Music reviews and criticism Books

Book SynopsisA first-of-its-kind history, The Mormon Tabernacle Choir tells the epic story of how an all-volunteer group founded by persecuted religious outcasts grew into a multimedia powerhouse synonymous with the mainstream and with Mormonism itself. Drawing on decades of work observing and researching the Mormon Tabernacle Choir, Michael Hicks examines the personalities, decisions, and controversies that shaped America''s choir. Here is the miraculous story behind the Tabernacle''s world-famous acoustics, the anti-Mormonism that greeted early tours, the clashes with Church leaders over repertoire and presentation, the radio-driven boom in popularity, the competing visions of rival conductors, and the Choir''s aspiration to be accepted within classical music even as Mormons sought acceptance within American culture at large. Everything from Billboard hits to TV appearances to White House performances paved the way for Mormonism''s crossover triumph. Yet, as Hicks shows, such success raised Trade ReviewFinalist, Utah Book Award for Nonfiction, Utah Center for the Book, 2016. Honorable Mention, Best Biography, Mormon History Association, 2016. “Mormon history written by Mormons can be pretty dry, but Mr. Hicks, a professor of music at Brigham Young University, is funkier than your average saint. . . .the anecdotes alone are worth the price of the book.”--The Wall Street Journal "Tracking the choir from its humble beginnings in 1836 to moves into radio, international touring, and TV and film appearances, the material is as expansive in scope as the choir's reach has become. . . . Intriguing."--Library Journal "A well-done biography that best highlights the historical aspects of the growth of the choir and the vision of its several directors."--Association for Mormon Letters "While the historical information is well presented and highly engaging, it is the story of the choir's intersection with American society and culture, and Hicks' ability to bring out these nuances, that make this book a brilliant read."--The Journal of the Association of Anglican Musicians“Hicks documents plenty of intrigue in the leadership, mission and repertoire of ‘America's choir,’ . . . . this history is more provocative than readers may suspect.”--Kirkus Reviews "The Mormon Tabernacle Choir: A Biography is the most accessible and authoritative history of this unique musical ensemble yet published. . . . Required reading not only for Mormons and musicians, but for anyone who wants to learn about the realities of world-class music making in a hierarchal religious community."--Mormon Studies Review "This fascinating, honest account should find many eager readers among the Mormon Tabernacle Choir's millions of fans. Michael Hicks combines the accuracy of a fine historian with the sensitivity of a judicious music critic." --Daniel Walker Howe, Pulitzer-Prize-winning author of What Hath God Wrought: The Transformation of America, 1815–1848 "An invaluable retelling of one of America's most vibrant and important musical institutions." --Eric Whitacre "A fascinating history of the wonderful Mormon Tabernacle Choir. Michael Hicks traces the story of this great ensemble from its early days to its current status as one of the world's great choirs. He highlights the remarkable dedication and musicianship of the choir members through the years, and the leadership and vision of the conductors." --David Hurley, member of The King's Singers

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Book SynopsisTrade Review"Music in the Age of Anxiety offers an engaging, lively, and thought-provoking examination of a diverse range of musical styles prevalent in 1950s America. This fascinating book is accessible for students and general readers, even as Wierzbicki offers new insights that will be of interest to specialists as well."--Gayle Sherwood Magee, author of Charles Ives Reconsidered"Provides a fresh view of the socially and politically complex decade of the 1950s. Wierzbicki's sense of humor supplements a concise writing style that is easy to read but authoritative. The quality of research and annotations are remarkable, and his work provides invaluable sources for scholars who would like to dig deeper into the wide range of subjects covered. His breadth of research and topics should be of interest to musicians and non-musicians alike."--Notes "Music in the Age of Anxiety is a book for both general interest and scholarly study."--Journal of American Culture "Wierzbicki takes on the the difficult task of linking all musical genres from 1945 to 1960 to the neurosis of the era. . . . The author successfully demonstrates the impact of social change upon Fifties music in a well-written and engaging way. Recommended."--Library Journal"It's unbelievable, looking back now almost sixty years, that there was once a time that so many different kinds of music could thrive, even claim priority status, at the center of the American musical mainstream. The “fifties” were extraordinary years of conformity and rebellion, a contradiction reflected in nearly every genre of music. Not everyone might analyze these contradictions the same way, or emphasize the same causes or trends. But whether or not you always agree with the analysis you will marvel at the vast landscape that James Wierzbicki masterfully surveys here. I defy anyone to read this book without coming away with a greater sense of the issues surrounding music’s production and consumption during this decade, its staggering array of now timeless treasures in every genre, its immense boldness and variety, and its lasting effects." --Michael V. Pisani, Vassar College"This very readable book is filled with many perceptive connections between music and cultural, social, and political activities of the 1950s. Wierzbicki is to be especially commended for his mastery of many sources and the way he has woven them together."--Michael Broyles, author of Mavericks and Other Traditions in American Music

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Book SynopsisCovering works by popular figures like Ralph Vaughan Williams and Gustav Holst as well as less familiar English composers, Eric Saylor's pioneering book examines pastoral music's critical, theoretical, and stylistic foundations alongside its creative manifestations in the contexts of Arcadia, war, landscape, and the Utopian imagination. As Saylor shows, pastoral music adapted and transformed established musical and aesthetic conventions that reflected the experiences of British composers and audiences during the early twentieth century. By approaching pastoral music as a cultural phenomenon dependent on time and place, Saylor forcefully challenges the body of critical opinion that has long dismissed it as antiquated, insular, and reactionary.Trade Review"This is a darn fine book, well-written and well-researched. " --Journal of Musicological Research"With Eric Saylor's welcome reassessment of style, mode, and genre in English Pastoral Music, the relegation of the study of pastoralism in (English) music to the margins of scholarly discourse appears to be behind us." --Notes"Even more fascinating than an interview can convey; it's a book very much worth reading for yourself."--Iowa Public Radio"Eric Saylor's book, English Pastoral Music: From Arcadia to Utopia, 1900-1950 is even more fascinating than an interview can convey; it's a book very much worth reading for yourself."--Iowa Public Radio"It must be said that this book is as much one of advocacy as of analysis; yet it is not diminished by Saylor's passion. It is creative and open-ended, as research ought to be; and there are many lines of inquiry started here that invite further discussion."--NABMSA Reviews"Saylor makes his points with clarity, insight, and a touch of humor. . . . This book is valuable for to bringing serious attention to a repertoire that has long been pigeonholed and dismissed." --Music Reference Services Quartertly"In this landmark study, Eric Saylor sensitively illuminates the contexts and meanings (including many dark currents) of a body of twentieth-century music that remains exceptionally popular with audiences, and yet is still frequently misunderstood and underestimated by critics and musicologists."--Alain Frogley, author of Vaughan Williams's Ninth Symphony"Eric Saylor's English Pastoral Music is a brilliant new mapping of a repertory much admired but often misunderstood. Juxtaposing visions of Arcadian landscapes with the existential realities of war, Saylor reframes early-twentieth-century pastoral--idyllic and elegiac--as a modernist art form. Rich in biographical, social, and ideological perspectives, this study is both superbly researched and deeply felt."--Philip Rupprecht, author of British Musical Modernism: The Manchester Group and their Contemporaries

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Book SynopsisAmong his numerous children, Johann Sebastian Bach sired five musically gifted sons. The eleventh volume of Bach Perspectives presents essays that explore these men's lives and careers via distinctive and, in several cases, alternative and interdisciplinary methodologies. Robert L. Marshall traces how each of the sons grappled withand at times suffocated beneaththeir illustrious father's legacy. Mary Oleskiewicz's essay investigates the Bach family's connections to historical keyboard instruments and musical venues at the Prussian court, while David Schulenberg looks at Carl Philipp Emanuel Bach's diverse and innovative keyboard works. Evan Cortens digs into everything from performance materials to pay stubs to offer a detailed view of the business of Carl Philipp Emanuel Bach's liturgical music. Finally, Christine Blanken discusses how the rediscovery of Bach family musical manuscripts in the Breitkopf archive opens up new perspectives on familiar topics. A supplemental companion weTrade Review"This book is, as with the earlier volumes in this series, immaculately produced and presented, and at once become an indispensable part of any serious musician's library." --Organ

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Book SynopsisFemale-to-male crossdressing became all the rage in the variety shows of nineteenth-century America and began as the domain of mature actresses who desired to extend their careers. These women engaged in the kinds of raucous comedy acts usually reserved for men. Over time, as younger women entered the specialty, the comedy became less pointed and more centered on the celebration of male leisure and fashion. Gillian M. Rodger uses the development of male impersonation from the early nineteenth century to the early twentieth century to illuminate the history of the variety show. Exploding notions of high- and lowbrow entertainment, Rodger looks at how both performers and forms consistently expanded upward toward respectable—and richer—audiences. At the same time, she illuminates a lost theatrical world where women made fun of middle-class restrictions even as they bumped up against rules imposed in part by audiences. Onstage, the actresses'' changing performance styles refTrade ReviewMarcia Herndon Book Award, Gender and Sexualities Section, Society for Ethnomusicology, 2018 "Magisterial." --Jezebel"An important study that offers valuable insights into the lives and careers of significant performers, reasons for the popularity of male impersonators, and the types of songs male impersonators included in their repertories."--William Everett, author of Rudolf Friml"Gillian M. Rodger's new book is a welcome addition to scholarship on nineteenth-century performance culture and the history of gender and sexuality more broadly. Just One of the Boys is a lively, important study, one that will delight readers in performance history, gender history, and U.S. cultural history." --The Journal of American History"The contributions of Just One of the Boys: Female-to-Male Cross-Dressing on the American Variety Stage to the history of gender illusion are tremendous." --Journal of the American Musicological Society"Serious students of variety entertainment will find much to delight them in Rodger's impeccably researched and explicated work. . . Recommended."--Choice"Gillian Rodger's Just One of the Boys is a welcome and fascinating addition to the history of cross-dressed performance and 19th-century Anglo-American theater more generally." --The Gay & Lesbian Review"Through her analysis of performance styles and management strategies in the heyday of variety, Rodger demonstrates the significant role played by women impersonating men, despite the form's declining importance with the transition to vaudeville in the twentieth century." --American Historical Review

