Emery (Emery, 1942) A.3 Extract on Johann Sebastian Bach from "The Bach Genealogy", translated into English by Walter Emery (Emery, 1942)

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Book Synopsis The life and death, but also the creative work of famous musicians is closely linked to their personal medical histories. In "Famous Composers – Diseases Reloaded" these case histories are vividly reconstructed on the basis of authentic biographical testimonies and closely linked to the personalities of the musicians. The latest research findings on the pathophysiology of these composers will be woven into the overall picture. Was Paganini's "devilishness" caused by a hereditary disease? Did Scarlatti have strange signs of illness on his fingers? What did Bach really die of? How did "Christel" from a dubious milieu change Schumann's entire life? What aggravated Ravel's underlying illness so that he did not complete a single composition in the last five years before his death? How did Tárrega manage to play the guitar again after his stroke with hemiplegia? Did the Brazilian Villa-Lobos' worldwide reputation help him live longer thanks to the best treatment available to him? Andreas Otte, physician and musician, has incorporated the latest medical history research into the composers' pathographies. This book is an exciting and "well-tempered" reading experience not only for physicians, music lovers, musicologists and musicians, but for all readers who want to develop a basic understanding of the pathophysiology and life scores of these great masters under current conditions from today's perspective.Table of Contents1 Introductory to the Topic 1.1 The Fascination about Diseases of Famous Composers 1.2 The Difficulties of Retrodiagnoses 1.2.1 Diagnostic and Therapeutic Possibilities 1.2.2 Interpretation of Symptoms 1.2.3 Absence of Suspected Diagnosis 1.2.4 Later Appearance of Information about Diseases 1.2.5 Present-day Methods 1.2.6 Retrodiagnosis as Retrospective Diagnosis 1.2.7 Source Data 1.3 The Change of Diseases over Time 2 Johann Sebastian Bach (1685–1750) 2.1 Introduction 2.2 Bach´s Diseases 2.3 Conclusions 3 Domenico Scarlatti (1685–1757) 3.1 Introduction 3.2 Scarlatti´s Diseases 3.3 Conclusions 4 Nicolò Paganini (1782–1840) 4.1 Introduction 4.2 Paganini´s Diseases 4.3 Conclusions 5 Robert Schumann (1810–11856) 5.1 Introduction 5.2 Schumann´s Diseases 5.3 Conclusions 6 Francisco Tárrega (1852–1909) 5.1 Introduction 5.2 Tárrega´s Diseases 5.3 Conclusions 7 Maurice Ravel (1875–1937) 6.1 Introduction 6.2 Ravel´s Diseases 6.3 Conclusions 8 Heitor Villa-Lobos (1889–1959) 6.1 Introduction 6.2 Villa-Lobos´ Diseases 6.3 Conclusions Appendix A.1 The Nekrolog of Johann Sebastian Bach in Original Language A.2 Extract on Johann Sebastian Bach from "Musicalische LEXICON Oder Musicalische Bibliothek, …. Von Johann Gottfried Walthern, … Leipzig, 1732", translated into English by Walter Emery (Emery, 1942) A.3 Extract on Johann Sebastian Bach from "The Bach Genealogy", translated into English by Walter Emery (Emery, 1942)

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Book SynopsisThis volume presents a collection of original papers at the intersection of philosophy, the history of science, cultural and theatrical studies. Based on a series of case studies on the 17th century, it contributes to an understanding of the role played by instruments at the interface of science and art. The papers pursue the hypothesis that the development and construction of instruments make a substantive contribution to the opening of new fields of knowledge, the development of new cultural practices, but also to the delineation of particular genres, methods, and disciplines. This perspective leads the authors to reflect anew on what actually defines an instrument and to develop a series of basic questions to determine what an instrument is - which actions does the instrument incorporate? – which actions does the instrument make possible? - when do the objects of examination themselves become instruments? – what skills are required to use an instrument, which skills does it produce? With its combination of new theoretical models and historical case studies, its detailed demonstration of the mutual influence of art and science with the instrument as the point of intersection, this volume enters new territory. It is of great value for all those interested in the history of our perception of instruments. Besides the editors, the authors of the papers are: Jörg Jochen Berns, Olaf Breidbach, Georges Didi-Huberman, Peter Galison, Sybille Krämer, Dieter Mersch, Hans-Jörg Rheinberger, Wilhelm Schmidt-Biggemann, and Otto Sibum.

