Music reviews and criticism Books

Book SynopsisIn Experiencing David Bowie: A Listener''s Companion, musicologist, writer, and musician Ian Chapman unravels the extraordinary marriage of sound and visual effect that lies at the heart of the work of one of the most complex and enduring performers in popular music. Still active in a career now well into its fifth decade, Bowie's influence on music and popular culture is vast. At the height of the glam rock era, Bowie stood head and shoulders above his peers. His influence, however, would extend far beyond glam through successive changes of musical style and stage work that impacted upon wider popular culture through fashion, film, gender studies, theatre, and performing arts. As Chapman suggests, Bowie recognized early on that in a post-war consumer culture that continued the cross-pollination of media platforms, the line between musician and actor was an ever-thinning one. Opposing romantic notions of authenticity in rock, Bowie wore many faces, challenging listeners who consider hiTrade ReviewWhat I particularly enjoyed was the writer’s passion for Bowie’s music, often recalling his excitement as a teenager at listening to each new release on vinyl for the first time. The innovations of each track are explored along with the visual impact and meanings of Bowie’s album covers. Despite his enthusiasm, Chapman acknowledges and explains the reasons behind Bowie’s less successful works in the 1980s and 90s. This work will greatly appeal to fans of David Bowie as well as anyone interested in the history of modern popular music, fashion, stage and cinema, and modern art. * Sixtyplusurfers *David Bowie is one of the most daring and influential artists of his generation. Ian Chapman, musicologist and musician, serves as our tour guide, taking us through the ever-evolving art of Bowie. Chapman goes into great detail about every studio album, as Bowie glides from music hall to metal, glam to soul, disco to electronica. Bowie’s compulsion to innovate becomes clear. And Chapman includes in this study an exploration of the visual aspects, so vital to Bowie’s impact. The book gives us a far deeper understanding of a complex musical force. * Pop Culture Classics *Chapman’s narrative approach is to describe the discovery of each new album in a kind of second-person voice: you go to the record store. You wait in line (yes, we used to do that). You take the record home. You look at the front and back covers. You put the record on the turntable. You flip it over after the side finishes. And so on. . . .[I]n Chapman’s hands [this] works quite well, especially – I should think – with readers who actually did experience new records exactly that way. . . .Chapman makes the case for many of Bowie’s more recent albums. . . .[And] the critical analysis he brings to bear upon such late-period Bowie albums as Heathen and Reality has gotten me interested enough that I just might check out those titles. And realizing that makes me say to Ian Chapman, 'Job well done.' * Musoscribe *Table of ContentsSeries Editor Foreword Acknowledgments Timeline Introduction Chapter 1: Rock and Role: The Rise and Fall of Ziggy Stardust and the Spiders from Mars, 1972 Chapter 2: The Actor Emerges: Hunky Dory, 1971 Chapter 3: Musical beginnings: David Bowie, 1967 Chapter 4: Messages from Ground Control: David Bowie (aka Space Oddity) and The Man Who Sold the World, 1969-1971 Chapter 5: Irresistible Decadence: Aladdin Sane, Pin Ups, and Diamond Dogs, 1973-1974 Chapter 6: Plastic Soul and the birth of The European Canon: Young Americans, and Station to Station, 1975-1976 Chapter 7: The Sounds of Europe: Low, “Heroes,” and Lodger, 1977-1979 Chapter 8: The Rise and Fall of David Bowie: Scary Monsters (and Super Creeps), Let’s Dance, Tonight, Never Let Me Down, Tin Machine, and Tin Machine II, 1980-1991 Chapter 9: Rediscovering the Alien: Black Tie White Noise, The Buddha of Suburbia, Outside, Earthling, and ‘hours…’, 1993-1999 Chapter 10: Twenty-first Century Man: Heathen, Reality, and The Next Day, 2003-2013 Postscript Selected Listening Selected Readings Index About the Author

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Book SynopsisMany scholars, concert pianists, and classical music fans deem Franz Liszt the preeminent pianist of the nineteenth century. In Franz Liszt, His Circle, and His Elusive Oratorio, Xavier Puslowski engages in a detailed study of the links between Liszt, his contemporaries, and his milieu. Drawing on Liszt's famous Saint Stanislas Oratorio as a focal point, Puslowski brings together the history of the Romantic period in classical music and the intersection of key figures and historical events in his story of Liszt's achievements told from a distinctly historicist perspective. Readers get a new view of Liszt as Puslowski brings together a remarkable cast of characters. Friend and rival, Frederic Chopin, stands tall as a symbol of Poland's fight for independence; the remarkable French people's poet Pierre Beranger makes his entrance; virtuoso violinist Niccolo Paganini takes center stage later in Liszt's life; the indefatigable French composer Hector Berlioz and the domineering Richard WagnTrade ReviewThe spate of Liszt books appearing since the 2011 bicentennial of his birth has yielded some treasures, including the current volume. The title gives only the barest clue to the contents; in fact, the book provides a thorough account of Liszt's interest in Poland, which had ceased to exist as a formal political entity by the end of the 18th century. The oratorio is not Liszt's Christus...but Saint Stanislas, a work that occupied the composer for years but remained unfinished at his death. Saint Stanislas was to have been Liszt's crowning contribution to the 'Polish purpose,' which was important to him and some of his contemporaries (the circle of the book's title). Puslowski not only documents the tortuous development of the oratorio but also examines several of Liszt's relationships in light of Poland's then role in European culture. The book, with its fascinating perspective, constitutes an unexpected but lovely...biography. Summing Up: Highly recommended. Upper-division undergraduates through faculty. * CHOICE *Now there is another reason to get excited about Liszt. It comes in the form of an erudite book written by Xavier Jon Puslowski about a rarely remembered oratorio that Liszt struggled to write almost all his adult life. . . .There was . . . a wider circle of friends and lovers and passions of the man and it’s all recounted with great scholarship in this book. . . .The prose is elegant, leaps and bounds in vaunted glissandos and darting arpeggios almost the prose itself were composed on a piano after Liszt. Who could ask for anything more? * Jazz da Gama *Table of ContentsPreface Chapter 1: Romanticism and the musical background Chapter 2: Youth and the Prodigy Chapter 3: Béranger and the Revolutions Chapter 4: Paganini and his crucial influence Chapter 5: Liszt and the Polish pianist Chapter 6: Chopin and the Polish bowman Chapter 7: Chopin and Polish Romanticism Chapter 8: Liszt and the great virtuosity Chapter 9: Chopin and his letters Chapter 10: The Princess and settlement at Weimar Chapter 11: Liszt and his three lives Chapter 12: Wieniawski and the hard-earned years Chapter 13: Liszt and the Polish Oratorio Chapter 14: The Survivor and his friends Chapter 15: The Decline and End Epilogue Appendix: Listings of Franz Liszt’s music connected to Poland Index