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Book SynopsisTrade ReviewIrving Lowens Book Award, 2020 Judy Tsou Critical Race Studies Award, 2020 "A necessary exploration of how race has shaped the opera landscape in the United States and South Africa."--New York Times"This book reveals and examines the entire hidden history of race in opera and presents us with a vision of the art form as an inherently powerful and liberating cultural force. This is a power punch of a book and not to be missed." --Book Riot "This wide-ranging and-a positive sense-provocative study . . . should interest anyone concerned with teaching and studying the shifting functions of opera in an even more shifting world."--Opera News"Nestled within the disciplines of musicology, ethnomusicology, African Studies, and cultural theory, this truly interdisciplinary monograph points to a new way to analyze music's place in the past and the present."--New Books Network"Andre explores the background, identity and intention of the composer and librettist, and the genre, in a way that is illuminating and paints a vivid picture for the reader. . . .Overall, this book does contribute greatly to the literature in the field and is relevant to musicologists, sociologists of music and culture, as well as practitioners in the field of opera." --Ethnic and Racial Studies"A most welcome, insightful, deeply rooted and felt study, admirably researched and written. It is rich with ideas about how opera is presented and received, and with astute reflections on the troubling ways that race, racism, segregation, colonization, gender, sexuality, and sexism play into decisions about what operas are performed, how they are performed, and how they are heard and seen."--Ellie M. Hisama, author of Gendering Musical Modernism: The Music of Ruth Crawford, Marion Bauer, and Miriam Gideon"A compelling companion to Rosalyn Story's important text And So I Sing. Where Story focused on constructing the general historiography, Black Opera expands this to a more analytical discussion of how black women have been represented socially, visually, and aesthetically through certain operatic roles. This perspective is unique, innovative, and fills a void in the scholarship on opera."--Tammy Kernodle, author of Soul on Soul: The Life and Music of Mary Lou Williams

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Book SynopsisTuning is the secret lens through which the history of music falls into focus, says Kyle Gann. Yet in Western circles, no other musical issue is so ignored, so taken for granted, so shoved into the corners of musical discourse. A classroom essential and an invaluable reference, The Arithmetic of Listening offers beginners the grounding in music theory necessary to find their own way into microtonality and the places it may take them. Moving from ancient Greece to the present, Kyle Gann delves into the infinite tunings available to any musician who feels straitjacketed by obedience to standardized Western European tuning. He introduces the concept of the harmonic series and demonstrates its relationship to equal-tempered and well-tempered tuning. He also explores recent experimental tuning models that exploit smaller intervals between pitches to create new sounds and harmonies. Systematic and accessible, The Arithmetic of Listening provides a much-needed primer for the wide range of tTrade Review"Not only explains the materials and history of this music in great detail, but also—and probably most importantly—illustrates how these scales and harmonies are used in actual, living, breathing music. What has always been missing from the literature is an overarching guide to the field that is clearly written for both the amateur and professional. This is that book."--John Schneider, Grammy Award-winning producer"There is no other book that comes close to what Kyle Gann has accomplished here. The Arithmetic of Listening combines materials from ancient treatises and complex mathematical discussions of tunings with an artist's eye toward their expressive, musical use. It reads as though you are in a master class with a teacher who is patiently opening your eyes to a hidden history and your ears to hidden musical possibilities."--S. Andrew Granade, author Harry Partch: Hobo Composer"A lot of fun . . . this is indeed a practical book, not just for its instructions, but also in the interludes." --The Wire

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Book SynopsisTrade Review"Engaging and informative study of film scores by Aaron Copland and Hanns Eisler within the larger artistic, intellectual, musical, and political climate of midcentury America. Bick's work offers a significant contribution to the new wave of film music studies, which place equal emphasis on insightful and detailed music discussion."--Gayle Sherwood Magee, author of Robert Altman's Soundtracks: Film, Music, and Sound from M*A*S*H to A Prairie Home Companion

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Book SynopsisTwentieth-century composers created thousands of original works for solo percussion and percussion ensemble. In this concise book, percussionist Thomas Siwe offers an essential and much-needed survey of groundbreaking musical literature.Trade Review"The author's perspective as a student, and later pedagogue, of the percussion program pioneered at the University of Illinois lends the work a humble authority that ultimately makes for a compelling account of recent percussion history." --Music Educators Journal"Recommended." --Choice”This book makes it possible for everyone to benefit from Professor Siwe's decades of research concerning the history of percussion in the twentieth-century and the music composed by many of that century’s most important composers. Percussion music holds a special place in the twentieth century, and its story is told here by one of the twentieth century's most knowledgeable percussion practitioners and pedagogues. Thomas Siwe has written an indispensable book, drawn from a lifetime of experience and research. Everyone interested in the essential role percussion played the last century should read this book!”—Christopher Shultis, author of Silencing the Sounded Self: John Cage and the American Experimental Tradition”Simply stated, this is a singular contribution detailing the history of percussion literature in the twentieth century made by one of the most knowledgeable percussion educators who was witness to many of the composers and compositions he discusses.”—Kathleen Kastner, Wheaton College Conservatory of Music

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Book SynopsisTrade Review"Best 184-page love letter to Chicago." --Chicago Reader"This is a beautiful and hopeful ode to Black Chicago: its music, dance, creativity, innovation, hustle, history, connections, generations and more." --Ms. Magazine"Contreras's Chicago is a place where the dreams of the driven come true. Her world, elaborately described with poetic language, is not only a nice place to visit but one where those of us who envision a brighter and better Chicago must take up residency if we want our visions to become manifest." --Chicago Magazine"This book reads like an excellent DJ’s set on a night out: filled with hits and some satisfying B-sides and a unique blend that only a real master could muster." --TRiiBE"[Contreras is] a sharp connector of local history, with a knack for weaving seemingly disparate threads of Black Chicago into a fresh portrait." --Chicago Tribune"Contreras puts virtually every aspect of Black Chicago culture, music, business breakthroughs, and more on the table, then shows exactly how they are all interconnected. She writes the book as the Black experience is actually lived--this guy knows that guy, but the other guy used to work for the two of them. And none of it would’ve happened were it not for a certain audacious manner of hope and optimism found in Black Chicago."--Lee Bey, author of Southern Exposure: The Overlooked Architecture of Chicago's South Side"In Energy Never Dies, Ayana Contreras crafts an intensely intimate and loving portrait of Black Chicago that that will illuminate, even to lifelong South and West Siders, the distinctiveness of our cultural history and worldview. This book offers urgently needed blueprints for extending the work and actualizing the dreams of the Great Migrants."--Jacqueline Najuma Stewart, coeditor of L.A. Rebellion: Creating a New Black Cinema

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Book SynopsisA Choice Outstanding Academic Title for 2022 In September of 1963, Reverend Lawrence Roberts and the Angelic Choir of the First Baptist Church of Nutley, New Jersey, teamed with rising gospel star James Cleveland to record Peace Be Still. The LP and its haunting title track became a phenomenon. Robert M. Marovich draws on extensive oral interviews and archival research to chart the history of Peace Be Still and the people who created it. Emerging from an established gospel music milieu, Peace Be Still spent several years as the bestselling gospel album of all time. As such, it forged a template for live recordings of services that transformed the gospel music business and Black worship. Marovich also delves into the music's connection to fans and churchgoers, its enormous popularity then and now, and the influence of the Civil Rights Movement on the music's message and reception. The first in-depth history of a foundational recording, Peace Be Still shines a spotlight on the people aTrade Review"A welcome addition to gospel studies." --ARSC "Highly recommended. " --Choice "Marovich’s lucid account looks to a time when Black migrants from the South recreated their folkways in Northern cities—and how those urban settings changed the tone and volume of the music and culture soon enough. It’s the history of a song, the evolution of its meaning and of the gospel genre it influenced." --Shepherd ExpressTable of ContentsCoverTitleCopyrightContentsAcknowledgmentsIntroduction1. The Reverend Lawrence C. Roberts and the First Baptist Church of Nutley2. Gospel Music in Newark3. The Birth of the Angelic Choir4. The Arrival of James Cleveland5. In Search of the Authentic: The Live In-Service Recording6. This Sunday—In Person7. Peace Be Still8. The Performativity of “Peace Be Still”9. The Release of Peace Be Still10. I Stood on the Banks of Jordan11. DoxologyNotesBibliographyIndexBack cover

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Book SynopsisTrade Review"Readers interested in hardcore music and its broader impact in the punk subculture (especially where it intersects with race, class, and gender) will appreciate the strong academic analysis." --Library Journal"The volumes of archival data, interviews, and narratives, researched and recorded with academic acumen, make Politics As Sound a unique addition to the American rock music canon." --Project CensoredTable of ContentsAcknowledgments vii Introduction 11 DC Rising: The (Musical) Life and Times of Washington, DC 15PART I: THE MUSIC OF DC HARDCORE2 The Racial Aesthetics of DC Hardcore 453 The Sounds of Stratification: Socioeconomic Class and DC Hardcore 704 Masculinity as Music: DC Hardcore and the Implications of Gender 97PART II: THE DC HARDCORE SCENE5 Do-It-Yourself Cultural Production 1336 Straightedge: A (White, Male, Middle-Classed) Music-Based Social Movement 1567 Embodying (White, Middle-Class) Masculinity 1788 The Transformation of Hardcore: DC Post-Hardcore, Post-1983 199Discography 237Notes 239Index 261

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Book SynopsisThese previously unpublished lectures by Elliott Carter date to the summer of 1967, when the acclaimed composer taught at the Contemporary Music Workshop held by the University of Minnesota. Leading an introductory course on orchestra repertoire, Carter gave nine hours of lectures covering principal topics like how to live with the musical present and whether the symphony orchestra was a relic of the past or a possible active force for new music. But Carter''s observations and prompts by audience questions broadened the discussion into areas ranging from electronic music to analyses of works by other artists and himself. Laura Emmery presents the complete text from each session alongside introductions, commentary, and annotated examples that provide valuable context for readers. Expansive and essential, Elliott Carter Speaks opens up the artist''s teaching and introspection to new contemporary perspectives on his thought and art.Please note that the order and arrangemeTrade Review"An exciting new contribution to Carter scholarship that documents one of the most important voices in concert music of the modern era. Audiences of contemporary music, musicians, and scholars of this era will find a rich new vein of material that reveals how Carter perceived his role in the musical history and culture of his time--along with a broad collection of analyses of compositions from Debussy and Bartók to Nono, Varèse, and Penderecki."--Douglas Rust, University of Southern Mississippi

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Book SynopsisTrade Review"A dynamic, much-needed read." --Variety "Essential Reading." --No Depression"Dazzling." --Country Queer"An important work." --Washington Blade "Shana Goldin-Perschbacher's examination of the history of the artists that proudly declared their sexuality displays how the fearlessness of earlier generations made things possible for today's artists that previously weren't." --The Boot​"An empathetic and illuminating study, sure to expand country playlists. For scholars interested in queer studies and fans of country music." --Library Journal​"Thought-provoking. The author offers a number of valuable insights into the music and you find yourself considering the white patriarchy that has dominated most genres of the music industry, but in particular, aspects of roots music, especially country, and how that has worked not only against LGBT musicians but also women, Black artists and other marginalized sections of society. On the surface, this would appear to be a book aimed at a niche market. In fact, it addresses issues that should be important to all of us." --Americana UK"Goldin-Perschbacher's research is meticulous, making the book particularly welcome. . . . Recommended." --Choice"Goldin-Perschbacher uncovers a treasure trove of non-binary and queer artists working in what has long been a conservative, male-dominated field." --Ticketmaster"At this unprecedented moment when queer artists dominate the Americana Awards nominations, Shana Goldin-Perschbacher's Queer Country arrives offering a timely, necessary, and radically fresh perspective on roots music--as a space for expression of sincerity by queer and trans artists." --Nadine Hubbs, author of Rednecks, Queers, and Country Music "Shana Goldin-Perschbacher's Queer Country shines a light on the long-overlooked but persistent and subversive community of queer musicians in country music history. Of course, we have been there all along! Her in-depth explorations into the voice of each musician explored are lively, personal, and emotional depictions. In French, the word for gender is genre. This is no coincidence! Goldin-Perschbacher connects the dots for us in her exploration of many transgender and queer folks playing country music. The connections are sheer magic, obvious at second glance, and very insightful. Discover why transgender artists defy genre--get it? Just because we are queer doesn't mean we are carbon copies. Goldin-Perschbacher allows each of us to share our light in personal, social, and political motifs. We are all unique, but bound to one another in our struggles to liberate country music from its stereotypical and corporate confinements. Queer Country rips the cover off these and exposes the truths that have existed from the beginning."--Patrick Haggerty, recording artist, Lavender Country (1973)Table of ContentsAcknowledgments viiIntroduction 1CHAPTER ONE: Queer Country and Sincerity 25CHAPTER TWO: Genre Trouble 70CHAPTER THREE: Rurality and Journey as Queer and Trans Musical Narratives 125CHAPTER FOUR: (Mis)representation, Ownership, and Appropriation 153CHAPTER FIVE: Masks, Sincerity, and (Re)claiming Country Music 172Notes 201Discography 229Bibliography 235Index 251