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Book Synopsis„Weil jede Note zählt“: Dies ist das interpretatorische Credo, das Alfred Brendel in diesem Buch entwirft. Es ist eine Aufforderung, über den Umgang mit Mozarts Musik nachzudenken, über das, was man gemeinhin „Interpretation“ nennt und was sich in den letzten 100 Jahren immer wieder fundamental verändert hat. In Gesprächen und Essays formulieren weltberühmte Mozart-InterpretInnen und bekannte Mozart-ExpertInnen ihre Erfahrungen und Erkenntnisse darüber, was es hieß und was es heißt, Mozart aufzuführen.Table of ContentsErster Teil: Essays.- zweiter Teil: Gespräche.- Dritter Teil: Mozartfest Würzburg.- Anhang: Werkregister, Personenregister

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Book SynopsisRichard Wagners Werke erleben seit ihren Uraufführungen eine unentwegte Bühnenpräsenz. An ihnen messen sich Sänger und Sängerinnen, Instrumentalisten, Dirigenten sowie Regisseurinnen und Regisseure. In der Fülle der Wagner-Literatur bietet das Handbuch einen aktuellen Überblick: Einzelbesprechungen führen durch alle musikalischen Werke, weitere Beiträge geben ein Bild von Wagner als Schriftsteller, Dichter, Briefschreiber, Regisseur, Dirigent und Organisator. Auch das politische, kulturgeschichtliche und musikalische Umfeld wird eingehend behandelt. Mit ausführlicher Chronik und Werkregister.Table of ContentsVorwort.- Zeittafel.- Einleitung.- Lebenswelten.- Politik und Gesellschaft.- Schriften und Ästhetik.- Wagners Werk jenseits der Partituren.- Schaffensprozess.- Instrumentalwerke.- Vokalwerke und Schauspielmusik.- Bühnenwerke.- Bearbeitungen und Fragmente.- Interpretation und Rezeption.- Ausblicke. Anhang: Werk- und Schriftenregister, Personenregister

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Book SynopsisMit der kommentierten Auswahl der Briefe und Notizen von Carl Dahlhaus (1928–1989) wird die Korrespondenz eines der bedeutendsten Musikwissenschaftler des 20. Jahrhunderts erstmals in breiter Form zugänglich. Sie wirft neues Licht auf die Entwicklung der Musikwissenschaft in dieser Zeit. Zudem gestattet sie einen fesselnden Einblick in den Lebensweg und den (Arbeits-)Alltag eines bundesrepublikanischen Intellektuellen mit Wissenschaftlern wie Theodor W. Adorno, Peter Szondi, Reinhart Koselleck und Hans Robert Jauß oder den Komponisten György Ligeti und Hans Werner Henze. Ihre sprachliche und stilistische Verve verleiht nicht wenigen von Dahlhaus’ Briefen und Notizen zugleich genuin literarische Qualitäten.Trade Review“... Die Edition samt durchweg klugem Anmerkungs-«Apparat» verdient höchstes Lob und viel Resonanz.” (Rainer Peters, in: Neue Zeitschrift für Musik, Heft 1, 2023) “... Die Herkulesaufgabe, aus dem gigantischen Quellenmaterial ein spannendes Lebensbild entstehen zu lassen, das neben Streiflichtern auf die Person Einblicke in die Werkstatt des Autors gestattet, darf - mit den Einschränkungen zur Textgestalt als geglückt bezeichnet werden. Dank der durchgängig sprachlichen und stilistischen Brillanz kommen nicht nur Dahlhaus-Schüler und -kenner auf ihre Kosten - in den Briefen entfaltet sich ein Panorama des Geisteslebens des alten Westdeutschlands bis zur Wende.” (Rüdiger Albrecht, in: info-netz-musik, info-netz-musik.bplaced.net, 9. Dezember 2022)Table of ContentsBriefe.- Notizen.- Adressaten und Personen aus dem Umfeld.- Personenregister