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Book SynopsisDespite his tremendous success, Billy Joel's gifts as a composer and commentator on American life are long overdue for a thorough investigation. In Billy Joel: America's Piano Man, music historian Joshua S. Duchan looks at the career and music of this remarkable singer-songwriter, exploring the unique ways Joel channels and transforms the cultural life of a changing America over four decades into bestselling song after song and album after album.Billy Joel has not always enjoyed the acclaim of music critics, who have characterized his music as inauthentic and lacking a uniqueness of style. Duchan corrects this misunderstanding by exploring the depth and degree to which Joel's songs engage with social, cultural, political, and economic issues. Organized by major themes and including original interviews with Joel himself, Duchan's book delves into Joel's endeavors as a musician, lyricist, and commentator on questions of geography and regionalism, politics, working- and middle-class cultuTrade ReviewMusicologist Duchan presents an informative and entertaining look at the work of pop superstar Billy Joel, positioning his songs in the canon of 20th-century pop music. Despite Joel’s multiplatinum album sales, countless hit songs, and a performing career as long—and a fan base as loyal—as that of Bruce Springsteen, he has never been a favorite with critics. Duchan makes a powerful argument for the complexity in Joel’s work by keeping the spotlight on the music, tracing how 'Joel’s music kept alive an emphasis on well-crafted melody and harmony' rooted in Tin Pan Alley traditions while incorporating rock, jazz, and doo-wop with lyrics that addressed his listeners through contemporary themes. For example, Duchan carefully shows how an 'unabashedly sentimental' song such as 'New York State of Mind' shares many of the features of the Tin Pan Alley genre (the song similarly 'includes four verses that roughly fit the ABAC pattern and finish with title lyrics'). Duchan argues that 'Joel sings as, for, and about hard-working people whose circumstances are worsening and who have little control over the forces that affect their lives.' He successfully argues for Joel’s music relevance. * Publishers Weekly *Duchan takes a middle-ground approach to analyzing the work of one of America’s most recognizable musicians of the past five decades. This book is much more than a biography.... Duchan organizes his analysis of Joel’s work around several themes (e.g., place, living in American culture, stylistic authenticity, etc.). This approach works very well, especially at tracing the musician’s development over the course of his career and in providing context for some of his best-known and finest songs and instrumental compositions. The writing style is fluid and the research solid, providing much insight into Joel. VERDICT A must-read analysis of the work of one our most popular performers. * Library Journal *Original interviews with Billy Joel blend with Duchan's engaging analysis to provide readers of all backgrounds and ages a new look at Billy Joel's unforgettable songs. Music lovers and historians of both the academic and armchair variety will find this exploration of Joel's work a rewarding adventure into America's social, cultural, political, economic, and contemporary American popular music history…. [U]nreservedly recommended for both community and academic library American Music History collections in general, and Billy Joel supplemental studies reading lists in particular. * Midwest Book Review *Joshua S. Duchan has written a passionate study of the Piano Man's music and lyrics, decoding the artist's songwriting process in a smart analysis that investigates cultural context and the language of song. Given its focus on music, Billy Joel: America's Piano Man is a welcomed addition to the books that have come before. -- Jeff Schock, director of the Billy Joel ArchivesTable of ContentsChapter 1: “Somewhere Along the Line”: Biography and Influences Chapter 2: “New York State of Mind”: Geography, Places, and Spaces Chapter 3: “Where’s the Orchestra?”: Domestic and International Politics Chapter 4: “Pressure”: Living in American Culture Chapter 5: “She’s Always A Woman”: Relationships and Gender Chapter 6: “The Entertainer”: Stylistic Authenticity and the Entertainment Industry Chapter 7: “This Is the Time”: A Historically Conscious Composer Chapter 8: “And So It Goes”: The Lasting Significance of Billy Joel Further Reading Further Listening

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Book SynopsisBreaking through pervasive misconceptions, Jazz in the 1970s explores a pivotal decade in jazz history. Many consider the 1970s to be the fusion decade, but Bill Shoemaker pushes back against this stereotype with a bold perspective that examines both the diverse musical innovations and cultural developments that elevated jazz internationally. He traces events that redefined jazz's role in the broadband arts movement as well as the changing social and political landscape. Shoemaker immerses readers in the cultural transformation of jazz through: official recognition with events like Jimmy Carter's White House Jazz Picnic and the release of The Smithsonian Collection of Classic Jazz;the market validation of avant-garde musicians by major record labels and the concurrent spike in artist-operated record labels and performance spaces;the artistic influence and economic impact of jazz festivals internationally;the emergence of government and foundation grant support for jazz in the United StTrade ReviewFocusing primarily on one figure or group of musicians for each year of the decade, Shoemaker looks at British and European musicians, including Han Bennink, Peter Brötzmann, Albert Mangelsdorff, Chris McGregor, John Stevens, Derek Bailey, and Evan Parker. Major American figures profiled are Julius Hemphill, Anthony Braxton, Archie Shepp, Cecil Taylor, and Sam Rivers. Shoemaker also discusses jazz criticism and the jazz canon, jazz festivals, and jazz at the White House. His explorations of the music and “scenes” of the musicians are thorough. This is a well-written and important book. Summing Up: Recommended. Upper-division undergraduates through faculty and professionals. * CHOICE *In this informative, opinionated history, Shoemaker, a longtime jazz writer and critic, breaks down the 1970s by devoting each chapter of the book to a specific year. After the 1960s—a decade Shoemaker hails as the genre’s most pivotal—jazz was at a crossroads and seeking a new identity. Although jazz in the 1970s is often associated with the word “fusion,” it headed in multiple directions. Shoemaker focuses on what he believes are the decade’s important albums, including saxophonist Julius Hemphill’s Dogon A.D. and Art Ensemble of Chicago’s Nice Guys, plus the establishment of major events such as the Montreux Jazz Festival and Jimmy Carter’s one-off White House Jazz Picnic. At times, this selective history reads like a series of lengthy record reviews interspersed with DownBeat and Melody Maker reviews from the era, accompanied by overwritten prose (“Increasingly, Marsalis’s subsequent recordings combine aspects of reverse engineering and discredited recapitulation theories in biology, which posits that an organism’s development resembles the series of ancestral types”). That said, Shoemaker does provide insight into major and independent record labels and the impact that sampler releases such as The Smithsonian Collection of Classic Jazz had on avant-garde and mainstream listeners. Shoemaker writes for the jazz connoisseur, and his work will disappoint mainstream readers in search of a more complete overview of this era of jazz. (Jan.) * Publishers Weekly *Shoemaker’s work has two great strengths: rapid response and sense of detail befitting a journalist, coupled with a historian’s sense of scale and long view. * The New York City Jazz Record *Bill Shoemaker examines a jazz decade when cultures collided and coalesced, then moved on. He shows what these processes meant for the music's future, while unfalteringly bringing the reader to some unsuspected conclusions. Revelatory, responsive and inspiring. -- Val Wilmer, author, As Serious as Your Life: The Story of the New JazzCan we make sense of the reality that was jazz in the 1970s? The answer is yes. In this brilliantly researched book, Bill Shoemaker sorts out the layers of Afro-American self-determination, European identity, the market, and even Jimmy Carter’s great jazz event at the White House. -- Matthew Shipp, pianist and composerBill Shoemaker’s Jazz in the 1970’s: Diverging Streams is a rich read. You'll want to listen to the music as you follow the stories of the musicians, the business, and the dynamic interplay with history, culture, politics, and economic forces. -- Mark Dresser, bassist, composer, and professor, University of California San DiegoTable of ContentsAuthor’s Note Introduction: The 1960s: Point of Departure Chapter 1: 1970: Travelling Somewhere Chapter 2: 1971: The Prince and the Pariah Chapter 3: 1972: Adaptive Dance Chapter 4: 1973: The Canon Chapter 5: 1974: “A new name half the world already knows” Chapter 6: 1975: Montreux Chapter 7: 1976: Wildflowers Chapter 8: 1977: Company Week Chapter 9: 1978: Salt Peanuts Chapter 10: 1979: Nice Guys Coda: The Early 1980s: Let’s Call This

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Book SynopsisBessie Smith occupies a unique place in the history of American music. She was one of the first undisputed artists to come from the American vernacular tradition of the twentieth century, and as a woman, she was a figure of extraordinary power. She organized and led her own touring companies, wrote some of her repertoire, controlled her many relationships (romantic and otherwise), and even negotiated her own contracts. This type of agency was virtually unheard of in the popular music industry during the first half of the century, and Smith is often cited as a major influence on artists who sought to manage their work and reputation. Her musical output comprises a long series of recordings done between 1923 and 1933, all of which feature her vocal range, musical ability, and emotional power. Her band included some of the best black musicians of the day.In Experiencing Bessie Smith, John Clark chronicles Bessie Smith's vital contribution to and influence on music, the music industry, andTrade ReviewThe complex legacy of the ‘Empress of the Blues’ is beautifully explored in this expert, welcoming book. Clark is perceptive—never pedantic—about Smith’s life and recordings, offering an engaging guide to her place in African-American art. -- Michael Steinman, Jazz Lives blogTable of ContentsForward Acknowledgments Timeline Introduction Chapter 1: Crazy Blues Chapter 2: Any Woman’s Blues Chapter 3: ‘Tain’t Nobody’s Biz-ness If I Do Chapter 4: Reckless Blues Chapter 5: Money Blues Chapter 6: Gimme a Pigfoot and a Bottle of Beer Chapter 7: Bessie Only Pays For It Chapter 8 Selected Listening Cited Works Bibliography Index About The Author