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Book SynopsisThis second volume of Music in Black American Life offers research and analysis that originally appeared in the journals American Music and Black Music Research Journal, and in two book series published by the University of Illinois Press: Music in American Life, and African American Music in Global Perspective. In this collection, a group of predominately Black scholars explores a variety of topics with works that pioneered new methodologies and modes of inquiry for hearing and studying Black music. These extracts and articles examine the World War II jazz scene; look at female artists like gospel star Shirley Caesar and jazz musician-arranger Melba Liston; illuminate the South Bronx milieu that folded many forms of black expressive culture into rap; and explain Hamilton''s massive success as part of the 'tanning' of American culture that began when Black music entered the mainstream. Part sourcebook and part survey of historic music scholarship, Music in BlTrade Review"Each of these chapters unearth, explore, and explain ideas, facts, events, phenomena, and records that have been neglected, forgotten, ignored, falsified or were unknown. They invoke musicological contexts that are grounded in archival and ethnographical research that illuminates the evolution of black music-making as it shifts from the insularity of communal spaces to the public medium of popular culture and precipitated the aberration of racial, social, and gender norms."--Tammy L. Kernodle, from the Introduction

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Book SynopsisDorothea Link examines singers' voices and casting practices in late eighteenth-century Italian opera as exemplified in Vienna's court opera from 1783 to 1791. The investigation into the singers' voices proceeds on two levels: understanding the performers in terms of the vocal-dramatic categories employed in opera at the time; and creating vocal profiles for the principal singers from the music composed expressly for them. In addition, Link contextualizes the singers within the company in order to expose the court opera''s casting practices. Authoritative and insightful, The Italian Opera Singers in Mozart''s Vienna offers a singular look at a musical milieu and a key to addressing the performance-practice problem of how to cast the Mozart roles today. Trade Review"Dorothea Link crowns her research into Italian opera in Josephine Vienna by exposing systematically, season by season, the hierarchy of stars and lesser singers and the politics of their terms of employment: a book for scholars to treasure and enjoy."--Julian Rushton, author of MozartTable of ContentsAcknowledgments A Note on the Currency Used in Mozart’s Vienna The Establishment and Management of the Italian Opera Company at the Vienna Court Theater Classification of Operatic Roles, Voice Types, and Singing Styles Casting Information in Scores and Librettos of the Operas Produced in the Italian Company, 1783-91 Nancy Storace: The Italian Company, 1783-84 Nancy Storace: The Company Stabilizes, 1784-85 Nancy Storace’s Annus Horribilis and Celeste Coltellini, 1785-86 Nancy Storace’s Exuberant Year, 1786-87 Anna Morichelli Comes and Goes, 1787-88 Luisa Laschi: The Year of the Three Prima Donnas, 1788-89 Adriana Ferrarese: Opera on a Shoestring, 1789-90 Adriana Ferrarese: Portents of Change, 1790-91 A Neapolitan Prima Donna and the End of Josephine Opera, 1791-92 Appendix A. Roles of Ten Major Singers Appendix B. A Tale of Four ScoresNotesBibliographyIndex

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Book SynopsisBetween 1941 and 1963, Aaron Copland made four government-sponsored tours of Latin America that drew extensive attention at home and abroad. Interviews with eyewitnesses, previously untapped Latin American press accounts, and Copland’s diaries inform Carol A. Hess’s in-depth examination of the composer’s approach to cultural diplomacy. As Hess shows, Copland’s tours facilitated an exchange of music and ideas with Latin American composers while capturing the tenor of United States diplomatic efforts at various points in history. In Latin America, Copland’s introduced works by U.S. composers (including himself) through lectures, radio broadcasts, live performance, and conversations. Back at home, he used his celebrity to draw attention to regional composers he admired. Hess’s focus on Latin America’s reception of Copland provides a variety of outside perspectives on the composer and his mission. She also teases out the broader meanings behind revTrade Review“Among its many achievements, Aaron Copland in Latin America is a vital contribution to the study of U.S. cultural diplomacy. Carol Hess’s meticulously researched, beautifully written book is not only an essential work of history and biography; it chronicles and illuminates longstanding debates about the politicization and weaponization of music that inform policy to this day. As both a scholar and practitioner of cultural diplomacy, I will continue to turn to Aaron Copland in Latin America for edification and inspiration.”--Mark Katz, author of Build: The Power of Hip Hop Diplomacy in a Divided World“A noted scholar of classical composers in Latin America, Carol Hess once again delivers a deeply researched perspective on hemispheric history--this time focusing on the cultural diplomacy in Latin America of the composer Aaron Copland. With Copland’s internationalist spirit at center stage, his commitments to world peace are explored, as are his gifts as an open-minded cultural ambassador. Hess offers a richly contextualized and eminently readable book.”--Carol J. Oja, author of Bernstein Meets Broadway: Collaborative Art in a Time of WarTable of ContentsPART I. A Citizen Diplomat PreparesChapter 1. IntroductionChapter 2. Copland and the Beginnings of U.S. Cultural DiplomacyChapter 3. Copland as Good Neighbor: A Musical Diplomat and the OIAAPART II. Copland, Latin America, and World War IIChapter 4. Diplomat “in the Field”Chapter 5. Copland in ArgentinaChapter 6. Copland in BrazilChapter 7. Copland in ChileChapter 8. “The Fiery Trial Through Which We Pass”: The Americas at WarPART III.Copland, Latin America, and the Postwar Chapter 9. Copland, Latin America, and the Early Cold WarChapter 10. Shifting Ground: Copland, Latin America, and the Crisis of ModernismChapter 11. A “Living Refutation to Communist-Inspired Lies”: Copland in Latin America in the SixtiesChapter 12. Latin American Classical Music and MemoryRecommended ReadingIndex

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Book SynopsisTrade Review“Social Voices resounds with memorable, personal, and prophetic stories of how singers shape our worlds. An expansive, versatile, and mind-opening volume.”--William Cheng, author of Queering the Field: Sounding Out EthnomusicologyTable of ContentsAcknowledgments Introduction: The Cultural Politics of Singers Levi S. GibbsPart I. The Politics of Authenticity and Iconicity Introduction Jeff Todd Titon 1. Becoming a “Folk” Icon: Pete Seeger and Musical Activism Anthony Seeger 2. An Ordinary Icon: Cassettes, Counternarratives, and Shaykh Imam Andrew Simon 3. Idolatry and Iconoclasm in K-Pop Fandom John LiePart II. Race, Gender, Ethnicity, and Class Introduction Eric Lott 4. All On They Mouth Like Liquor Treva B. Lindsey 5. Compromise and Competition: The Musical Identities of Afro-Cuban Women SingersChristina D. Abreu 6. Challenging the Divide Between Elite and Mass Cultures: Opera Icon Beverly Sills Nancy GuyPart III. Multiplicities of Representations Introduction Ruth Hellier 7. Artful Politics of the Voice: “Queen of Romani Music” Esma Redžepova Carol Silverman 8. Teresa Teng: Embodying Asia’s Cold WarsMichael K. Bourdaghs 9. Women, Political Voice, and the South African Diaspora, 1959-2020 Carol A. MullerPart IV. Singers and Songs as Interweaving Narratives Introduction Kwame Dawes 10. The Vocal Narratives of Lata Mangeshkar: Gender, Politics, and Nation in India Natalie Sarrazin 11. Ya Toyour: One Song in Two Voices Katherine Meizel Afterword: The Power of Song Elijah Wald Contributors Index

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Book SynopsisTrade Review“Illuminating music’s complex interactions with issues of nationalism and identity, this volume’s innovative exploration of diverse musical styles provides a model for rethinking musical nationalism, both within and beyond the Iberian Peninsula.”--Michael Christoforidis, author of Manuel de Falla and Visions of Spanish MusicTable of ContentsAcknowledgments Introduction: Sounding Nation and Region in Portugal and Spain Matthew Machin-Autenrieth, Salwa El-Shawan Castelo-Branco, and Samuel Llano Part I: Music, State Propaganda, and Authoritarian Regimes Chapter 1: Patriotic, Nationalist, or Republican? The Portuguese National Anthem Paulo Ferreira de Castro Chapter 2: The Battle for the Greatest Musical Emblem: The National Anthem and the Symbolic Construction of Francoist Spain Igor Contreras Zubillaga Chapter 3: Portuguese Rural Traditions as Cultural Exports: How Modernism and Transnational Connections Shaped the New State’s Folklore Politics Vera Marques Alves Part II: Sound Technologies and the Nation Chapter 4: Recording zarzuela grande in Spain in the Early Days of the Phonograph and Gramophone Eva Moreda Rodríguez Chapter 5: The Invisible Voices of the Early Recording Market in Portugal Leonor Losa Chapter 6: Radio, Popular Music, and Nationalism in Portugal in the 1940s Pedro Moreira Chapter 7: Protest Song and Recording in the Final Stages of the Estado Novo in Portugal (1960-74) Hugo Castro Part III: Negotiating the State, Nation, and Region Chapter 8: Towards a Critical Approach to Flamenco Hybridity in Post-Franco Spain: Rock Music, Nation, and Heritage in Andalusia Diego García-Peinazo Chapter 9: Portuguese Rock or Rock in Portuguese?: Controversies Concerning the “Portugueseness” of Rock Music Made in Portugal in the Early-1980s Ricardo Andrade Chapter 10: Indie Music as a Controversial Space on Spanish Identity: Class, Youth, and Discontent Héctor Fouce and Fernán del Val Chapter 11: Catalonia vs Spain: How Sonorous is Nationalism? Josep Martí Part IV: Musical Heritagization and the State Chapter 12: Intangible Cultural Heritage and State Regimes in Portugal and Spain Salwa El-Shawan Castelo-Branco and Cristina Sánchez-Carretero Chapter 13: Sounding the Alentejo: Portugal’s Cante as Heritage Salwa El-Shawan Castelo-Branco Chapter 14: Flamenco Heritage and the Politics of Identity Cristina Cruces Roldán Contributors Index