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Book SynopsisIst musikalische Romantik eine Epoche, ein Stil oder bloß Kitsch? Wird sie von Literaten um 1800 erfunden? Ist Ludwig van Beethoven ein waschechter Romantiker oder doch erst Robert Schumann oder Richard Wagner? Irrt E.T.A. Hoffmann, wenn er schon Joseph Haydn und Wolfgang Amadé Mozart zu Romantikern erklärt? Und vor allem: Wann fängt die Romantik eigentlich an? - Das Buch begibt sich auf Spurensuche nach den Anfängen der Romantik, beobachtet einen Wandel im Nachdenken über Musik, zeigt Ästheten, Literaten und Musiker in ihren Debatten um moderne und experimentelle Konzepte des Komponierens und Schreibens. - Musik hat mehr als nur Teil am wirkmächtigen Ereignis der Romantik um 1800, das unsere Moderne geprägt hat wie wohl kaum eine andere Weltsicht der letzten Jahrhunderte. Sie sorgt für nachhaltige Hörerlebnisse der um 1770 geborenen Künstler, sie konfrontiert mit Neuem, Unerhörtem, sie entführt eine ganze Generation in Geisterreiche und Traumbilder. Sie ist nichts weniger als mitverantwortlich für die Anfänge der Romantik überhaupt. Das Buch begleitet diese Entwicklung bis zu Hoffmanns berühmter Rezension der 5. Sinfonie Beethovens aus dem Jahre 1810: als Ende des Anfangs.Table of Contents(Musikalische) Romantik: Was ist das?.- Literaten hören Musik.- Die Musik spricht, oder nicht?.- Neue Modelle: Reflexion und Kritik .- Neue Autorkonzepte .- Die Entdeckung des Hörers .- Alte Geschichte(n): Neue Inspiration.- Romantische Orte im Lyrischen und Idyllischen .- Relaunch: Fantasie, Arabeske und Nachtstück .- Neue Werkkonzepte: Offenheit und Fragmentarik .- Romantische Kippfiguren: Ironie und Ambiguität.- Mozart, ein Romantiker?.- Das Ende vom Anfang: Hoffmann rezensiert Beethoven.- Personen- und Werkregister