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Book SynopsisExploring U2: Is This Rock ''n'' Roll? features new writing in the growing field of U2 studies. Edited by Scott Calhoun, with a foreword by Anthony DeCurtis, Exploring U2 contains selections from the 2009 inaugural gathering of The Hype and The Feedback: A Conference Exploring The Music, Work and Influence of U2. In keeping with U2''s own efforts to remove barriers that have long prevented dialogue for understanding and improving the human experience, this collection of essays examines U2 from perspectives ranging from the personal to the academic and is accessible to curious music fans, students, teachers, and scholars alike.Four sections organize sixteen essays from leading academics, music critics, clergy, and fans. From the academic disciplines of literature, music, philosophy, and theology, essays study U2''s evolving use of source material in live performances, the layering of vocal effects in signature songs, the crafting of a spiritual community at live concerts, U2''s success Trade ReviewIrish rockers U2 are celebrated in this collection of writings by a variety of observers, many of whom find the band fascinating in massive and important ways. As usual in this sort of pop-music Festschrift, most of the individual pieces are laudatory, but between U2’s sustained commercial success and Bono’s seemingly unending flair for the very public pursuit of good, there is more to comment on than the usual pop-music group’s ethos might offer. Specifically, Christopher Endrinal expounds on U2’s use of “vocal layering” on albums that “reinvented” the band’s sound in the 1990s; and Stephen Catanzarite, perhaps unexpectedly, discerns “U2’s conservative voice”; but the deepest depths are delved by Greg Clarke, who contrasts the influence of Jesus Christ on Bono and Nick Cave. Bono says, “either Christ was who He said He was—the Messiah—or a complete nutcase.” Heavy stuff for rock and roll, to be sure, this collection is comprehensively referenced, challenging, and frequently provocative. And why not? * Booklist *Stephen Catanzarite's piece on U2's conservatism is surprising, even something of a shock, yet strangely reassuring. It goes some way to explaining why U2 has survived as a band for so long, been able to 'speak' to different generations and, while dabbling in some of the excesses of the rock music world, has never quite succumbed to it, or been submerged within it. ... This collection is not simply a collection of theological pieces... but it is evidence of the kind of wrestling which Christian preachers, teachers, youth workers, lay workers and theologians need to do not simply with the quest for 'relevance' but with respect to the fact that theology... needs to remain sharp and not ecclesiastically captive. * Theology *Exploring U2 is a fascinating anthology that will provide readers, both aficionados and novices, with an appraisal of the band’s influence upon contemporary music, theology, politics, and culture. It will also encourage the reader to re-examine U2’s music by uploading the I-pod or placing some vinyl on the turntable. * Rock Music Studies *

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Book SynopsisThe musical scores of Stanley Kubrick's films are often praised as being innovative and forward-looking. Despite playing such an important part in his productions, however, the ways in which Kubrick used music to great effect is still somewhat mysterious to many viewers. Although some viewers may know a little about the music in 2001 or A Clockwork Orange, few are aware of the particulars behind the music in Kubrick''s other films.In Listening to Stanley Kubrick: The Music in His Films, Christine Lee Gengaro provides an in-depth exploration of the music that was composed for Kubrick's films and places the pre-existent music he utilized into historical context. Gengaro discusses the music in every single work, from Kubrick's first films, including the documentary shorts The Flying Padre and Day of the Fight, through all of his feature films, from Fear and Desire to Eyes Wide Shut. No film is left out; no cue is ignored.Besides closely examining the scores composed by Gerald Fried for KuTrade ReviewThis is a fascinating look at the films of Kubrick as well as the importance that music plays in setting a scene in a film. It is appropriate for larger universities with extensive film studies collections. * American Reference Books Annual *In a study that focuses on Kubrick's use of music in both his full-length features and his documentaries, Gengaro (Los Angeles City College) succeeds in her aim to reach readers both with and without musical background. As is well-known from the literature on Kubrick, especially Paul Merkley's article "'Stanley Hates This but I Like It!': North vs. Kubrick on the Music for 2001: A Space Odyssey" (published in the fall 2007 issue of The Journal of Film Music), there are behind-the-scenes twists and turns with the director's decision making vis-à-vis music: for example, his opting to use a temp score rather than composer Alex North's original music. This aspect, sometimes believed to be simply Kubrick's own sense of directorial authority, makes the history of the music difficult to track down. Gengaro offers analyses that will satisfy those who know the film music and at the same time enable those new to the study of film music to find a place to begin their explorations. An engaging read, this book is the most comprehensive study of its kind in English. Summing Up: Essential. All readers. * CHOICE *Christine Gengaro’s book is a comprehensive overview and analysis of American film director Stanley Kubrick’s musical practices. A notable extension of her dissertation research on Kubrick’s A Clockwork Orange, it fills an important gap in the bibliography of film studies, Kubrick studies, and film score studies, locating important sources for research on Kubrick’s soundtracks and highlighting some of the major scholarly arguments and concerns surrounding his work. This book is a compendium, pulling together diverse materials on the director’s approach to film scoring: Kubrick biographies, commentaries on his craft, articles on the effects of his musical choices, and analyses of the scores themselves, including composition and reception histories for the many pre-existing pieces he used. In short, Listening to Stanley Kubrick should be any scholar’s first stop when embarking upon a study of the auteur’s musical choices. . . .Gengaro also shares many of her own observations, based on a wide breadth of research, while making reference to and synthesizing the work of other scholars in the field. What makes her book especially valuable, then, is its usefulness as an introduction to lines of scholarly inquiry that are essential to understanding not only Kubrick’s approach to scoring his films, but also trends in the academic study of Kubrick more generally. Listening to Stanley Kubrick is a biography, a bibliography, and a preliminary analysis of Kubrick and his musical choices, and is an important first stop for anyone—scholar, enthusiast, or both—looking to pursue a deeper understanding of Stanley Kubrick’s influential body of films. * Notes: Quarterly Journal of the Music Library Association *Listening to Stanley Kubrick is intended foremost to be a useful resource for anyone interested in the music in Kubrick’s films. It achieves this goal and much more. Readers who are unfamiliar with any of the films will find it an excellent starting place. * Journal of the Society for American Music *Table of ContentsTable of Contents Acknowledgments Introduction Chapter 1 – Early Projects Chapter 2 – Love Themes, Leitmotifs, and Pop Music Chapter 3 – The Music of the Spheres Chapter 4 – “It Was Lovely Music That Came to My Aid” Chapter 5 – “I Was Lucky Enough to Have Superb Material to Work With” Chapter 6 – Midnight, the Stars, and You Chapter 7 – Kubrick’s Final Word Appendices Films and Their Source Material Synopses of Soundtracks and Track Lists Bibliography

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Book SynopsisWith twenty-three Grammy wins, Chick Corea is a legendary jazz figure and one of the most prolific and influential contemporary pianists of our time. He has produced hundreds of releases in multiple genres over five decades, and he is one of the hardest-working musicians in the industry, with a yearly tour schedule of over 250 international concerts. He has authored multiple books and instructional works, and many regard him today as easily one of the most influential musicians of his generation.Experiencing Chick Corea looks at the full span of Corea's career, decade by decade, touching on the vast array of musical styles he engaged, from his initial work with Herbie Mann to his free explorations with Circle. It touches on his arguably most influential album Now He Sings, Now He Sobs, his involvement with Miles Davis' Bitches Brew and subsequent efforts as pioneer in the fusion scene with Return to Forever, his duo collaborations, classical outings, and his acoustic and trio work in tTrade ReviewChick Corea has had his ten talented fingers in so many different kinds of music, from be-bop to tango, from classical to fusion, and everything in between. It doesn’t seem possible that anyone could do this in one lifetime and convince you that he is perfectly at home in every genre! -- Gary Burton, grammy-winning jazz musicianTable of ContentsChapter 1 - Now He Sings, Now He Sobs – What Was? Chapter 2 - Bitches Brew and In A Silent Way Chapter 3 - Circle – An Avant-Garde Excursion Chapter 4 - Return to Forever – the Acoustic Period Chapter 5 - Return to Forever – Electric Chapter 6 - Playing With Friends Chapter 7 - Acoustic Variations Chapter 8 - Back to Electric Chapter 9 - So Many Things To Do Coda - The Corea Legacy