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Book SynopsisExploring the relationship between queer sexuality and music in the late nineteenth and early twentieth centuryQueer Episodes in Music and Modern Identity approaches modern sexuality by way of music. Through the hidden or lost stories of composers, scholars, patrons, performers, audiences, repertoires, venues, and specific works, this intriguing volume explores points of intersection between music and queerness in Europe and the United States in the years 1870 to 1950--a period when dramatic changes in musical expression and in the expression of individual sexual identity played similar roles in washing away the certainties of the past. Pursuing the shadowy, obscured tracks of queerness, contributors unravel connections among dissident identities and concrete aspects of musical style, gestures, and personae. Contributors are Byron Adams, Philip Brett, Malcolm Hamrick Brown, Sophie Fuller, Mitchell Morris, Jann Pasler, Ivan Raykoff, Fiona Richards, Eva RiTrade ReviewPhilip Brett Award by the Gay & Lesbian Study Group of the American Musicological Society, 2002 "Queer Episodes in Music and Modern Identity is a beautifully edited collection of essays devoted to the intersections of music and queerness in Europe and the United States from 1870 to 1950. . . . A stellar contribution to queer music scholarship [and] an essential text for those interested in the modernist period."--Journal of the American Musicological Society"Anyone interested in music, sexuality, or both undoubtedly will find something new or intriguing in this book and, in the process, will find incontrovertible evidence that the two worlds of sexuality and music were and are intimately connected."--Journal of the History of Sexuality"This superb collection of twelve essays offers much new research and makes a fine addition to queer musicology. . . . Many of the contributors explore subject matter previously overlooked, veiled, or suppressed, presenting significant new research that draws on primary documents. . . . Highly recommended."--Choice"A substantial contribution to the developing field of queer studies in musicology. . . . Will become required reading in the field very quickly. . . . A rich source of information about composers and other musicians that we have not had readily available before."--Ruth Solie, editor of Musicology and Difference: Gender and Sexuality in Music ScholarshipTable of ContentsAcknowledgments ix Introduction: Secret Passages 1Sophie Fuller and Lloyd Whitesell PART 1: PRIVATE PERFORMANCE 1. "Desire Is Consuming Me": The Life Partnership between Eugenie Schumann and Marie Fillunger 25Eva Rieger 2. Ravel's Way 49Lloyd Whitesell 3. "Devoted Attention": Looking for Lesbian Musicians in Fin-de-Siecle Britain 79Sophie Fuller PART 2: PUBLIC APPEARANCES 4. "He Isn't a Marrying Man": Gender and Sexuality in the Repertoire of Male Impersonators, 1870-1930 105Gillian Rodger 5. Tchaikovsky and His Music in Anglo-American Criticism, 1890s-1950s 134Malcolm Hamrick Brown 6. Transcription, Transgression, and the (Pro)creative Urge 150Ivan Raykoff 7. Musicology and Sexuality: The Example of Edward J. Dent 177Philip Brett PART 3: DOUBLE MEANINGS 8. Cross-Dressing in Saint-Saens's Le Rouet d'Omphale: Ambiguities of Gender and Politics 191Jann Pasler 9. The "Dark Saying" of the Enigma: Homoeroticism and the Elgarian Paradox 216Byron Adams 10. "An Anthology of Friendship": The Letters from John Ireland to Father Kenneth Thompson 245Fiona Richards PART 4: QUEER LISTENING 11. Tristan's Wounds: On Homosexual Wagnerians at the Fin de Siecle 271Mitchell Morris 12. When Subjects Don't Come Out 293Sherrie Tucker Contributors 311 Index 315

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Book SynopsisDiverse perspectives and alternate takes on musical improvisationTrade Review"Valuable not only to researchers but also to performers, who will find their minds opened to how music different from their own can help them improvise better in their chosen genre. . . . Recommended."--Choice"A goldmine of information ... that is relevant to the amateur and scholar alike."--Ethnomusicology"An impressive and often sophisticated collection of essays. . . . it certainly constitutes a welcome addition to the field."--The World of Music"Cutting across traditional subject boundaries in music and cultural studies, this admirably comprehensive work adopts a welcome interdisciplinary ideal and makes a truly significant contribution to our knowledge of musical improvisation."--Robert Witmer, professor emeritus of music, York UniversityTable of ContentsPreface ix Bruno NettlIntroduction 1 Gabriel SolisPART ONE: SOCIETY 1. Jazz as Political and Musical Practice 21 Ingrid Monson 2. John Cage and Improvisation: An Unresolved Relationship 38 Sabine M. Feisst 3. When Traditional Improvisation Is Prohibited: Contemporary Ukrainian Funeral Laments and Burial Practices 52 Natalie Kononenko 4. The Juncture between Creation and Re-creation among Indonesian Reciters of the Qur'an 72 Anne K. Rasmussen 5. Genius, Improvisation, and the Narratives of Jazz History 90 Gabriel Solis 6. Formulas and Improvisation in Participatory Music 103 Thomas TurinoPART TWO: EDUCATION 7. Learning to Improvise Music, Improvising to Learn Music 119 Patricia Shehan Campbell 8. Improvising Mozart 143 Robert Levin 9. Keyboard Improvisation in the Baroque Period 150 Charlotte Mattax Moersch 10. Beyond the Improvisation Class: Learning to Improvise in a University Jazz Studies Program 171 John P. Murphy 11. On Learning the Radif and Improvisation in Iran 185 Bruno Nettl 12. Hindustani Sitar and Jazz Guitar Music: A Foray into Comparative Improvology 200 Stephen Slawek 13. Musical Improvisation in the Modern Dance Class: Techniques and Approaches in Fulfilling a Multi-Layered Role 221 John ToenjesPART THREE: CREATION 14. Representations of Music Making 239 Stephen Blum 15. Improvisation and Related Terms in Middle-Period Jazz 263 Lawrence Gushee 16. Opening the Museum Window: Improvisation and Its Inscribed Values in Canonic Works by Chopin and Schumann 281 Robert S. Hatten 17. Improvisation in Beethoven's Creative Process 296 William Kinderman 18. Why Do They Improvise? Reflections on Meaning and Experience 313 Ali Jihad Racy 19. Preluding at the Piano 323 Nicholas Temperley Contributors 343 Index 349

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Book SynopsisThe first comprehensive examination of the early blues industry and the music it producedTrade ReviewReceived a Certificate of Merit in the Best Music History category from the Association for Recorded Sound Collections (ARSC), 2011. "Required reading for lovers of the blues and historians of American popular music."--Notes"One of the most important and original books on blues to be published in the past decade."--The Journal of Southern History, David Evans"Muir's revealing book contributes significantly to understanding how sheet music and the pop music industry influenced the blues. An important work."--Tim Brooks, author of Lost Sounds: Blacks and the Birth of the Recording Industry, 1890-1919"This fascinating work discusses the genesis and introduction of a minority music genre into mainstream culture in a way that is impossible to ignore, given the importance of blues connections to other genres. Essential reading for anyone interested in American popular music."--Dick Spottswood, host of The Dick Spottswood Show on BlueGrassCountry.org and editor of Ethnic Music on RecordsTable of ContentsAcknowledgments ix A Word about the Music Examples xi Introduction 1 1. The Popular Blues Industry, 1912-1920 7 2. The Identity and Idiom of Early Popular Blues 28 3. Curing the Blues with the Blues 80 4. The Blues of W. C. Handy 104 5. The Creativity of Early Southern Published Blues 141 6. Published Proto-Blues and the Evolution of the Twelve-Bar Sequence 181 Appendix: Titular Blues, 1912-1915 217 Notes 221 Major Works Consulted 243 General Index 245 Song Index 251

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Book SynopsisThe music, religion, and relationships of the exceptional Wesley familyTrade Review"A major contribution to our understanding of church music, the Wesley family, and concert life in the eighteenth and nineteenth centuries by leading experts in the field. There is truly no competitor for this volume."--David W. Music, author of Christian Hymnody in Twentieth-Century Britain and America: An Annotated Bibliography"Excellent collection of essays. . . . The Wesley family was a remarkable dynasty and Music and the Wesleys is a significant contribution to the examination of their legacy."--The Journal of the Association of Anglican MusiciansTable of ContentsEditors' Preface vii Family Tree ix Abbreviations xi Introduction xiiiNicholas Temperley PART 1: MUSIC AND METHODISM 1. John Wesley, Music, and the People Called Methodists 3Nicholas Temperley 2. Charles Wesley and the Music of Poetry 26J. R. Watson 3. Psalms and Hymns and Hymns and Sacred Poems: Two Strands of Wesleyan Hymn Collections 41Robin A. Leaver 4. John Frederick Lampe's Hymns on the Great Festivals and Other Occasions 52 Martin V. Clarke 5. Methodist Anthems: The Set Piece in English Psalmody (1750-1850) 52Sally Drage 6. The Music of Methodism in Nineteenth-Century America 77Anne Bagnall Yardley 7. Eucharistic Piety in American Methodist Hymnody (1786-1889) 88Geoffrey C. Moore 8. The Musical Settings of Charles Wesley's Hymns (1742 to 2008) 103Carlton R. YoungPART 2: THE WESLEY MUSICIANS 9. Style, Will, and the Environment: Three Composers at Odds with History 121Stephen Banfield 10. Charles Wesley's Family and the Musical Life of Bristol 141Jonathan Barry 11. Pictorial Precocity: John Russell's Portraits of Charles and Samuel Wesley 154Peter S. Forsaith 12. Harmony and Discord in the Wesley Family Concerts 164Alyson McLamore 13. Father and Sons: Charles, Samuel, and Charles the Younger 175Philip Olleson 14. Samuel Wesley as an Antiquarian Composer 183Peter Holman 15. The Anthem Texts and Word Setting of Sebastian Wesley 200Peter Horton 16. The Legacy of Sebastian Wesley 216Stephen Banfield and Nicholas Temperley Appendix 1: Catalogue of Compositions by Charles Wesley the Younger 231 Methodist Hymnals Cited 242 Bibliography 245 Contributors 263 Index 267