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Book SynopsisWovon »sprechen« Brahms’ Symphonien, was ist ihr musikalischer Gehalt? War Johannes Brahms ein formtreuer Klassizist oder ein »verkappter Programmmusiker«? Kaum ein Komponist des 19. Jahrhunderts vereinte derart widersprüchliche Einschätzungen auf sich wie Johannes Brahms. Johannes Schild wagt einen neuen Blick ins Innere dieser Musik und rückt das »Rätsel Brahms« in eine ungewohnte Perspektive. Eine »symphonische Tetralogie« nennt er die vier Symphonien, denn die fruchtbare Rivalität zum 20 Jahre älteren Wagner findet darin deutlichen Ausdruck. Auch Brahms’ Kompositionskunst zielt auf ein musikalisches Sprechen und Bedeuten, doch geht sie in der Art, wie sie ihre Botschaft formuliert, über Wagner hinaus. Herzstück der Untersuchung ist eine Ton-Konstellation, die in artistischer Weise die Musik der Symphonien durchwirkt. Das Buch macht die Kunst der Anspielungen und geheimen Botschaften plastisch und kommt neben Bach und Wagner schließlich zu einem weiteren Fixstern: Mozart.Table of ContentsVorwort.- I. EINLEITUNG.- Historisches.-Brahms und die Symphonie.- Eine maliziöse Beziehung.- Ästhetische Bestimmungen.- 27.-I I. DER „VIZEMEISTER“.- Prüfstein Tristan.- Wagner-Episoden.- III. OPUS 100 – EIN BEDEUTUNGSFELD.- Meistersinger-Aspekte.- Zur zweiten Unmittelbarkeit.- Penzinger Nachklang.- IV. BRAHMS’ SYMPHONISCHE TETRALOGIE.- V. GRUNDLEGENDES IN DER ERSTEN SYMPHONIE.- Der ‚Hymnus’.- Die ‚F-A-F-Chiffre’ (Terz/Sext-Modell).- Das ‚Todesmotiv’ (Terzenkette).- Der ‚Chiasmus’.- Leitmotiv und Kernmotiv.- Das ‚Motiv der Götterdämmerung’.- Rückschau im Doppelkonzert.- VI. VERSTOHLENE POESIE.- Eine Spurensuche.- Der ‚Manfred’-Stoff.- Das Alp horn-Thema.- Relationsmusik.- 170.- VII. DIE „GEHEIME, SCHWERE LAST“.- Ein kleines Requiem.- Vom ‚milchjungen Knaben’.- Tragische Idylle.- VIII. DIE PASSACAGLIA UND IHR THEMA.- IX. EXKURS: BRAHMS UND CORIOLAN.- X. AUTOBIOGRAPHISCHES IM FINALE DER VIERTEN SYMPHONIE.- Musik und Programm.- Über Brahms’ Passacaglia.- Jenseits aller Menschenschicksale.- XI. EXKURS: DIE FUGA E-DUR (BWV 878).- XII. ZUM AKROSTICHON DER VIER SYMPHONIEN.- Bach- und Mozart-Konvergenzen.- Ein Kanon und seine Rezeption.- Leitstern Jupitersinfonie.- „... unsere Götter über uns“.- Der tetralogische Plan.- XIII. IM ZEICHEN DER SELIGEN GENIEN.- Resonanzen und Korrespondenzen.- Epilog in Op. 121.- XIV. IN MEINEN TÖNEN SPRECHE ICH.- „In meinen Tönen spreche ich“.- Fluchtpunkt Bach.- Brahms und die Symphonie.- GLOSSAR.- LITERATUR.- NOTEN.- PERSONENVERZEICHNIS.

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Book SynopsisWas bleibt? Johann Sebastian Bach gestaltete und verfeinerte sein reiches musikalisches Erbe sehr bewusst: Über Jahrzehnte hinweg trug er sorgfältig angelegte Sammlungen, Originaldrucke und reinschriftliche Partituren zusammen, mit denen er Maßstäbe setzen und der Nachwelt im Gedächtnis bleiben wollte – wie eine musikalische Autobiografie. Christoph Wolff porträtiert in seinem neuen Buch anhand dieser Referenzwerke Bachs bahnbrechende künstlerische Leistungen quer durch die verschiedenen Gattungen der Instrumental- und Vokalmusik: Präludien, Fugen und Orgelchoräle, Suiten, Sonaten und Konzerte sowie Kantaten, Passionen, Oratorien und Messen. Auf dieser imponierenden Strecke trieb Bach mit seiner musikalischen Logik und ausdrucksvollen Tonsprache die Kompositionsgeschichte voran.Trade Review“... die Werkporträts sind für kirchenmusikalisch Tätige überaus lesenswert! ... Dieses Buch setzt Maßstäbe, was die Kunst des Verstehens von Bachs Musik angeht ...” (Meinrad Walter, in: Musik & Kirche, Heft 4, 2023) “... Christoph Wolff hat mit diesem Buch zu seinem stattlichen Opus eine weitere meisterhafte Studie mit einer staunenswerten Materialbeherrschung vorgelegt, die nicht nur für Bibliotheken zum Pflichtbestand gehört, sondern auch für Kenner und Liebhaber, wie man im 18. Jh. sagte, hohes intellektuelles Vergnügen und viele Anregungen zur Beschäftigung mit Bach einzigartigen Werken ermöglicht” (Albert Raffelt, in: Informationsmittel für Bibliotheken, informationsmittel-fuer-bibliotheken.de, Jg. 31, Heft 1, 2023)