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Book SynopsisTrade ReviewThis study is based largely on Edward Said’s work on Orientalism. The strength of the study is that Tarling approaches his topic primarily as a distinguished scholar of Southeast Asian history, secondarily as an aficionado of Western opera. His deep understanding of Orientalism allows him to express the complexity of globalization and globalization within an already complex art form. The long introduction provides a detailed multidisciplinary summary of the spread of opera within and beyond Europe. . . .[T]he explanation of the evolution of the genre itself is well researched and well documented; though not for the novice, it will be a good refresher for readers who are well versed in opera. Tarling provides no deep musical analysis, instead offering in-depth analysis of operas, grouping them thematically from the origins of the genre to modern contributions, and focusing on the libretti and performance history. The author bases his analysis largely on meticulously researched historical accounts and the scholarly works of others, grouping the operas together in new ways and considering them against what Said posits. Summing Up: Highly recommended. Upper-division undergraduates through faculty and professionals. * CHOICE *[Tarling's] accounts of . . . librettos and creative backgrounds, as well as relevant performance history, have been thoroughly researched and thought through. As informed as it is informative, the result is a consistently stimulating read, full of artistic and cultural insights—some of them surprising. * Opera *Table of ContentsOverture Part One: Recitatives Chapter 1: Globalising and Glocalising Opera Chapter 2: The Genre Chapter 3: Orientalisms Part Two: Arias Chapter 4: Bible-based operas Chapter 5: Crusaders, Arabs and Turks Chapter 6: Egypt Chapter 7: India and Ceylon Chapter 8: China. Chapter 9: Japan Chapter 10: Russia Finale About the Author

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Book SynopsisThe classical record business gained a new lease on life in the 1980s when period instrument performances of baroque and classical music began to assume a place on the stage. This return to the past found its complement in the musical ascension of the American minimalists, in particular the music of Steve Reich, Philip Glass, and John Adams, and smaller specialty labels that focused on experimental composers like John Cage. During this period of changeof classical music's transition of looking both forward and backRob Haskins served as a reviewer for The American Record Guide, tracing these evolutions while also attending to works emerging from within the mainstream of classical music performance and composition. Classical Listening: Two Decades of Reviews of Reviews from The American Record Guide collects the several hundred reviews produced since Rob Haskins's start in the mid-1990s. A performer and musicologist, Haskins writes delightful, cogent reviews that unapologetically refleTrade ReviewHaskins is an engaging writer. The reviews are reflective of his personal musical experience and interests as they trace the reception of classical music recordings over the past two decades. Many of his reviews have the feel of a diary, revealing Haskins’ approach to historical performance practice and the aesthetics of contemporary music while providing a critique of the merits of each performance. . . .[T]his book is valuable as an overview of twenty years of publication and public reception of recordings in these categories. . . .Researchers...may find this book a useful addition to their personal libraries. * ARSC Journal *This collection of Rob Haskins's CD reviews from the American Record Guide was difficult to get through. These reviews, which are informative, written with amiable energy, and clearly reveal their underlying musical values, had me putting the book down after about every two or three reviews and heading to my computer to hear a sample of what he had just praised ... In the essential role of critic as advocate, Haskins makes everything that matters to him interesting and attractive to the reader.... Haskins is experienced and informed.... One of his academic specialties is 20th Century American music.... These reviews are fascinating to read just from the standpoint of his experience, which adds a foundation of specific and meaningful details to the standard evaluation of expressive and performing choices.... Technical skill, historical understanding, and an imagination true to the nature of the music makes for excitement and satisfaction. * American Record Guide *A distinct voice—generous, personal, both open-minded and highly specific. It is a pleasure not knowing what Rob Haskins will say next, to follow his elegant thought processes wherever they may lead. -- Tim Page, University of Southern CaliforniaFilled with many provocative insights and charming anecdotes, Rob Haskins' book of collected reviews, Classical Listening was a total joy to read. Haskins writes very intelligently, informing the reader of historical context while showing a deep understanding of both musical and performance issues. -- Brad Lubman, Eastman School of Music; founding co-artistic director and music director of Ensemble SignalAn incredibly thorough volume that manages to be both scholarly in detail and engaging as a fascinating read for any music lover—indispensable and hard to put down. -- Zsolt Bognár, concert pianist and host, Living the Classical LifeTable of ContentsPreface Part 1: J. S. Bach and Other Early Music Chapter 1: Bach Chapter 2: Other Early Music Part 2: John Cage and Other New Music Chapter 3: Cage Chapter 4: Minimalists Chapter 5: Other New Music Index

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Book SynopsisIn Leaders of the Pack: Girl Groups of the 1960s and their Influence on Popular Culture musician and music historian Sean MacLeod surveys the hundreds of girl groups that appeared not only in the United States but also in Great Britain during the early 1960s. This study corrects the neglect of their critical contribution of popular music history by exploring the social and political climate from which the girl groups emerged and their effect, in turn, on local and national music and culture. MacLeod organizes his argument around seven leading girl groups: The Shirelles, The Crystals, The Ronettes, The Marvelettes, The Vandellas, the Supremes and The Shangri-Las. These seven sister groups serve as the basis for a broader look at the many girl groups of the period, offering a roadmap through the work of the many stakeholderthe singers, songwriters, producers, and record labelsthat the girl group phenomenon made possible. MacLeod also reviews the significant influence girl groups had onTrade ReviewA British songwriter and producer, MacLeod has compiled a detailed history of the early 1960s girl musical groups—in both the US and Great Britain—and their legacies. Drawing on a range of sources (some primary but most secondary), MacLeod begins with a history and an analysis of the Shirelles and moves on to the Crystals, the Ronettes, the Marvelettes, the Supremes, the Vandellas, and the Shangri-Las. He also discusses such producers as Berry Gordy and Phil Spector. With the arrival, in the mid-1960s, of the Beatles and other British groups (who were significantly influenced by the girl groups), the musical scene changed significantly. MacLeod follows the story through the remainder of the 20th century and into the 21st, discussing The Beach Boys, The Who, The Rolling Stones, the Ramones, Blondie, Madonna, the Spice Girls, Lady Gaga, and Britney Spears—all seemingly influenced by the earlier girl groups. There are lengthy notes and a detailed bibliography, demonstrating the author’s wide range of sources, but few illustrations. With its wide chronological coverage, this is a useful addition to the literature. Summing Up: Recommended. Lower-division undergraduates through faculty; general readers. * CHOICE *MacLeod has done a commendable job researching this topic.... [H]e presents some unique and important thoughts on the 1960s girl groups and their bearing on the music and culture that followed. I recommend this book for either public or academic libraries, because it deserves wide readership and makes important contributions to the discourse on feminism, popular music, and cultural history. * Music Reference Services Quarterly *[A] superb book…. Leaders of the Pack is exhaustively researched and so filled with details that anyone interested in the era, or popular music in general, will surely appreciate it. * Journal of American Culture *Table of ContentsChapter 1: Teenagers, Rock ‘n’ Roll and Post War Liberation Chapter 2: The Shirelles and the Beginning of The Girl Group Era Chapter 3: Phil Spector Girl Groups: The Crystals and the Ronettes Chapter 4: Motown Girl Groups: The Marvelettes, The Supremes, and The Vandellas Chapter 5: The Shangri-Las and the End of The Girl Group Era Chapter 6: Girl Groups, Girl Bands, and 60s Pop Chapter 7: The Girl Groups’ Legacy: The 70s Chapter 8: The Girl Groups’ Legacy: The 80s Chapter 9: Material Girls Madonna Chapter 10: Modern Girls: The Spice Girls to Lady Ga Ga Notes Bibliography Index