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Book SynopsisExamines E. M. Forster's irrepressible interest in music, providing plentiful examples of how the eminent British author's fiction resonates with music.Trade Review"Astute and well informed. . . . Fillion's extremely fine study is surely one that scholars will draw on with admiration and pleasure."--Review of English Studies"A very comprehensive and perceptive assessment of the role of music in E. M. Forster’s life and work."--Music and Letters"A significant reassessment of one of the twentieth century's finest writers. By paying nuanced attention to the comprehensive role of music in Forster's novels and aesthetics, Fillion finds a new keynote to Forster's literary art. To read his novels without this perspective in play is to miss much."--Scott G. Burnham, author of Beethoven Hero"Briskly written and highly readable."--Times Literary Supplement"Difficult Rhythm is a tasty read, indeed. Fillion impressively and gracefully shows how Forster's engagement and fascination with music in his works articulates his evolving social, political, and ideological concerns."--Todd Avery, author of Radio Modernism: Literature, Ethics, and the BBC, 1922–1938"These works continue testifying to the quality of Fillion's contribution to Forster scholarship and interdisciplinary research."--Polish Journal of English Studies"Fine's documentation of the more recent growth of sacred and secular step teams outside of the realm of Black Greek Letter Organizations, the strength of her arts and performance-related scholarship, and her discussion of the intersections of African and African American aesthetics make this an important book that adds tremendously to our understanding of an important aspect of twentieth and twenty-first century African American and American popular culture."--Journal of African American History"The history, culture, politics, and art of this African-American performance artform is examined in-depth; black-and-white photographs embellish this impressive, scholarly, highly recommended contribution to Black American cultural studies reference collections and supplemental reading lists."--Bookwatch “Elizabeth Fine takes us on a journey of discovery with Soulstepping, all the way back to its African roots and all the way up to our moment. All groups have dance steps that the group performs together for the pure joy of celebrating life. Soulstepping brings out that joy, that exhilaration, that love of life. This celebration is long overdue.”--Nikki Giovanni “Elizabeth Fine has produced a labor of love. Soulstepping is thorough and true to the African American spirit she discovered more completely as she traveled through history to bring to light this remarkable phenomenon, one that would otherwise exist only for those fortunate enough to have been present late at night perhaps at an African American fraternity or sorority event on an American college or university campus.”--Michael V. W. Gordon, Professor of Music Emeritus at Indiana University School of Music and First Executive Director of the National Pan-Hellenic CouncilTable of ContentsList of Abbreviations ix List of Musical Examples xiii List of Figures xv Preface xvii 1. E. M. Forster's Life in Music 1 2. "Creating" Lucia: The Voice of Luisa Tetrazzini in Where Angels Fear to Tread 24 3. Wagnerism, "Decadent" Wagnerites, and Wagnerian Motives in The Longest Journey 39 4. "New Woman" or "Piano Girl": Lucy's Music in A Room with a View 56 5. Not Listening to Beethoven and Brahms at the Queen's Hall: Music as Vision in Howards End 79 6. Tchaikovsky and the Deflowering of Masculine Love in Maurice 93 7. "Beethoven's Piano Sonatas" (1939-40) and the Twilight of the Hero 108 8. Claggart's Monologue and the Art of Collaboration in Billy Budd 123 9. Conclusion: Difficult Rhythm, Prophetic Song 138 Appendix A: Forster's Known Ballets Russes Attendance 145 Appendix B: Forster's Known Opera Attendance 146 Notes 151 Works Cited 173 Index 189

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Book SynopsisPresents a transatlantic history of folk's midcentury resurgence that juxtaposes the related but distinct revivals that took place in the United States and Great Britain.Trade Review"Much has been written about the folk revival, but this book is unusual in examining its progression in both the US and Britain. Folk-music fans might be unaware that there was strong interest in American and British folk music before the highly publicized revival, and Cohen and Donaldson have done that important research. Highly Recommended."--Choice“The hugely engaging tome focuses its attention primarily on 1950 to 1958 or what you can think of as the period between the blacklisting of the Weavers and the rise of the Kingston Trio. . . . What Cohen and Donaldson’s book does so effectively is it maps the development chronologically, so it’s easy to see how we got from the Weavers to skiffle via the ‘Rock Island Line’ and finally to Bob Dylan in Greenwich Village. . . . Roots of the Revival is accessible and, for anyone with even a passing interest in folk music, absolutely fascinating.”— Shire Folk"Roots of the Revival is an indispensable text for scholars interested in the relationship between 'folk' and 'pop' at midcentury. It is more than simply a prehistory of 1960s folk activities, instead demonstrating how musicians, folklorists, and audiences navigated the concerns and events particular to the decade."--Notes"Although there are other books and memoirs about the American folk revival, and some treatment of the revival in England, no one has thought to compare and analyze both of them together."--Richard Weissman, author of Talkin' 'Bout a Revolution: Music and Social Change in America"A detailed account of the revival's factual history and many revealing anecdotes about its participants… Roots of the Revival is a significant addition to the scholarship on the 1950s folk music revival."--Journal of Folklore Research"A solidly researched, well-written account of a significant decade in American and English vernacular music history."--Western Folklore

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Book SynopsisFocuses on the critics, composers, performers, and scholars whose contributions were most influential in shaping the critical discourse on Ives, many of them marquee names of American musical culture themselves, including Henry Cowell, Aaron Copland, Elliott Carter, and Leonard Bernstein.Trade ReviewA Choice Outstanding Title, 2013. "An engaging and comprehensive account of the reception history of Charles Edward Ives. . . .The book will undoubtedly become an essential tool for the study of Ives."-- Choice"David Paul's interest lies with how Ives's reflection is colored by the viewpoints of other Americans. He has written the first book-length reception history of the composer since his relatively recent passing in 1954… He asks his readers to embrace and even celebrate subjectivity, both in their understanding of Ives as a historical figure and universally in history at large."--Notes "The depth of Paul's historical perspective speaks for itself."--Gramophone“Paul has crafted an ambitious intellectual history, putting Ives at the centre of diverse forces, including the history of twentieth-century composition, the legacy of transcendentalism, the cultural marketing of the Cold War and the rise of American Studies and American Musicology. This is not a book about Ives’s music or his life, but rather a meta history that focuses on the composer’s advocates, critics and chroniclers. Essentially, it probes the complex ways in which a gifted creative artist achieves broad-based fame, and then, in a sense, becomes public property—a figure to be reviled or adored or forgotten as time marches on.”—Times Literary Supplement"By virtue of its depth of insight, its wide remit, and its succinct yet highly detailed presentation, this remarkable book is a considerable addition to the existing scholarship on this most fascinating of musical figures."--David Nicholls, author of John Cage"An outstanding work. Until now no one has created, in a single narrative, the story of how Charles Ives' music moved from the far outer fringes to the central core of American musical culture, and David Paul has done this in an exemplary manner. It is a tour-de-force in both its breadth and its insights."--Michael Broyles, author of Beethoven in America

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Book SynopsisTrade Review"Music in the Age of Anxiety offers an engaging, lively, and thought-provoking examination of a diverse range of musical styles prevalent in 1950s America. This fascinating book is accessible for students and general readers, even as Wierzbicki offers new insights that will be of interest to specialists as well."--Gayle Sherwood Magee, author of Charles Ives Reconsidered "Provides a fresh view of the socially and politically complex decade of the 1950s. Wierzbicki's sense of humor supplements a concise writing style that is easy to read but authoritative. The quality of research and annotations are remarkable, and his work provides invaluable sources for scholars who would like to dig deeper into the wide range of subjects covered. His breadth of research and topics should be of interest to musicians and non-musicians alike."--Notes "Music in the Age of Anxiety is a book for both general interest and scholarly study."--Journal of American Culture Table of ContentsCoverTitleContentsAcknowledgmentsPrologue1 The Pop Music Mainstream2 Rock 'n' Roll3 Jazz4 Hollywood5 Broadway6 Opera7 The Classical Music Mainstream8 Modernists9 MavericksEpilogueNotesBibliographyIndex

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Book SynopsisIn Following the Elephant, Bruno Nettl edits articles drawn from fifty years of the pioneering journal Ethnomusicology. The roster of acclaimed scholars hail from across generations, using other works in the collection as launching points for dialogues on the history and accomplishments of the field. Nettl divides the collection into three sections. In the first, authors survey ethnomusicology from perspectives that include thoughts on defining and conceptualizing the field and its concepts. The second section offers milestones in the literature that critique major works. The authors look at what separates ethnomusicology from other forms of music research and discuss foundational issues. The final section presents scholars considering ethnomusicology--including recent trends--from the perspective of specific, but abiding, strands of thought. Contributors: Charlotte J. Frisbie, Mieczylaw Kolinski, Gerhard Kubik, George List, Alan P. Merriam, Bruno Nettl, David Pruett, Adelaida Reyes, T

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Book SynopsisTrade Review"With its stimulating blend of revealing music interpretation and compelling historical context, this volume brings the music of World War I to life in fascinating detail."--Christina Baade, author of Victory through Harmony: The BBC and Popular Music in World War II "These ten essays, most drawn from these conferences, present a range of interesting and creative discussions of classical and popular music at the time." --Choice"There is a dearth of detailed work on classical music's response to the First World War, so often seen as "the most literary war in history." There is even less written about the parallel and intricately linked responses of American, Canadian and British composers. This is a timely, fascinating and accessible study, crossing continents to ask questions of music's role in times of international crisis."--Kate Kennedy, coeditor of The Silent Morning: Culture and Memory after the Armistice

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Book SynopsisThe all-embracing, whaddya got? nature of rebellion in Fifties America included pop music's unlikely challenge to entrenched notions of masculinity. Within that upheaval, four prominent artists dared to behave in ways that let the public assumebut not seetheir queerness. That these artists cultivated ambiguous sexual personas often reflected an understandable fear, but also a struggle to fulfill personal and professional expectations. Vincent L. Stephens confronts notions of the closetboth coming out and staying inby analyzing the careers of Liberace, Johnny Mathis, Johnnie Ray, and Little Richard. Appealing to audiences hungry for novelty and exoticism, the four pop icons used performance and queering techniques that ran the gamut. Liberace's flamboyance shared a spectrum with Mathis's intimate sensitivity while Ray's overwrought displays as Mr. Emotion seemed worlds apart from Little Richard's raise-the-roof joyousness. As Stephens shows, the quartet not only thrived in an era of graTrade Review"Scholars interested in queer history, music history, race, and American popular culture generally will therefore learn much from this excellent book." --Journal of the History of SexualityAn Advocate Best Queer Non-Fiction Book of 2019 "Stephen's Rocking the Closet investigates how contemporary queer stars such as Little Richard navigated the mid-twentieth-century popular music landscape and, as important, how observers reacted to their unconventional gender presentation. . . . Stephens should be commended for the diverse range of primary sources marshalled in his study. . . . Rocking the Closet presents students and practitioners of queer cultural history, as well as those studying post-war cultural history, with fresher methods of examining popular culture and its legacies." --Cultural History"Distinguished by excellent writing Rocking the Closet achieves the admirable goal of being both a sound scholarly work and accessible to readers from all walks of life. It raises provocative ideas and arguments, challenging entrenched ways of thinking about the history of queerness in postwar America." --Notes "Well-argued and thoughtful." --Arts Fuse "Rocking the Closet is a worthy contribution to better understanding the queering of postwar masculine identities and popular music. . . . As the barriers between folk and popular cultures continue to be dismantled, scholarship such as Rocking the Closet follows an interdisciplinary trajectory that will satisfy scholars across disciplines." --Western Folklore "The spirit of Rocking the Closet is enjoyed in how deftly Stephens illuminates those nuances. He is as lucid about the music as about the cultural moment, the entertainment business, and the lives of the musicians." --On the Seawall "The contemporary mainstream LGBT narrative claims that artists should out themselves for the greater good. But Rocking the Closet makes a persuasive case that 'open secrecy' helped make stars of Little Richard, Liberace, Johnny Mathis, and Johnny Ray in the decades prior to and after Stonewall. These (until now) academically under-examined, yet enormously successful and influential musicians used the surprising leeway of the glass closet to develop artistic personae that were both appealing and ambiguous, leading to commercial success that rivals that of our current musicians. Stephens' insightful intersectional book will liven the debate in identity and popular culture scholarship!"--Shana Goldin-Perschbacher, Temple University