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Book SynopsisJamaican deejay Yellowman divided a country with his bawdy songs and his very body: he has been wildly popular among dancehall fans, yet widely despised by polite society. Even though his contribution to Jamaican musical culture is immense, scholars have ignored him and reggae histories have largely misunderstood him. King Yellowman: Meaningful Bodies in Jamaican Dancehall Culture is the first serious study of one Jamaica's most significant artists and dancehall’s first major international star. It is a critical biography designed to satisfy fans while furthering academic discourse on dancehall by offering a new perspective on the way Yellowman negotiates the slackness/culture binary in Jamaican music. Based on years of ethnographic fieldwork, Brent Hagerman begins with the compelling story of Winston Foster’s early life as an abandoned ghetto outcast and his hard-fought journey to become the King of Dancehall, then goes on to a critical exploration of the marginalization of people with albinism in Jamaica and the use of slackness in Caribbean music. Through slackness and his mobilization of Rastafarian symbols, Yellowman subverts embedded Jamaican cultural notions of sexuality, gender, and race to overcome his cultural displacement, promote his yellow body as sexually appealing and forge a place for himself among the Jamaican body politic.Table of ContentsPreface ix Acknowledgements xiii Introduction 1Part 1. The Life and Times of Yellowman1 Abandoned: The Early Life of Winston “Yellowman” Foster, 1957–1971 192 From Alpha to Eventide: The Teenage Years, 1971–1976 303 Ranking Dundus: Breaking into the Music Business, 1977–1978 464 Mad over Me: Tastee Talent Competition to Aces International, 1979–1981 745 Ram Jam Master, 1981 946 Jamaica Proud of Me, 1982 1277 King Yellowman, 1983–1984 1508 Can’t Hide from Jah: Encounters with Religion 1789 Sufferation, That’s All I Know: Cancer, 1985 19210 Message to the World: Prayer and More Slackness 200Part 2. Meaningful Bodies in Jamaican Dancehall Culture11 Yellowman, Race, Sex and Masculinity 22512 Yellowman in Reggae Histories and Scholarship 24813 Yellowman, Slackness and Social Critique 28614 Yellowman as Moral Regulator 29615 Yellowman, Sex and Religion 313Conclusion 335Appendix 1: “Galong Galong Galong” 339Appendix 2: Selected Album Covers 341Notes 347References 357Index 369

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

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

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

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Book SynopsisFanny Hensel's String Quartet in E flat major (1834) is one of her most ambitious and individual compositions. Contextualising it within wider scholarly discussion about female composers' music, Benedict Taylor explores the unique qualities of Hensel's piece and shows how it responded to the most progressive works of the time.Table of Contents1. Introduction; 2. Background; 3. Genesis and private reception; 4. First movement: Adagio ma non troppo; 5. Second movement: Allegretto; 6. Third movement: Romanza; 7. Finale: Allegro molto vivace; 8. Responding to the Quartet.