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Book SynopsisWomen's Bands in America is the first comprehensive exploration of women's bands across the three centuries in American history. Contributors trace women's emerging roles in society as seen through women's bandsconcert and marchingspanning three centuries of American history. Authors explore town, immigrant,industry, family, school, suffrage, military, jazz, and rock bands, adopting a variety of methodologies and theoretical lenses in order to assemble and interrogate their findings within the context of women's roles in American society over time. Contributors bring together a series of disciplines in this unique work, including music education, musicology, American history, women's studies, and history of education. They also draw on numerous primary sources: diaries, film, military records, newspaper articles, oral-history interviews, personal letters, photographs, published ephemera, radio broadcasts, and recordings. Thoroughly, contributors engage in archival historical researchTrade ReviewSullivan expands her topic from women’s military bands, the subject of her Bands of Sisters, to virtually all band types encountered in the US: professional, town, vaudeville, school, drum and bugle corps, jazz, and rock as well as military (in the last chapter she extends the discussion to a military band in Mexico). The arrangement is mostly chronological, and the chapters span the 140 years from the late 19th century (starting with Helen May Butler’s various ensembles) to the 21st century (rock bands in the Twin Cities)…. [O]f special merit are contributions by Gayle Murchison and Jeananne Nichols. Murchison writes about the ‘intersectionality of race and gender in jazz,’ as seen through the life and recordings of Mary Lou Williams’s Girl Stars, while untangling a web of connections among members of the jazz world. Nichols details the US WAF Band history, drawing on many primary documents, interviews, and recent theory. Coauthors Dawn Farmer and David Rickels also make effective use of extensive primary sources in bringing to life the stories of pathbreaking band directors Lillian Williams Linsey and Gladys Stone Wright, who served as role models and left lasting legacies in the band world. Summing Up: Recommended. Upper-division undergraduates through faculty and professionals. * CHOICE *This collection presents a sweeping 140-year story of successful all-women's bands in the United States and Mexico and fills many gaps in our inherited musical histories. Taken together, these essays present a powerful story of resilience, showing that in creating these musical ensembles, women also created an empowering space for their own gendered agency. It would be useful in a variety of undergraduate and graduate courses on gender and music, gender studies, historical musicology and ethnomusicology. -- Ellen Koskoff, University of Rochester's Eastman School of MusicA thrilling journey through the history of women’s bands in the USA. Feminist theory is interwoven with compensatory history, to reveal a web of power and constraint versus liberation and resistance in the gendered musical world. Threading it all together is the Editor’s exciting introduction. Highly recommended. -- Lucy Green, Professor of Music Education, UCL Institute of Education, London UKWomen’s Bands in America is a comprehensive and clear ‘must-read’ source for anyone interested in the history of American bands. Jill Sullivan and her contributors have filled the void of women’s mostly forgotten contributions to American bands, and indeed their contributions to music and our culture in general. Understanding these unique contributions is necessary to fully comprehend the role of bands in our society. Bravo to all of the authors, and especially Dr. Sullivan, for telling these amazing stories! -- Steven N. Kelly, Florida State UniversityWomen’s Bands in America provides a fascinating, well-researched and compelling history of women forming bands dating back to 1876. Kudos to Jill Sullivan et. al. for recognizing the women whose talents and accomplishments might otherwise never have been brought to light. I am amazed and empowered by the life stories herein! -- Paula A. Crider, Professor Emeritus, The University of TexasTable of ContentsChapter 1: Introduction Jill M. Sullivan Chapter 2: Helen May Butler and Her Ladies' Military Band: Being Professional during the Golden Age of Bands Brian Meyers Chapter 3: Town Bands, 1870–1920 Sondra Wieland Howe Chapter 4: "An Attraction of Unusual Merit," Women's Bands on the Vaudeville Stage Joanna Ross Hersey Chapter 5: All-Female School Bands: Separate Spheres and Gender Equality Jill M. Sullivan Amy Spears Chapter 6: Legacies of Leadership: Lillian Williams Linsey and Gladys Stone Wright Dawn M. Farmer David A. Rickels Chapter 7: A Survey of All-Female Drum and Bugle Corps featuring “The Hormel Girls" Danelle D. Larson Chapter 8: Mary Lou Williams’s Girl Stars and the Politics of Negotiation: Jazz, Gender, and Jim Crow Gayle Murchison Chapter 9: Parading Women: Objectification and Commodification of Women’s Military Bands during WW II Jill M. Sullivan Chapter 10: Into the Wild Blue Yonder: A History of the US WAF Band 1949-1961 Jeananne Nichols Chapter 11: Rockin' it Local: Conversations with All-Women Rock Bands in the Twin Cities Sarah Schmalenberger Sarah Minette Chapter 12: Blowing the Tradition: Women Forming Community and Military Bands in Mexico Vilka E. Castillo Silva Chapter 13: Conclusions and Recommendations Jill M. Sullivan

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Book SynopsisJohn Lee Sonny Boy Williamson was one of the most popular blues harmonica players and singers from the late 1930s through the 1940s. Recording for the Bluebird Records and RCA Victor labels, Sonny Boy shaped Chicago''s music scene with an innovative style that gave structure and speed to blues harmonica performance. His recording in 1937 of Good Morning, School Girl, followed by others made him a hit with Southern black audiences who had migrated north. Unfortunately, his popularity and recording career ended on June 1, 1948, when he was robbed and murdered in Chicago, Illinois. In 1980, he was inducted into the Blues Foundation Hall of Fame.Mitsutoshi Inaba offers the first full-length biography of this key figure in the evolution of the Chicago blues. Taking readers through Sonny Boy''s career, Inaba illustrates how Sonny Boy lived through the lineage of blues harmonica performance, drawing on established traditions and setting out a blueprint for the growing electric blues scene. InTrade ReviewWilliamson, one of the well-known blues harmonica players and singers from the golden era of the blues, gets the royal treatment from musicologist Inaba, who elevates him as an American musical innovator. Williamson was born in 1914 and nicknamed Sonny Boy by his grandmother in his native Tennessee. When he was 11, his mother gave him a harmonica, sparking endless hours of practice until he could perform locally. Blues fans acknowledge Williamson’s supreme talent on the blues harp, which was recorded in the 1937–1938 Aurora sessions and the 1938–1948 Chicago dates. When the singer joined the blues legends of the popular Bluebird Records in its glory days, his clever phrasing and dazzling harp technique sent his fans rushing to buy his more than 120 recorded sides for the Bluebird and RCA Victor labels. He also recorded a smash hit, 'Good Morning, School Girl,' in 1937. Inaba pays much attention to Williamson’s drinking problem, womanizing, and reckless behavior leading to his murder in 1948—maybe too much. Despite Williamson’s flaws, Inaba confirms the prickly singer, who transformed down-home country blues into a unique up-tempo urban jump sound, as a genuine folk hero influential in one of America’s signature musical forms. * Publishers Weekly *This one, originally started as a collaboration with Jim O’Neal, is a very easy read indeed. It flows beautifully and sweeps the reader along effortlessly....The bibliography is impressively thorough. Heartily recommended. * Blues & Rhythm *[A]uthor Mitsutoshi Inaba traces Williamson’s life, providing in-depth examinations of subsequent recording sessions for more than 120 tracks that the harmonica cut during his short career. The author also takes a look at key sessions where Williamson provided backing for artists like Williams, Rachell, and Henry Townsend. There are also breakdowns of songs with tablature provided by the author, who learned how to play blues harmonica in order to better understand Williamson’s style. Two key parts of the research for the book were provided by Jim O’Neal, co-founder of Living Blues magazine and an early collaborator on the project. The unpublished interviews with T.W. Utley, Williamson’s half brother, and Fred Utley, his uncle, contain information that allows Inaba to go beyond the music in developing his portrayal. Included in the book are twelve pages of b&w photos, extensive notes, and a complete discography of all the tracks Williamson cut under his name…. If you have more than a passing interest in the blues harmonica legacy – or want to broaden your knowledge about one of the key innovators of the music – add this one to your reading list. * Blues Blast Magazine *Mitsutoshi Inaba’s new biography of John Lee Williamson—the “first Sonny Boy”—is a must-have book not just for blues scholars, but for any serious student of the blues harmonica. Inaba has combined rich archival research and song-by-song analysis, including commentary by contemporary master Joe Filisko, into a vibrant portrait of the first star of the blues harp. I learned a lot from this study. Great work! -- Adam Gussow, blues harmonicist, University of MississippiTable of ContentsChapter 1: Learning the Blues: Jackson, Tennessee: 1914–1937 Chapter 2: Reaching New Heights: St. Louis and Aurora, Illinois: 1937–1938 Chapter 3: Windy City Blues: Chicago: 1939–1943 Chapter 4: The Sound of Bronzeville: 1943-1948 Chapter 5:The Final Days: 1948 Epilogue Sonny Boy’s Legacy: 1948–Present