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Book SynopsisTrade Review"Engaging and informative study of film scores by Aaron Copland and Hanns Eisler within the larger artistic, intellectual, musical, and political climate of midcentury America. Bick's work offers a significant contribution to the new wave of film music studies, which place equal emphasis on insightful and detailed music discussion."--Gayle Sherwood Magee, author of Robert Altman's Soundtracks: Film, Music, and Sound from M*A*S*H to A Prairie Home Companion

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Book SynopsisTrade Review”As other scholars read and digest the ideas expressed in these essays, they will be encouraged to reexamine works both by Beethoven and other composers in light of the concepts and methodologies presented here. This book is highly recommended reading for anyone interested in Beethoven’s quartets, or any facet of Beethoven’s music, as well as for libraries serving research and graduate programs in music history, musicology, or music theory.”—Notes ”In these studies of Beethoven's life and music, Kinderman brings together essays that will please historians, critics, and music theorists. This impressive volume is important not only to the study of the string quartets, but to how we understand Beethoven's music in general.”—Christopher A. Reynolds, professor of music, University of California, DavisTable of ContentsContents Introduction William Kinderman 1. Transformational Processes in Beethoven's Op. 18 Quartets William Kinderman 2. Metrical Dissonance and Metrical Revision in Beethoven's String Quartets Harald Krebs 3. Peak Experience: High Register and Structure in the "Razumovsky" Quartets, Op. 59 Malcolm Miller 4. Beethoven's "Harp" Quartet: The Sketches in Context Lewis Lockwood 5. "Haydn's Geist aus Beethovens Händen"? Fantasy and Farewell in the Quartet in E, Op. 74 Nicholas Marston 6. Aspects of the Genesis of Beethoven's String Quartet in F Minor, Op. 95 Seow-Chin Ong 7. "so träumte mir, ich reiste [. . .] nach Indien": Temporality and Mythology in Op. 127/I Birgit Lodes 8. Plenitude as Fulfillment: The Third Movement of Beethoven's String Quartet in B, Op. 130 Robert Hatten 9. The Genesis of the Countersubjects for the Grosse Fuge William Caplin 10. Opus 131 and the Uncanny Joseph Kerman 11. Beethoven's Last Quartets: Threshold to a Fourth Creative Period? William Kinderman Appendix: Chronology and Sources of the String Quartets Selected Bibliography Index

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Book SynopsisTrade Review"Insightful . . . [Bill Monroe: The Life and Music of the Blue Grass Man] presents bluegrass history as it happened, as well as a fresh look at 'this extraordinary individual.'" --Wall Street Journal "A fair, objective, and entertaining chronicle."--Publishers Weekly "A detailed, decade-by-decade, almost moment-by-moment chronicle of the Father of Bluegrass. Because of its thoroughness, it will be the standard biography."--No DepressionTable of ContentsCoverTitleCopyrightContentsPrefaceAcknowledgmentsPrologueChapter One. 1892–1919Chapter Two. 1920–1929Chapter Three. 1930–1939Chapter Four. 1940–1949Chapter Five. 1950–1959Chapter Six. 1960–1969Chapter Seven. 1970–1979Chapter Eight. 1980–1989Chapter Nine. 1990–1996EpilogueAppendix: Blue Grass BoysNotesSelected BibliographyIndex

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Book SynopsisTrade Review"Best 184-page love letter to Chicago." --Chicago Reader"This is a beautiful and hopeful ode to Black Chicago: its music, dance, creativity, innovation, hustle, history, connections, generations and more." --Ms. Magazine"Contreras's Chicago is a place where the dreams of the driven come true. Her world, elaborately described with poetic language, is not only a nice place to visit but one where those of us who envision a brighter and better Chicago must take up residency if we want our visions to become manifest." --Chicago Magazine"This book reads like an excellent DJ’s set on a night out: filled with hits and some satisfying B-sides and a unique blend that only a real master could muster." --TRiiBE"[Contreras is] a sharp connector of local history, with a knack for weaving seemingly disparate threads of Black Chicago into a fresh portrait." --Chicago Tribune"Contreras puts virtually every aspect of Black Chicago culture, music, business breakthroughs, and more on the table, then shows exactly how they are all interconnected. She writes the book as the Black experience is actually lived--this guy knows that guy, but the other guy used to work for the two of them. And none of it would’ve happened were it not for a certain audacious manner of hope and optimism found in Black Chicago."--Lee Bey, author of Southern Exposure: The Overlooked Architecture of Chicago's South Side"In Energy Never Dies, Ayana Contreras crafts an intensely intimate and loving portrait of Black Chicago that that will illuminate, even to lifelong South and West Siders, the distinctiveness of our cultural history and worldview. This book offers urgently needed blueprints for extending the work and actualizing the dreams of the Great Migrants."--Jacqueline Najuma Stewart, coeditor of L.A. Rebellion: Creating a New Black Cinema

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Book SynopsisTrade Review"A welcome addition to gospel studies." --ARSC "Highly recommended. " --Choice "Marovich’s lucid account looks to a time when Black migrants from the South recreated their folkways in Northern cities—and how those urban settings changed the tone and volume of the music and culture soon enough. It’s the history of a song, the evolution of its meaning and of the gospel genre it influenced." --Shepherd ExpressTable of ContentsCoverTitleCopyrightContentsAcknowledgmentsIntroduction1. The Reverend Lawrence C. Roberts and the First Baptist Church of Nutley2. Gospel Music in Newark3. The Birth of the Angelic Choir4. The Arrival of James Cleveland5. In Search of the Authentic: The Live In-Service Recording6. This Sunday—In Person7. Peace Be Still8. The Performativity of “Peace Be Still”9. The Release of Peace Be Still10. I Stood on the Banks of Jordan11. DoxologyNotesBibliographyIndexBack cover

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Book SynopsisTrade Review"Readers interested in hardcore music and its broader impact in the punk subculture (especially where it intersects with race, class, and gender) will appreciate the strong academic analysis." --Library Journal "The volumes of archival data, interviews, and narratives, researched and recorded with academic acumen, make Politics As Sound a unique addition to the American rock music canon." --Project CensoredTable of ContentsAcknowledgments vii Introduction 1 1 DC Rising: The (Musical) Life and Times of Washington, DC 15 PART I: THE MUSIC OF DC HARDCORE 2 The Racial Aesthetics of DC Hardcore 45 3 The Sounds of Stratification: Socioeconomic Class and DC Hardcore 70 4 Masculinity as Music: DC Hardcore and the Implications of Gender 97 PART II: THE DC HARDCORE SCENE 5 Do-It-Yourself Cultural Production 133 6 Straightedge: A (White, Male, Middle-Classed) Music-Based Social Movement 156 7 Embodying (White, Middle-Class) Masculinity 178 8 The Transformation of Hardcore: DC Post-Hardcore, Post-1983 199 Discography 237 Notes 239 Index 261

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Book SynopsisSingers generating cultural identity from K-Pop to Beverly Sills Around the world and across time, singers and their songs stand at the crossroads of differing politics and perspectives. Levi S. Gibbs edits a collection built around the idea of listening as a political act that produces meaning. Contributors explore a wide range of issues by examining artists like Romani icon Esma Redžepova, Indian legend Lata Mangeshkar, and pop superstar Teresa Teng. Topics include gendered performances and the negotiation of race and class identities; the class-related contradictions exposed by the divide between highbrow and pop culture; links between narratives of overcoming struggle and the distinction between privileged and marginalized identities; singers’ ability to adapt to shifting notions of history, borders, gender, and memory in order to connect with listeners; how the meanings we read into a singer’s life and art build on one another; and technology’s ability Trade Review“Social Voices resounds with memorable, personal, and prophetic stories of how singers shape our worlds. An expansive, versatile, and mind-opening volume.”--William Cheng, author of Queering the Field: Sounding Out EthnomusicologyTable of ContentsAcknowledgments Introduction: The Cultural Politics of Singers Levi S. GibbsPart I. The Politics of Authenticity and Iconicity Introduction Jeff Todd Titon 1. Becoming a “Folk” Icon: Pete Seeger and Musical Activism Anthony Seeger 2. An Ordinary Icon: Cassettes, Counternarratives, and Shaykh Imam Andrew Simon 3. Idolatry and Iconoclasm in K-Pop Fandom John LiePart II. Race, Gender, Ethnicity, and Class Introduction Eric Lott 4. All On They Mouth Like Liquor Treva B. Lindsey 5. Compromise and Competition: The Musical Identities of Afro-Cuban Women SingersChristina D. Abreu 6. Challenging the Divide Between Elite and Mass Cultures: Opera Icon Beverly Sills Nancy GuyPart III. Multiplicities of Representations Introduction Ruth Hellier 7. Artful Politics of the Voice: “Queen of Romani Music” Esma Redžepova Carol Silverman 8. Teresa Teng: Embodying Asia’s Cold WarsMichael K. Bourdaghs 9. Women, Political Voice, and the South African Diaspora, 1959-2020 Carol A. MullerPart IV. Singers and Songs as Interweaving Narratives Introduction Kwame Dawes 10. The Vocal Narratives of Lata Mangeshkar: Gender, Politics, and Nation in India Natalie Sarrazin 11. Ya Toyour: One Song in Two Voices Katherine Meizel Afterword: The Power of Song Elijah Wald Contributors Index