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

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

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Book SynopsisSince its premiere in 1791, The Magic Flute has been staged continuously and remains, to this day, Mozart''s most-performed opera worldwide. This comprehensive, user-friendly, up-to-date critical guide considers the opera in a variety of contexts to provide a fresh look at a work that has continued to fascinate audiences from Mozart''s time to ours. It serves both as an introduction for those encountering the opera for the first time and as a treasury of recent scholarship for those who know it very well. Containing twenty-one essays by leading scholars, and drawing on recent research and commentary, this Companion presents original insights on music, dialogue, and spectacle, and offers a range of new perspectives on key issues, including the opera''s representation of exoticism, race, and gender. Organized in four sections ? historical context, musical analysis, critical approaches, and reception ? it provides an essential framework for understanding The Magic Flute and its extraordinary afterlife.Table of ContentsIntroduction Jessica Waldoff; Part I. Conception and Context: 1. German Opera in Mozart's Vienna Estelle Joubert; 2. 'The Magic Flute's' Libretto and German Enlightenment Theater Reform Martin Nedbal; 3. Emanuel Schikaneder and the Theater auf der Wieden Lisa de Alwis; 4. 'The Magic Flute' in 1791 Austin Glatthorn; Part II. Music, Text, and Action: 5. Music as Stage-Craft Julian Rushton; 6. Enduring Portraits: The Arias Laurel E. Zeiss; 7. 'All Together, Now'? Ensembles and Choruses in 'The Magic Flute' Nicholas Marston; 8. Musical Topics, Quotations, and References Mark Ferraguto; 9. Instrumentation, Magical and Mundane Emily I. Dolan and Hayley Fenn; 10. The Dialogue as Indispensable Catherine Coppola; 11. Music, Drama and Spectacle in the Finales John Platoff; III. Approaches and Perspectives: 12. Seeking Enlightenment in Mozart's 'Magic Flute' Richard Kramer; 13. Birdsong and Hieroglyphs: Exoticism and Enlightened Orientalism in 'The Magic Flute' Matthew Head; 14. Partial Derivatives: Sources, Types, and Tropes in 'The Magic Flute' Thomas Bauman; 15. Pamina, the Queen, and the Representation of Women Jessica Waldoff; 16. Blackness and Whiteness in 'The Magic Flute' – Reflections from Shakespeare Studies Adeline Mueller; IV. Reception, Interpretation, and Influence: 17. Zauberflöte: A Cultural Phenomenon in an Age of Revolution Ian Woodfield; 18. 'The Magic Flute' in Biography, Criticism, and Literature Simon P. Keefe; 19. The Elusive Compositional History of 'The Magic Flute' Daniel R. Melamed; 20. Staging 'The Magic Flute' Kate Hopkins; 21. Ingmar Bergman's Film Version of 'The Magic Flute' Dean Duncan.

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Book SynopsisIn recent decades, the music of Amy Beach has made an impressive return to concerts, recordings, and the academy. This book introduces Beach's compelling music and life story to those as yet unfamiliar with her work. Drawing on recently uncovered archival sources, it will expand the resources available to students, scholars and listeners.Table of ContentsPart I. Historical Context: 1. Between composer's desk and piano bench: Amy beach's life and works E. Douglas Bomberger; 2. Amy beach and the women's club movement Marian Wilson Kimber; 3. 'A reality of glorious attainment': Amy beach's Macdowell colony Robin Rausch; 4. Amy beach and her publishers Bill F. Faucett; Part II. Profiles of the Music: 5. Amy beach's keyboard music Kirsten Johnson; 6. Songs of Amy beach Katherine Kelton; 7. 'Worthy of serious attention': the chamber music of Amy beach R. Larry Todd; 8. The power of song in beach's orchestral works Douglas W. Shadle; 9. Choral music Matthew Phelps; 10. Beach's dramatic works Nicole Powlison; Part III. Reception: 11. Phoenix redivivus: Beach's posthumous reception E. Douglas Bomberger.

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Book SynopsisThe Who & Quadrophenia offers a generously illustrated deep dive into all aspects of one of the most popular rock albums of all time.Trade Review“Everything about the writing, recording, and touring of Quadrophenia—as well as its lengthy afterlife and how it fits into the Greater Who History—is explored in Martin Popoff’s The Who & Quadrophenia. The ultra-prolific Popoff, as usual, leaves no detail unexplored in his latest in a series of high-quality coffee table books.” -- Bob Ruggiero * Houston Press *Table of ContentsIntroduction Chapter 1: “Remember when stars were in reach:” The Context: The Who as of 1972 Sidebar 1: Mods Sidebar 2: Chris Stamp and Kit Lambert Chapter 2: “You only see what we show you:” The Sessions Sidebar 1: Concept Albums versus Rock Operas Chapter 3: “Can you see the real me, can you?:” Side One Sidebar 1: The Graphics Sidebar 2: Pete Townshend Chapter 4: “I hear the music of a heartbeat:” Side Two Sidebar 1: Roger Daltrey Chapter 5: “Let me flow into the ocean:” Side Three Sidebar 1: Keith Moon Chapter 6: “Oh God, I need a drink of cool, cool rain:” Side Four Sidebar 1: John Entwistle Chapter 7: “You fight computers and receipts:” The Tour Sidebar 1: Charts, Sales and Rankings Chapter 8: “I’m dressed right for a beachfight:” Quadrophenia: The Movie Sidebar 1: Quadrophenia: The Soundtrack Album Sidebar 2: The Mod Revival Chapter 9: “I pick up phones and hear my history:” The Who Post-Quadrophenia Sidebar 1: Performances of Quadrophenia in the Modern Day Sidebar 2: Quadrophenia Collectibles Tour Dates Discography Image Credits About the Author Index