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Book SynopsisPunk rock has long been equated with the ever-shifting concepts of dissent, disruption, and counter-cultural activities. As a result, since its 1970s and 1980s incarnations, when bands in Britainfrom The Clash and Sex Pistols to Angelic Upstarts, U.K. Subs, and Crassoffered alternative political convictions and subversive lifestyle choices, the media has often deemed punk a threat. Bands like Circle Jerks, Dead Kennedys, Bad Religion, and Millions of Dead Cops followed suit in America, pushing similar boundaries as the music mutated into a harsher hardcore style that branched deep into suburban enclaves. Those antagonisms and ideals were, in turn, translated by another wave of bandsfrom Fugazi to Anti-Flagwhose commitment to community building was as pronounced as their taut, explosive tunes. In The Politics of Punk, David Ensminger probes the conscience of punk by going beyond the lyrics and slogans of the pithy culture war. He paints a broad, nuanced, and well-documented picture of tTrade ReviewEnsminger’s book appeals to scholars and readers interested in punk culture, popular music, activisms, and popular culture as Ensminger’s engaging work adds to the growing history of punk. * New Books Network *In The Politics of Punk: Protest and Revolt from the Streets, David Ensminger accomplishes the unwieldy task of documenting the politics and activism of punk as it erupted over several decades and in multiple communities....The Politics of Punk is a remarkably thorough and compelling achievement....His writing is clear, lively, and even passionate....The Politics of Punk marks a valuable contribution to punk studies, illuminating various threads of the movement. I am sure it will inspire other studies to focus on one of those threads in more detail. * Popular Music & Society *Ensminger ... has a Punk pedigree to match his literary qualities and has written a book that is both intelligent, engrossing, through-provoking and genuine without being pious or pretentious. * Scanner Zine *Ensminger offers an exploration of identity, belief, protest, and advocacy as they specifically intersect with punk music and culture and, along the way, chronicles a genre of music with great care and insight.... The Politics of Punk is a narrative rich with context, filled with firsthand memories by the people who made the movements. With time and distance, musicians reflect with candor on their youthful rationales and idealism, showing that sometimes these beliefs hold up, sometimes they do not. While Ensminger does bring in theory and academic sources, this is, most purely, a firsthand account of punk music, albeit one that is mediated in its presentation. In these days of renewed protest, this book is a timely reminder of how music has shaped protest culture in ways both overtly and covertly. It serves as a guide to an era but will, without a doubt, resonate with contemporary audiences grappling with a newfound drive for activism. * Journal of American Culture *Over the last forty years punk rock fans have watched their music climb from stark basements to stadium bleachers. Is there a coherent politics of punk, and does it matter? In this informed and inclusive study, David Ensminger has assembled multiple generations from the musical counterculture who rally against the status quo while practicing radical, ethical, DIY solidarity. Far from armchair-addled academia, The Politics of Punk is a unique and refreshing grassroots contribution to the ongoing history of punk rock. -- Craig O'Hara, author of The Philosophy of Punk: More than Noise!This … will appeal to both scholars and general readers interested in the history and politics of punk, subcultures, popular music, journalism, grassroots activism, media studies, youth movements, and culture studies in general. Ensminger is an authority on this topic and provides a fresh voice in the field as a scholar and active participant in the punk movement for more than two decades who is attuned to the political and activist aspects of punk. He places punk in its broader sociocultural context and goes beyond semiotic analyses of punk as symbolic or "ritual resistance" and other cliches; this is a history of punk "from below," grounded in interviews, participant observation, oral history, and cultural theory that documents the activist attempts of specific individuals to affect social change, including LGBT issues, environmental concerns, homelessness, poverty, etc. It includes a story of grassroots activism often overlooked in studies of the punk movement, and is written in a way that engages the reader in a lively and impassioned manner. -- Daniel Wojcik, University of Oregon, author of Punk and Neo-Tribal Body ArtTable of ContentsChapter 1: This Land is Punk Land Chapter 2: Know Your Enemy Chapter 3: Zones of Influence, Washington D.C. and San Francisco Chapter 4: Shot from Both Sides: MDC Chapter 5: Litpunk Furor: The Wit of Jennifer Blowdryer Chapter 6: Slamdance in the No Time Zone: Punk as Repertoire for Liminality Chapter 7: Through the Lurid Looking Glass: Punk Porn Histories

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Book SynopsisThe Sex Pistols exploded onto the music scene in 1976, paving the way for the deluge of punk rock that would change the face of modern rock music forever. Their debut album, Never Mind the Bollocks, Here's The Sex Pistols, proved one of the most important rock albums of all time, fusing slammed rock chords with searing vocals. The Sex Pistols simply, and seemingly effortlessly, blew away all that had come before them, setting an entirely new bar for rock acts that followed in their wake.In Sex Pistols: The Pride of Punk, Peter Smith explores the impact the band had on launching the punk movement, beginning in 1976 with their debut single and ending in 1978 with their American tour. Despite their brief career, the Sex Pistols illustrate an important set of political and cultural elements of 1970s UK and US culture: disaffected youth, strained international relations, and rapid changes in culture. Peter Smith digs deep to collate the factors that fueled the Sex Pistols and the punk revolTrade ReviewThis is a warm, superbly detailed and documented book written in an attractive and approachable style without pretensions (as the Sex Pistols would appreciate). It is unique in its slightly nostalgic look at what punk meant for young people living outside London and its impact on their lives. -- R. B. Mellor, Kingston University, UKA contemporary and detailed look back at all things Sex Pistols. A must-read for fans of the Pistols but also for anyone interested in the music scene of the ’70 s. Loved it. You nailed it, Peter Smith. -- Teddie Dahlin, author of A Vicious Love StoryThe Pride Of Punk is a refreshing take on the Pistols’ well-told story with the added bonus that author Peter Smith was one of the lucky few to have witnessed the group live early on in their career when they were still relatively unknown and Johnny Rotten's venom was at its peak. This book is an essential read for both newcomers and aficionados alike, and it is proof that, despite many jaded punk’s belief that they’ve heard it all before, the Sex Pistols’ intriguing story has not yet been fully told. -- Martin Blank, co-author of Gob On The Tyne: The North East Punk / Post Punk Scene 1976 - 1980Table of ContentsSeries Editor’s Foreword Timeline Acknowledgments Introduction Chapter 1: The Birth of The Sex Pistols: Before Summer 1976 Chapter 2: Summer and Autumn 1976 Chapter 3: The Bill Grundy Incident Chapter 4: The Anarchy in the UK Tour Chapter 5: The Queen’s Jubilee: God Save the Queen Chapter 6: SPOTS (Sex Pistols On Tour Secretly): August 1977 Chapter 7: Never the Bollocks, Here’s the Sex Pistols: Autumn 1977 Chapter 8: Christmas with the Pistols, December 1977 Chapter 9: Ever Get the Feeling You’ve Been Cheated? January 1978 Further Reading Further Listening References Index About the Author

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Book SynopsisBlack Sabbath has often been credited with inventing heavy metal with their first album released in 1970. Their new style of music was loud, brutal, scary, innovative, and it has greatly influenced heavy metal bands since then. Their five decades of music cross generations of fans, and they remain relevant to this day, with their 2013 album charting #1 in the United States and at least five other countries.In Experiencing Black Sabbath: A Listener's Companion, musician and scholar Nolan Stolz leads the reader through Sabbath's twenty studio albums and additional songs, closely examining their music and the storied history of the band. Along the way, Stolz highlights often-overlooked key moments that defined Sabbath's unique musical style and legacy. Band members' own words illuminate certain aspects of the music, and Stolz makes connections from song to song, album to album, and sometimes across decades to create an intricate narrative of the band's entire catalog.Experiencing Black SaTrade ReviewIn this informative academic look at the music of Black Sabbath, composer and music professor Stolz undertakes a song-by-song analysis of many of the band’s recordings, from its 1970 self-titled debut to its The End tour in 2016. Stolz meticulously explores what made Sabbath’s music so heavy: the ‘frightening’ sound of the band’s reliance on the tritone (the interval between two notes long known by classical composers as the ‘devil in music’), which was heavily used in the blues-influenced music of early Sabbath. He also explains how the ‘dreadfully slow’ tempos made many songs feel ‘doomy.’ Stolz expertly shows how, in their later albums, Sabbath pursued a progressive sound by incorporating tempo changes, dissonance, and variety of rhythms.... Stolz's analysis is insightful.... This is a volume for die-hard Sabbath fans. * Publishers Weekly *A fascinating read covering the complete history of the band. The depth of analysis is astonishing, dealing with every riff and nuance. This is the definitive work, encompassing the music and a comprehensive and detailed analysis of the legendary group. Amazing work! -- Laurence Cottle, former bassist, Black SabbathNolan Stolz has impressively found a way to add to the current writings on Black Sabbath, most notably with his detailed deconstruction of each song. The beauty of this approach lies in the novice and deep Sabbath fan alike inevitably and without choice scurrying back to the compositions to follow along with the author’s professional postmortem. -- Martin Popoff, author of seventy music booksTable of ContentsChapter 1: The Birth of Metal Chapter 2: Sweet Leaf and Snowblind Chapter 3: Prog Sabbath Chapter 4: Jazz Sabbath and Ozzy’s Departure Chapter 5: Enter Ronnie James Dio Chapter 6: Stonehenge and the Revolving Door of Musicians Chapter 7: A Tony Martin Triptych Chapter 8: Ronnie Returns Chapter 9: Tony Martin Returns Chapter 10: Reunions with Ozzy and The End