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Book SynopsisTrade Review“Illuminating music’s complex interactions with issues of nationalism and identity, this volume’s innovative exploration of diverse musical styles provides a model for rethinking musical nationalism, both within and beyond the Iberian Peninsula.”--Michael Christoforidis, author of Manuel de Falla and Visions of Spanish MusicTable of ContentsAcknowledgments Introduction: Sounding Nation and Region in Portugal and Spain Matthew Machin-Autenrieth, Salwa El-Shawan Castelo-Branco, and Samuel Llano Part I: Music, State Propaganda, and Authoritarian Regimes Chapter 1: Patriotic, Nationalist, or Republican? The Portuguese National Anthem Paulo Ferreira de Castro Chapter 2: The Battle for the Greatest Musical Emblem: The National Anthem and the Symbolic Construction of Francoist Spain Igor Contreras Zubillaga Chapter 3: Portuguese Rural Traditions as Cultural Exports: How Modernism and Transnational Connections Shaped the New State’s Folklore Politics Vera Marques Alves Part II: Sound Technologies and the Nation Chapter 4: Recording zarzuela grande in Spain in the Early Days of the Phonograph and Gramophone Eva Moreda Rodríguez Chapter 5: The Invisible Voices of the Early Recording Market in Portugal Leonor Losa Chapter 6: Radio, Popular Music, and Nationalism in Portugal in the 1940s Pedro Moreira Chapter 7: Protest Song and Recording in the Final Stages of the Estado Novo in Portugal (1960-74) Hugo Castro Part III: Negotiating the State, Nation, and Region Chapter 8: Towards a Critical Approach to Flamenco Hybridity in Post-Franco Spain: Rock Music, Nation, and Heritage in Andalusia Diego García-Peinazo Chapter 9: Portuguese Rock or Rock in Portuguese?: Controversies Concerning the “Portugueseness” of Rock Music Made in Portugal in the Early-1980s Ricardo Andrade Chapter 10: Indie Music as a Controversial Space on Spanish Identity: Class, Youth, and Discontent Héctor Fouce and Fernán del Val Chapter 11: Catalonia vs Spain: How Sonorous is Nationalism? Josep Martí Part IV: Musical Heritagization and the State Chapter 12: Intangible Cultural Heritage and State Regimes in Portugal and Spain Salwa El-Shawan Castelo-Branco and Cristina Sánchez-Carretero Chapter 13: Sounding the Alentejo: Portugal’s Cante as Heritage Salwa El-Shawan Castelo-Branco Chapter 14: Flamenco Heritage and the Politics of Identity Cristina Cruces Roldán Contributors Index

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Book SynopsisExplores the relationship between listening and musical composition focusing on nine American women composers inspired by the sounds of the natural worldTrade ReviewThe book will appeal to students and professionals who want to explore a connection between music and nature through a study of selected works by notable female composers. . . .Recommended. * Choice *Music and the Skillful Listener . . . offers evocative descriptions of compositions influenced or inspired by nature by nine North American women. It is a very readable book that is appropriate for and will likely appeal to undergraduates and general readers with music-reading skills. * Notes *Music and the Skillful Listener is an engrossing study of an important topic that scholars working in a broad array of fields—including American music, music and place, ecomusicology, ecocriticism, gender and music, and many more—will find enriching and illuminating. . . . Scholars pursuing research in these areas or in other related fields will find this book an invaluable resource. * Women and Music *Whether to nature itself, to the compositions of these women, or to the words written by Von Glahn, we must stop and listen. Music and the Skillful Listener invites us all to participate and even delight in the undertaking. * Journal of the Society for American Music *Table of ContentsIntroduction 1. A Context for Composers: Within the Nature-Writing TraditionI. Nature as a Summer Home 2. Amy Marcy Cheney Beach (Mrs. H. H. A. Beach)3. Marion Bauer4. Louise TalmaII. Nature all Around Us5. Pauline Oliveros6. Joan Tower 7. Ellen Taaffe ZwilichIII. Beyond the EPA and Earth Day8. Victoria Bond9. Libby Larsen 10. Emily DoolittleConclusions: The Repercussions of ListeningBibliographyIndex

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Book SynopsisAddressing the little-known theoretical and artistic experimentation with sound in Soviet cinema, changing practices of voice delivery and translation, and issues of aesthetic ideology and music theory, this book explores the cultural and historical factors that influenced the use of voice, music, and sound on Soviet and post-Soviet screens.Trade ReviewFeaturing essays from both established and emerging scholars, the volume will be of great use across disciplines in film studies, musicology, Russian studies, history, and cultural studies. It will be especially valuable for Soviet film scholars interested in the Stalinist period. * Choice *The stellar and insightful scholarship of . . . virtually every essay . . . thus makes good on Salazkina's introductory call for more 'exploration[s]s of the relationship between technology and the aesthetics of production, reception, and consumption of film' in regard to Soviet and post-Soviet sound, while also laying the foundation for even more exhaustive future work. * Cineaste *Sound, Speech, Music augurs exciting avenues of inquiry in film and media studies. The volume's multidisciplinary perspectives, often woven with rich cultural analysis, contribute to a larger discourse in the humanities and social sciences. In coeditor Salazkina's words, 'The contributions here are meant to provoke a conversation that may change the way we look at the history of our modernity'. . . . Undoubtedly, they will. * Film Quarterly *The essays here on sound and speech may . . . be considered pioneering, while the essays on music are a welcome addition to a small body of scholarship. Taken together, these pieces open a range of possibilities for future research. * Slavic Review *Sound, Speech, Music in Soviet and Post-Soviet Cinema is an important book. It contains rich case studies, important theoretical insights, and an admirable interdisciplinary and international focus. Most important, it . . . should serve as a foundational text in the field of Russian/Soviet sound studies. * Kritika *Table of ContentsAcknowledgementsNote on TransliterationList of AbbreviationsIntroduction / Masha SalazkinaPart I: From Silence to Sound1. From the History of Graphic Sound in the USSR or Media without a Medium / Nikolai Izvolov2. Silents, Sound, and Modernism in Dmitry Shostakovich's Score to The New Babylon / Joan Titus3. To Catch up and Overtake Hollywood: Early Talking Pictures in the Soviet Union / Valerie Pozner4. ARRK and the Soviet Transition to Sound / Natalia Ryabchikova5. Making Sense without Speech: The Use of Silence in Early Soviet Sound Film / Emma WiddisPart II: Speech and Voice6. The Problem of Heteroglossia in Early Soviet Sound Cinema (1930-1935) / Evgeny Margolit7. Challenging the Voice-of-God in World War II Era Soviet Documentaries / Jeremy Hicks8. Vocal Changes: Marlon Brando, Innokenti Smoktunovsky, and The Sound of The 1950s / Oksana Bulgakowa9. Listening to the Inaudible Foreign: Simultaneous Translators and Soviet Experience of Foreign Cinema / Elena RazlogovaPart III: Music in Film, or the Soundtrack10. Kinomuzyka: Theorizing Soviet Film Music in the 1930s / Kevin Bartig11. Ear of the Beholder: Listening in Muzykal'naia istoriia (1940) / Anna Nisnevich12. The Music of Landscape: Eisenstein, Prokofiev and the Uses of Music in Ivan The Terrible / Joan Neuberger13. The Full Illusion of Reality: Repentance, Polystylism, and the Late Soviet Soundscape / Peter Schmelz14. Russian Rock on Soviet Bones / Lilya KaganovskyBibliographyContributorsIndex

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Book SynopsisAddressing the little-known theoretical and artistic experimentation with sound in Soviet cinema, changing practices of voice delivery and translation, and issues of aesthetic ideology and music theory, this book explores the cultural and historical factors that influenced the use of voice, music, and sound on Soviet and post-Soviet screens.Trade ReviewFeaturing essays from both established and emerging scholars, the volume will be of great use across disciplines in film studies, musicology, Russian studies, history, and cultural studies. It will be especially valuable for Soviet film scholars interested in the Stalinist period. * Choice *The stellar and insightful scholarship of . . . virtually every essay . . . thus makes good on Salazkina's introductory call for more 'exploration[s]s of the relationship between technology and the aesthetics of production, reception, and consumption of film' in regard to Soviet and post-Soviet sound, while also laying the foundation for even more exhaustive future work. * Cineaste *Sound, Speech, Music augurs exciting avenues of inquiry in film and media studies. The volume's multidisciplinary perspectives, often woven with rich cultural analysis, contribute to a larger discourse in the humanities and social sciences. In coeditor Salazkina's words, 'The contributions here are meant to provoke a conversation that may change the way we look at the history of our modernity'. . . . Undoubtedly, they will. * Film Quarterly *The essays here on sound and speech may . . . be considered pioneering, while the essays on music are a welcome addition to a small body of scholarship. Taken together, these pieces open a range of possibilities for future research. * Slavic Review *Sound, Speech, Music in Soviet and Post-Soviet Cinema is an important book. It contains rich case studies, important theoretical insights, and an admirable interdisciplinary and international focus. Most important, it . . . should serve as a foundational text in the field of Russian/Soviet sound studies. * Kritika *Table of ContentsAcknowledgementsNote on TransliterationList of AbbreviationsIntroduction / Masha SalazkinaPart I: From Silence to Sound1. From the History of Graphic Sound in the USSR or Media without a Medium / Nikolai Izvolov2. Silents, Sound, and Modernism in Dmitry Shostakovich's Score to The New Babylon / Joan Titus3. To Catch up and Overtake Hollywood: Early Talking Pictures in the Soviet Union / Valerie Pozner4. ARRK and the Soviet Transition to Sound / Natalia Ryabchikova5. Making Sense without Speech: The Use of Silence in Early Soviet Sound Film / Emma WiddisPart II: Speech and Voice6. The Problem of Heteroglossia in Early Soviet Sound Cinema (1930-1935) / Evgeny Margolit7. Challenging the Voice-of-God in World War II Era Soviet Documentaries / Jeremy Hicks8. Vocal Changes: Marlon Brando, Innokenti Smoktunovsky, and The Sound of The 1950s / Oksana Bulgakowa9. Listening to the Inaudible Foreign: Simultaneous Translators and Soviet Experience of Foreign Cinema / Elena RazlogovaPart III: Music in Film, or the Soundtrack10. Kinomuzyka: Theorizing Soviet Film Music in the 1930s / Kevin Bartig11. Ear of the Beholder: Listening in Muzykal'naia istoriia (1940) / Anna Nisnevich12. The Music of Landscape: Eisenstein, Prokofiev and the Uses of Music in Ivan The Terrible / Joan Neuberger13. The Full Illusion of Reality: Repentance, Polystylism, and the Late Soviet Soundscape / Peter Schmelz14. Russian Rock on Soviet Bones / Lilya KaganovskyBibliographyContributorsIndex

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Book SynopsisArgues that the influence of Emerson and Thoreau on Charles Ives' compositional style freed the composer from ordinary ideas of time and chronology, allowing him to recuperate the past as he reached for the musical unknown.Trade ReviewMcDonald's work is always stimulating and never dull, consistently enriching the experience of the music. Ultimately, it also deepens our understanding of Ives the person, weaving together threads of art and biography. * Music Theory Spectrum *Overall, McDonald's book is a useful contribution to Ives scholarship . . . the book lays a solid foundation for further investigations of temporality in Ives's music. * Journal of the Society for American Music *McDonald investigates both the temporal and spatial effects of multidirectional motion, as well as its ramifications for understanding some of the larger philosophical issues that are raised in Ives's music.May 2015 * Music & Letters *McDonald brings together analytic and personal factors to sharpen the image of the composer in convincing ways. . . . This book . . . deserves a close reading. The bibliography provides a select list of scores and recordings as well as articles, books, catalogues, and unpublished commentaries. This book is recommended for college and university libraries and for readers with a music theory background. * Music Reference Services Quarterly *Table of ContentsPrefaceAcknowledgementsIntroduction: Ives and TimePart I: Three Dualities1. God/Man: I Come to Thee and Psalm 142. Community/individual: Sonata No. 1 for Piano and String Quartet No. 23. Intuition/expression: "Nov. 2, 1920" and "Grantchester"Part II: Contexts and Methodologies4. Elements of Narrative: The Unanswered Question5. Ives and the Now: "The Things Our Fathers Loved"6. Cumulative Composition: Ives's Emerson MusicNotesBibliographyIndex