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Book SynopsisThe music, the fans, the choreography, the clothes, the merch, the hysteria... the hair. The pop phenomenon that dominated the 1990s and 2000s has left a long-lasting mark on culture, yet no book has fully celebrated them. Maria Sherman has a deep love of boy bands and has written extensively on them for Jezebel, where she currently works, as well as in Rolling Stone, Vulture, and more. In this book, her first, she celebrates the boy band revolution with a mix of serious fandom and a tongue-in-cheek attitude. Larger Than Life begins with a brief look at the history of boy bands starting with The Beatles and touching on groups from the 1970s and early 1980s like the Jackson 5 and Menudo. Sherman then moves on the heart of the book -- the boy bands of the 80s, 90s, 2000s, and 2010s. Bands including NKOTB, Backstreet Boys, *NSYNC, One Direction, and K-Pop bands like BTS are given a capsule biography with spreads on solo careers (the good and the bad), one hit wonders, dating, in-fighting,

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Book SynopsisThis entertaining book will appeal to patriots of all persuasions, along with sports fans, musicians, veterans, history buffs, and anyone who has ever struggled to hit the high notes in the land of the free and the home of the brave.Trade ReviewWith its in-depth details not only about the making of the song but its incorporation into American history and lives, this is a powerful pick for any interested in American or musical history. Midwest Book ReviewTable of ContentsAcknowledgmentsPrologue1. Anthem before a Nation, 1814–18602. American Dischord, 1860–18653. Striving to Reunify, 1865–19004. Duties and Customs, 1880–19105. Stars and Stripes Forever, 1890–19206. Marching under the Banner, 1898–19317. Trials and Triumphs, 1931–19548. Star-Spangled Conflict, 1954–19639. Postmodern Patriotism, 1964–2014EpilogueAppendix: The Original Words of The Star-Spangled BannerNotesFurther ReadingIndex

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Book SynopsisThe greatest backup group in the history of recorded music undoubtedly was the Jordanaires, a gospel group of mostly Tennessee boys, formed in the 1940s, that set the standard for studio vocal groups in the ''50s, ''60s, ''70s, and beyond. In their sixty-five-year career, from 1948 through 2013, the recordings they sang on have sold an estimated eight billion copies.They sang on more than 200 of Elvis''s recordings, including most of his biggest hits. They were in three of his best-known movies, appeared with him on most of his early nation-wide TV shows, and toured with him for many years. Throughout Elvis''s early career, they were his most trusted friends and probably his most positive influence. No telling how many thousands of miles we rode together over those fourteen years, remembered Gordon Stoker, the group''s manager and high tenor, and most of those miles were good miles, with lots of laughs, and lots of talk about life.While the Jordanaires'' bread and butt

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Book SynopsisDie religiöse Praxis jüdischer Gemeinden war und ist ein Ergebnis komplexer Aushandlungsprozesse. Dies gilt auch für die jüdische Gemeinde in Prag, die eine der ältesten in Europa ist. Die vorliegende Studie ist die erste umfangreiche Untersuchung der in der Forschung bisher vernachlässigten innerreligiösen und musikalischen Entwicklungen des Prager jüdischen Lebens vor der Schoah. Im Mittelpunkt der Analyse stehen Formen und Bedeutungen des vielfältigen liturgischen Alltags sowie dessen Akteure und Repertoire in den etwa 30 Prager Synagogengemeinden im 19. und frühen 20. Jahrhundert.

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