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Book SynopsisBasic Elements of Music introduces readers to a wide range of knowledge essential for a well-rounded understanding of music. This primer surveys the history of music and the composers who made that history; the history of instrument families and how the instruments function; an introduction to the science of sound and sound production; the various types of ensembles; and the fundamentals of music theory, form in music, musical notation, and music vocabulary. Accessible, yet detailed and comprehensive, Michael Pagliaro's handbook is an excellent guide for music lovers, instructors, and students in any music program. As an introduction to music for the layman, a refresher for music teachers planning lessons, or an enrichment source for professional musicians seeking broader music knowledge, this book is an invaluable addition to any library.Trade ReviewInstrumentalists’ first musical experiences are generally limited to intensive study of their instrument of choice. Pagliaro introduces the broader realm of music, beginning with music history and sound production (chapters 1 and 2). He devotes the next 12 chapters to four families of band and orchestra instruments—non-fretted strings, brass, woodwind, and percussion. For each group, Pagliaro explores the various instruments’ characteristics and history and explains how they work. He concludes by returning to music fundamentals—in chapters devoted to form, basic music theory, and types of ensembles—and discussing opera and the role of the conductor. The volume includes numerous glossaries with brief definitions of key terms as well as recommendations of websites and books for further study…. [T]his is a practical, well-researched…guide that will be valuable to instrumental music majors, amateurs, and music teachers. Summing Up: Recommended. Lower- and upper-division undergraduates, teachers, and general readers. * CHOICE *The book offers itself as a strong reference guide for the general music educator, a foundational resource for a music student or a resource for the motivated music enthusiast. Encompassing a variety of must-know topics, this book presents subjects in a 21st-century manner, while acknowledging the academic needs of the reader. * American Music Teacher *Table of ContentsChapter 1: An Overview of the History of Music Chapter 2: Sound Production Chapter 3: Non-fretted String Instruments Defined Chapter 4: The History of Non-fretted String Instruments Chapter 5: How Non-fretted Instruments Work Chapter 6: Brass Instruments Defined Chapter 7: The History of Brass Instruments Chapter 8: How Brass Instruments Work Chapter 9: Woodwind Instruments Defined Chapter 10: The History of Woodwind Instruments Chapter 11: How Woodwind Instrument Work Chapter 12: Percussion Instruments Defined Chapter 13: The History of Percussion Instruments Chapter 14: How Percussion Instruments Work Chapter 15: Form in Music Chapter 16: Music Theory Chapter 17: Ensembles Chapter 18: Anatomy of an Opera Chapter 19: The Role of the Conductor

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Book SynopsisBasic Elements of Music introduces readers to a wide range of knowledge essential for a well-rounded understanding of music. This primer surveys the history of music and the composers who made that history; the history of instrument families and how the instruments function; an introduction to the science of sound and sound production; the various types of ensembles; and the fundamentals of music theory, form in music, musical notation, and music vocabulary. Accessible, yet detailed and comprehensive, Michael Pagliaro's handbook is an excellent guide for music lovers, instructors, and students in any music program. As an introduction to music for the layman, a refresher for music teachers planning lessons, or an enrichment source for professional musicians seeking broader music knowledge, this book is an invaluable addition to any library.Trade ReviewInstrumentalists’ first musical experiences are generally limited to intensive study of their instrument of choice. Pagliaro introduces the broader realm of music, beginning with music history and sound production (chapters 1 and 2). He devotes the next 12 chapters to four families of band and orchestra instruments—non-fretted strings, brass, woodwind, and percussion. For each group, Pagliaro explores the various instruments’ characteristics and history and explains how they work. He concludes by returning to music fundamentals—in chapters devoted to form, basic music theory, and types of ensembles—and discussing opera and the role of the conductor. The volume includes numerous glossaries with brief definitions of key terms as well as recommendations of websites and books for further study…. [T]his is a practical, well-researched…guide that will be valuable to instrumental music majors, amateurs, and music teachers. Summing Up: Recommended. Lower- and upper-division undergraduates, teachers, and general readers. * CHOICE *The book offers itself as a strong reference guide for the general music educator, a foundational resource for a music student or a resource for the motivated music enthusiast. Encompassing a variety of must-know topics, this book presents subjects in a 21st-century manner, while acknowledging the academic needs of the reader. * American Music Teacher *Table of ContentsChapter 1: An Overview of the History of Music Chapter 2: Sound Production Chapter 3: Non-fretted String Instruments Defined Chapter 4: The History of Non-fretted String Instruments Chapter 5: How Non-fretted Instruments Work Chapter 6: Brass Instruments Defined Chapter 7: The History of Brass Instruments Chapter 8: How Brass Instruments Work Chapter 9: Woodwind Instruments Defined Chapter 10: The History of Woodwind Instruments Chapter 11: How Woodwind Instrument Work Chapter 12: Percussion Instruments Defined Chapter 13: The History of Percussion Instruments Chapter 14: How Percussion Instruments Work Chapter 15: Form in Music Chapter 16: Music Theory Chapter 17: Ensembles Chapter 18: Anatomy of an Opera Chapter 19: The Role of the Conductor

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Book SynopsisThe musical output of jazz pianist and composer Herbie Hancock has toppled genre boundaries and influenced generations of musicians. A child prodigy who worked his way up through classical tradition, found a home for his insatiable creativity in jazz, and went on to influence musicians across numerous genres, Hancock's work continues to be a staple in mainstream music. In addition to his classical training and innovative jazz work, Hancock has explored many forms of music such as rock, funk and world music, always looking ahead rather than rehashing what has already been accomplished. In Experiencing Herbie Hancock, Eric Wendell looks beyond the successes and failures of Hancock's career in an effort to explore Hancock's musical design within the jazz community and within the popular mainstream. Wendell also explores Hancock's dramatic impact on the jazz community and how his efforts have fostered a cross-genre continuity among modern jazz practitioners.Hancock's chameleon attitude towTrade ReviewJazz pianist Herbie Hancock gets a respectful analysis from musician and writer Wendell (Patti Smith), who dissects the illustrious career of the constantly evolving contemporary legend.... This is an excellent overview of a successful musical maverick who made a career out of finding new ways of breaking the rules. * Publishers Weekly *If anyone can be called a Renaissance man, it surely is the musical virtuoso Herbie Hancock. In this finely detailed account of his illustrious and wide-ranging career, Wendell first considers Hancock’s musical roots on the South Side of Chicago.... An absolute must for Hancock fans and everyone interested in jazz and fusion. * Booklist *This is the first book to focus exclusively on Hancock's career from start to finish, and it is an eminently-readable, engaging resource for any fan or musician seeking to understand his deep legacy. Wendell hosts an excellent listening party disguised as an accessible, entertaining book that richly complements Hancock's own autobiography and the jazz-rock literature. -- John Howland, author of Ellington Uptown: Duke Ellington, James P. Johnson, and the Birth of Concert Jazz, Norwegian University of Science and TechnologyTable of ContentsIntroduction Chapter 1: Brave Beginnings: Chicago, Mozart & Blue Note Chapter 2: Next Steps: Miles, (Re)Inventions & New Mediums Chapter 3: The Gil Evans Influence: Speak Like A Child Chapter 4: Mwandishi to Head Hunters: A Study in Subtlety Chapter 5: What’s Next?: Hancock Hurdles Towards the Majors Chapter 6: The Pop Promise of Herbie Hancock: The Disco/Synth Stew of Monster Chapter 7: A Video Star Is Born: The (Re) Introduction of Hancock for the MTV Generation Chapter 8: One For Their Mentor: A Tribute to Miles Chapter 9: Brothers in Arms: The Musical Tête-à-Tête of 1+1 Chapter 10: Hancock Courts to the Masses: The Hope of Possibilities Epilogue Selected Reading Selected Listening