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Book SynopsisShows how music was utilized for various effects, sometimes serving as a vehicle for narrative plot and at times complicating biblical and cinematic interpretation.Trade ReviewMeyer's clear and articulate study promises to be a welcome addition to the reading list of anyone interested not just in film but in mid-century music history. * Journal of the Society for American Music *Epic Sound is a major contribution to the field of film music studies and ought to be widely read by musicologists with an interest in film. Really, it ought to be read by film scholars as well: although the depth of Meyer's engagement with the music is felt on almost every page, this is also a powerfully sustained exploration of the biblical epic as a film genre. * American Music *This is a well-researched and thorough book examining what the author finds to be a unique facet of film music of the late 1940s and early 1950s – its use, sometimes to glorious excess, in the biblical epics of postwar Hollywood. * Soundtrax *Stephen C. Meyer provides detailed, historically grounded research into the music of post-Second World War biblical epics. 4/1/16 * Music, Sound and the Moving Image *Table of ContentsAcknowledgementsNote to ReadersIntroduction1. A Biblical Story, for the Post-World-War II Generation?: Victor Young's Music for DeMille's Samson and Delilah2. Turning Away from "Concocted Spectacle": Alfred Newman's Score for David and Bathsheba3. Spectacle and Authenticity in Miklós Rózsa's Quo Vadis Score4. Novel and Film, Music and Miracle: Alfred Newman's Score to The Robe5. Spirit and Empire: Elmer Bernstein's Score to The Ten Commandments6. The Law of Genre and the Music for Ben-Hur7. King of Kings and the Problem of Repetition8. Suoni nuovi, suoni antichi: The Soundscapes of Barabbas9. Universality, Transcendence, and Collapse: Music and The Greatest Story Ever ToldEpilogueNotesBibliographyIndex

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Book SynopsisTrade ReviewNew York Noise's invigorating discussion of the limits, unevenness, and incoherencies of culture offers a seminal contribution to the fields of ethnomusicology, musicology, cultural studies, American studies, and Jewish studies. * Project MUSE *"New York Noise will certainly be the standard text for fans and scholars of the RJC moment as well as an important reference for those interested in the downtown scene and contemporary Jewish musical practices." * Journal of the Society for American Music *A welcome addition to the literature on contemporary Jewish identity politics. * Jewish Book World *The book is detailed, well documented, and a fascinating analysis of a musical milieu that was less visible than the neo-klezmer movement . . . Just as valuable as the text is the availability of supplemental audio and video through a free account at ethnomultimedia.org . . . An outstanding study of a fascinating slice of New York culture. * Library Journal *Barzel provides plenty of sociohistorical contextualization to root her wider discussion of the role of Jewishly identified music in the downtown scene in New York City in the 1990s. Moreover, her inclusion of audio clips available on the publisher's website provides a soundtrack for critical listening, which is both practical and necessary. The book is expertly detailed in its musicological analysis. * H-Judaic *Recommended. * Choice *Questions of identity and musical originality are broached and compellingly entwined in Barzel's study, which is highly informative and refreshingly free of the dryness or excessive earnestness that can sometimes blight an account of a 'movement' of this kind. * Jazzwise *New York Noise fills an important void in the study of contemporary Jewish music and provides an array of insights into a unique efflorescence of Jewish culture that is sure to stimulate fans and scholars alike. * AJS Review *New York Noise only scratches the surface of potential research in this area, but Barzel adroitly tackles the larger questions of Jewish identity that Radical Jewish Culture wrestles with. Essential for Jewish libraries. * AJL Reviews *This book is appropriate for all academic collections and for the well informed and curious lay reader who is prepared for a very heavy read. It might easily serve as a textbook for a course on the subject. This book is highly recommended. * AJL Reviews *As the first book to tackle RJC in a closely studied manner, Barzel has provided an excellent foundation for future studies, as well as a very high bar by which they will be judged. * Musaica Judaica *Table of ContentsEthnomusicology Multimedia Series PrefaceAcknowledgementsIntroduction: The Downtown Scene1. Jewish Music: The Art of Getting it Wrong2. "Radical Jewish Culture": A Community Emerges3. From the Inexorable to the Ineffable: John Zorn's Kristallnacht and the Masada Project4. Queer Dada Judaism: G-d Is My Co-Pilot and the "Inbetween Space"5. Shelley Hirsch and Anthony Coleman: Music and Memory from the "Nowhere Place"EpilogueNotesBibliographyIndex

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Book SynopsisTrade ReviewNew York Noise's invigorating discussion of the limits, unevenness, and incoherencies of culture offers a seminal contribution to the fields of ethnomusicology, musicology, cultural studies, American studies, and Jewish studies. * Project MUSE *"New York Noise will certainly be the standard text for fans and scholars of the RJC moment as well as an important reference for those interested in the downtown scene and contemporary Jewish musical practices." * Journal of the Society for American Music *A welcome addition to the literature on contemporary Jewish identity politics. * Jewish Book World *The book is detailed, well documented, and a fascinating analysis of a musical milieu that was less visible than the neo-klezmer movement . . . Just as valuable as the text is the availability of supplemental audio and video through a free account at ethnomultimedia.org . . . An outstanding study of a fascinating slice of New York culture. * Library Journal *Barzel provides plenty of sociohistorical contextualization to root her wider discussion of the role of Jewishly identified music in the downtown scene in New York City in the 1990s. Moreover, her inclusion of audio clips available on the publisher's website provides a soundtrack for critical listening, which is both practical and necessary. The book is expertly detailed in its musicological analysis. * H-Judaic *Recommended. * Choice *Questions of identity and musical originality are broached and compellingly entwined in Barzel's study, which is highly informative and refreshingly free of the dryness or excessive earnestness that can sometimes blight an account of a 'movement' of this kind. * Jazzwise *New York Noise fills an important void in the study of contemporary Jewish music and provides an array of insights into a unique efflorescence of Jewish culture that is sure to stimulate fans and scholars alike. * AJS Review *New York Noise only scratches the surface of potential research in this area, but Barzel adroitly tackles the larger questions of Jewish identity that Radical Jewish Culture wrestles with. Essential for Jewish libraries. * AJL Reviews *This book is appropriate for all academic collections and for the well informed and curious lay reader who is prepared for a very heavy read. It might easily serve as a textbook for a course on the subject. This book is highly recommended. * AJL Reviews *As the first book to tackle RJC in a closely studied manner, Barzel has provided an excellent foundation for future studies, as well as a very high bar by which they will be judged. * Musaica Judaica *Table of ContentsEthnomusicology Multimedia Series PrefaceAcknowledgementsIntroduction: The Downtown Scene1. Jewish Music: The Art of Getting it Wrong2. "Radical Jewish Culture": A Community Emerges3. From the Inexorable to the Ineffable: John Zorn's Kristallnacht and the Masada Project4. Queer Dada Judaism: G-d Is My Co-Pilot and the "Inbetween Space"5. Shelley Hirsch and Anthony Coleman: Music and Memory from the "Nowhere Place"EpilogueNotesBibliographyIndex

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Book SynopsisTrade ReviewThe book is cogently (even, at times, beautifully) written and is well supported by frame stills, figures, musical examples and analytical sketches. To benefit fully from the analyses, the book demands a level of literacy with music-theoretic concepts that suggests its intended readership is primarily music scholars and graduate students, rather than film or media scholars, though readers without musical training could still gain much from it. * Music Analysis *Neumeyer introduces an eloquent and all inclusive film music theory that focuses on the spectator's mental activities (revealed through systematic analysis) in constructing and enhancing meanings through music and sound in cinema. * Music and Letters *Neumeyer . . . expands his significant contribution to film music studies with this magisterial volume. . . . Essential. * Choice *Table of ContentsPreface and AcknowledgmentsPart 1: Meaning and Interpretation1. Music in the Vococentric Cinema2. Tools for Analysis and InterpretationPart 2: Music in the Mix: Casablancaby David Neumeyer and James Buhler3. Acoustic Stylization: The Film's Sound World4. Music and Utopia: A Reading of the Reunion Scene5. The Reunion Scene's ContextsPart 3: Topics and Tropes: Two Preludes by Bach6. Performers Onscreen7. Underscore: Four Studies of the Prelude in C MajorNotesBibliographyIndex

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Book SynopsisTrade ReviewThe book is cogently (even, at times, beautifully) written and is well supported by frame stills, figures, musical examples and analytical sketches. To benefit fully from the analyses, the book demands a level of literacy with music-theoretic concepts that suggests its intended readership is primarily music scholars and graduate students, rather than film or media scholars, though readers without musical training could still gain much from it. * Music Analysis *Neumeyer introduces an eloquent and all inclusive film music theory that focuses on the spectator's mental activities (revealed through systematic analysis) in constructing and enhancing meanings through music and sound in cinema. * Music and Letters *Neumeyer . . . expands his significant contribution to film music studies with this magisterial volume. . . . Essential. * Choice *Table of ContentsPreface and AcknowledgmentsPart 1: Meaning and Interpretation1. Music in the Vococentric Cinema2. Tools for Analysis and InterpretationPart 2: Music in the Mix: Casablancaby David Neumeyer and James Buhler3. Acoustic Stylization: The Film's Sound World4. Music and Utopia: A Reading of the Reunion Scene5. The Reunion Scene's ContextsPart 3: Topics and Tropes: Two Preludes by Bach6. Performers Onscreen7. Underscore: Four Studies of the Prelude in C MajorNotesBibliographyIndex

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Book SynopsisTrade ReviewAs a work of music theory, Music and the Crises of the Modern Subject represents a unique aesthetic, semiotic, and hermeneutic approach more commonly found in musicology. It takes advantage of every opportunity to challenge music theory's comfortable obsession with closed systems of analysis. . . . Klein is clearly one of today's leading scholars of musical narrative and subjectivity. * Notes *It is a consequence of the richness of Michael Klein's Music and the Crises of the Modern Subject that we are able to trope endlessly upon it, to spin out our own arabesques of musical thought. If the contexts that I have presented above help in any way to ensure that this precious book will be widely read and integrated into one's work as a researcher, teacher, and musician, then they will have served their purpose. * Music Theory Spectrum *Klein (Temple Univ.) uses the theoretical frameworks of recent French critical theory, notably the thought of Jacques Lacan, to build a bridge between poststructural criticism and music. . . Highly recommended. * Choice *Table of ContentsAcknowledgementsIntroduction1. Music and the Symptom2. The Acoustic Mirror as Formative of Auditory Pleasure and Fantasy: Chopin's Berceuse, Brahms's Romanze, and Saariaho's "Parfum de l'instant"3. Debussy and the Three Machines of the Proustian Narrative4. Chopin Dreams: the Mazurka in C# Minor as SinthomeIntermezzo: On Agency5. Postmodern Quotation, the Signifying Chain, and the Erasure of History6. Lutosławski, Molar and MolecularWorks CitedIndex

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