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Book SynopsisOf all the elements that combine to make movies, music sometimes seems the forgotten stepchild. Yet it is an integral part of the cinematic experience. Minimized as mere background music, film scores enrich visuals with emotional mood and intensity, underscoring directors' intentions, enhancing audiences' reactions, driving the narrative forward, and sometimes even subverting all three. Trying to imagine The Godfather or Lawrence of Arabia with a different score is as difficult as imagining them featuring a different cast.In Experiencing Film Music: A Listener's Companion, Kenneth LaFave guides the reader through the history, ideas, personalities, and visions that have shaped the music we hear on the big screen. Looking back to the music improvised for early silent movies, LaFave traces the development of the film score from such early epic masterpieces as Max Steiner's work for Gone With the Wind, Bernard Herrmann's musical creations for Alfred Hitchcock's thrillers, Jerry Goldsmith'sTrade ReviewComposer LaFave tackles the history of film music in this noteworthy book. For many years, the musical accompaniment to silent movies was determined in theaters by local musicians, but in the early 1900s, the studios began requiring that specific music be played with their movies. This was a major shift, but it was nothing compared to what happened with the advent of motion-picture sound. Not only did the talkies put hundreds of musicians out of work, they also signaled the creation of a whole new genre: movie music. Its first major practitioner, Max Steiner (Gone with the Wind), set the standard for how film music should complement and enrich the film experience; he was followed by greats like Bernard Herrmann (who wrote scores for movies by Orson Welles and Alfred Hitchcock), Nino Rota (The Godfather), and many others. LaFave approaches his very big subject thematically, exploring the music for such film genres as mystery and noir (home of jazz and somber saxophones); SF and westerns (in which grand orchestral themes connote other worlds); and horror (discordant notes, jarring juxtapositions). For both musicians and casual readers. * Booklist *Kenneth LaFave’s Experiencing Film Music: A Listener’s Companion [is] a nuts-and-bolts introduction to the topic aimed at people who know nothing about music other than that they like the way it sounds. Mr. LaFave, a critic who also composes, has gone to great trouble to write simply, and he takes nothing for granted, explaining how composers synchronize their music to on-screen action, who decides where to put musical cues (it’s almost always the director—the process is called 'spotting') and other things that film buffs know but of which laymen are unaware.... [Herein] lies the value of Experiencing Film Music: Once you’ve read it, you’ll never again be able to ignore the presence (or absence) of music on the soundtrack of a movie. Be it a top-40 song or a colorful explosion of symphonic sound, background music is the seasoning that heightens the flavor of a great film and covers up the flat taste of an indifferent one. * The Wall Street Journal *In this elegant and energetic examination of the use of film scores throughout the history of cinema, composer and music writer LaFave (Experiencing Leonard Bernstein: A Listener’s Companion) delivers insightful observations on those who compose film music and a thorough study on how composers work with directors. Launching off of the American Film Institute’s 2005 list of the top 25 best film scores and their composers, LaFave looks at how those films worked and why the music sounded the way it did, exploring the subtleties and complexities in efforts including Max Steiner’s score for King Kong in 1933 to Ennio Morricone’s work on The Mission in 1986. His observations are always illustrative (Bernard Herrmann was Alfred Hitchcock’s ‘perfect musical soulmate’), perceptive (Franz Waxman’s Sunset Boulevard score is ‘the source of the sexy-sax-equals-film-noir notion’), and assertive (Alex North’s music for A Streetcar Named Desire (1949) is ‘the finest score ever written for the film adaptation of a stage play, and arguably the best score ever composed for a dramatic film’). No matter what or whom he is analyzing, LaFave never loses sight of the truth that ‘the final and only real reason for movie music is to serve the movie.’ * Publishers Weekly *Kenneth LaFave has written an in depth and very perceptive book filled with insights about composers and the music they wrote for films from the very beginning of cinema to the present. You don’t have to be a composer or even a film buff but if you were ever moved by a motion picture song or score, you will surely enjoy this book. -- Charles Fox, composer, former Governor of the Motion Picture Academy and former chair of the Music Branch of the AcademyTable of ContentsTimeline Introduction Chapter 1: The Not-So Silent Era Chapter 2: Max Steiner and the First Generation SPOTLIGHT: SPOTTING AND CLICK-TRACKS Chapter 3: Mysteries, Thrillers and Film noir SPOTLIGHT: ORCHESTRATORS Chapter Four: The Epic, the Exotic, and War Chapter Five: Cowboys and Superheroes Chapter Six: Drama SPOTLIGHT: JAZZ IN FILM MUSIC Chapter Seven: Theme Songs, Comedies, and Romantic Comedies SPOTLIGHT: ANIMATION Chapter Eight: Science Fiction and Fantasy. Chapter Nine: Ambient Music, No Music, and Ready-mades Chapter Ten: Trends and Innovations Selected Listening Suggested Reading

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Book SynopsisIn Experiencing Progressive Rock: A Listener''s Companion, Robert G. H. Burns brings together the many strands that define the prog rock movement of the late 1960s and early 1970s to chart the evolution of this remarkable rock tradition over the decades. Originating in the 1960s with acts like Yes, Pink Floyd, King Crimson, The Who, Jethro Tull, Genesis, and The Moody Blues, progressive rock emerged as a response to the counterculture on both sides of the Atlantic. Prog rock drew heavily on European classical music as well as the sophisticated improvisations of American jazz to create unique fusions that defied record label and radio station categorizations. Reemerging after the 1980s, a new generation of musicians took the original influences of progressive rock and reinvented new formats within the existing style. The trend of combining influences continues to the present day, earning new audiences among the musically curious. Burns draws on his own experiences and original interviewTrade ReviewAs both a scholar and bassist, Burns melds a professional musician’s ear with a musicologist’s analytical pen to produce a tribute and history of the genre. . . The inclusion of both an extensive reading and listening lists invites the reader to indulge in complex instrumentals and reverberating Mellotrons to truly understand the meaning of progressive rock. * American Reference Books Annual *Progressive Music has always been full of surprises. It's the one form of music that has always embraced genre-hopping. At the end of the day, music without prejudice is what it is all about. A film for the ear... The explosion of experimentation in the 1960s enabled talented and imaginative musicians to fly and shake off the shackles of musical limitations. -- Steve Hackett, guitarist for GenesisA thumping good read from a thunderously good bass man. -- Tim Renwick, guitarist for Eric Clapton, Elton John, Mike Oldfield, Al Stewart, and Pink FloydA comprehensive examination of Prog Rock, including interviews with band members, engineers, and producers. It also includes decryptions of lyrics and an in-depth study of the musical composition of various tracks. A well-researched fascinating read. -- Craig Milliner, engineer, and producer for Peter Gabriel, Brand X, Mahavishnu Orchestra, and othersBurns gets inside the warp and weft of progressive rock’s intricate tapestry and shows us the hows and whys of it all. He neatly defines what makes prog-rock so different and such a product of its time, technologically and culturally. Most of all, he brings the music to life and makes you want to listen to it. -- Simon Nicol, Fairport ConventionTable of ContentsChapter 1 Introduction Chapter 2 “From the Beginning”: The Struggle for Definition Chapter 3 Conceptuality: Embracing the Long Player and Advances in Technology in Sound Reproduction Chapter 4 Enemies at the Door: Prog Under Threat Chapter 5 A New Decade and a New Progressive Rock Chapter 6 New Directions in the 1990s and 2000s Chapter 7 Tripping the Light Fantastic: Progressive Rock and Spectacle Chapter 8 New Life: Reuniting for Renewed Success Chapter 9 Post-Prog: A New Struggle for Definition Chapter 10 Conclusion: Is Contemporary Progressive Rock Driven by Musical “Progression”?

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