Music reviews and criticism Books
Indiana University Press Music and the Crises of the Modern Subject
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
£27.08
Indiana University Press African Music Power and Being in Colonial
Book SynopsisTrade ReviewChikowero has written a fantastic book worthy of wide and careful attention for years to come. * Journal of African History *This book makes a valuable contribution to colonial and mission history, musicology, and performance studies, offering a fresh lens on the creative labor and insurgent cultural practices of Zimbabweans under colonialism. * International Journal of African Historical Studies *[P]rovides a fascinating new way to think about liberation. Chikowero helps us understand revolution beyond the gun as he moves from the conquest in the 1890s through music of the missions, mining company dancehalls, townships, the armed struggle campsites and more to chart a social history of how black people continually made and remade themselves through music, dress, drink, spirituality and politics. * The Guardian *Chikowero interrogates the political economy of performance in Zimbabwe with a mastery of detail that is yet to be matched.9/12/16 * The Zimbabwe Herald *African Music, Power, and Being in Colonial Zimbabwe will benefit ethnomusicologists as well as multimedia experts and general readers. Chikowero makes a tremendous contribution to African music in general and, indeed, ethnomusicology in particular. * Africa Today *Overall,the book encourages a stimulating rethinking of the role of music in colonial societies. It is therefore recommended for readers with a broad interest in African history. * American Historical Review *Table of ContentsIntroduction: Cross-Cultural Encounters: Song, Power and Being1. Missionary Witchcrafting African Being: Cultural Disarmament2. Purging the "Heathen" Song, Mis/Grafting the Missionary Hymn3. "Too Many Don'ts:" Reinforcing, Disrupting the Criminalization of African Musical Cultures4. Architectures of Control: African Urban Re/Creation5. The "Tribal Dance" as a Colonial Alibi: Ethnomusicology and the Tribalization of African Being6. Chimanjemanje: Performing and Contesting Colonial Modernity7. The Many Moods of "Skokiaan:" Criminalized Leisure, Underclass Defiance and Self-Narration8. Usable Pasts: Crafting Madzimbabwe Through Memory, Tradition, Song9. Cultures of Resistance: Genealogies of Chimurenga Song10. Jane Lungile Ngwenya: A Transgenerational Conversation Epilogue: Postcolonial Legacies: Song, Power and Knowledge ProductionNotesBibliographyIndex
£59.50
Indiana University Press African Music Power and Being in Colonial
Book SynopsisTrade ReviewChikowero has written a fantastic book worthy of wide and careful attention for years to come. * Journal of African History *This book makes a valuable contribution to colonial and mission history, musicology, and performance studies, offering a fresh lens on the creative labor and insurgent cultural practices of Zimbabweans under colonialism. * International Journal of African Historical Studies *[P]rovides a fascinating new way to think about liberation. Chikowero helps us understand revolution beyond the gun as he moves from the conquest in the 1890s through music of the missions, mining company dancehalls, townships, the armed struggle campsites and more to chart a social history of how black people continually made and remade themselves through music, dress, drink, spirituality and politics. * The Guardian *Chikowero interrogates the political economy of performance in Zimbabwe with a mastery of detail that is yet to be matched.9/12/16 * The Zimbabwe Herald *African Music, Power, and Being in Colonial Zimbabwe will benefit ethnomusicologists as well as multimedia experts and general readers. Chikowero makes a tremendous contribution to African music in general and, indeed, ethnomusicology in particular. * Africa Today *Overall,the book encourages a stimulating rethinking of the role of music in colonial societies. It is therefore recommended for readers with a broad interest in African history. * American Historical Review *Table of ContentsIntroduction: Cross-Cultural Encounters: Song, Power and Being1. Missionary Witchcrafting African Being: Cultural Disarmament2. Purging the "Heathen" Song, Mis/Grafting the Missionary Hymn3. "Too Many Don'ts:" Reinforcing, Disrupting the Criminalization of African Musical Cultures4. Architectures of Control: African Urban Re/Creation5. The "Tribal Dance" as a Colonial Alibi: Ethnomusicology and the Tribalization of African Being6. Chimanjemanje: Performing and Contesting Colonial Modernity7. The Many Moods of "Skokiaan:" Criminalized Leisure, Underclass Defiance and Self-Narration8. Usable Pasts: Crafting Madzimbabwe Through Memory, Tradition, Song9. Cultures of Resistance: Genealogies of Chimurenga Song10. Jane Lungile Ngwenya: A Transgenerational Conversation Epilogue: Postcolonial Legacies: Song, Power and Knowledge ProductionNotesBibliographyIndex
£25.19
Indiana University Press Music of Azerbaijan From Mugham to Opera
Book SynopsisTrade ReviewI recommend this book not only for the lovers of mugham music, or solely for musicologists and ethnomusicologists, but also for those interested in the processes of the old Soviet Union, in musical change, and in the struggles and syntheses of national and global tendencies. * Asian Music *Music of Azerbaijan: From Mugham to Opera, is wellresearched and thoughtfully structured. The writing is fluent and pleasant to read, and the book achieves its goal of providing a detailed overview of composed music in Azerbaijan in the twentieth and twenty-first centuries. * Slavic Review *Aida Huseynova's book Music of Azerbaijan: From Mugham to Opera offers a rare resource for the exploration of Azerbaijani art music of the twentieth century. * Notes *Music of Azerbaijan paves the path for crucial research avenues on Azerbaijani musical culture. * Fontes Artis Musice *Table of ContentsEthnomusicology Multimedia Series PrefaceAcknowledgmentsNote on Language and TransliterationIntroductionChapter 1: Azerbaijani Musical Nationalism during the Pre-Soviet and Soviet Eras Chapter 2: Pioneers of the New Azerbaijani Musical IdentityChapter 3: The Russian-Soviet Factor: Facilitating or Disrupting Synthesis? Chapter 4: The Beginning of the National Style: 1900-The 1930s Chapter 5: Growing Maturity: 1940-The Early 1960s Chapter 6: The Spirit of Experimentalism: Since the 1960sChapter 7: Songwriters Chapter 8: Jazz MughamChapter 9: Leaving the Post-Soviet Era Behind Chapter 10: "Mugham Opera" of the Silk RoadEpilogueGlossaryNotesBibliographyIndex
£52.25
Indiana University Press Music of Azerbaijan
Book SynopsisTrade ReviewI recommend this book not only for the lovers of mugham music, or solely for musicologists and ethnomusicologists, but also for those interested in the processes of the old Soviet Union, in musical change, and in the struggles and syntheses of national and global tendencies. * Asian Music *Music of Azerbaijan: From Mugham to Opera, is wellresearched and thoughtfully structured. The writing is fluent and pleasant to read, and the book achieves its goal of providing a detailed overview of composed music in Azerbaijan in the twentieth and twenty-first centuries. * Slavic Review *Aida Huseynova's book Music of Azerbaijan: From Mugham to Opera offers a rare resource for the exploration of Azerbaijani art music of the twentieth century. * Notes *Music of Azerbaijan paves the path for crucial research avenues on Azerbaijani musical culture. * Fontes Artis Musice *Table of ContentsEthnomusicology Multimedia Series PrefaceAcknowledgmentsNote on Language and TransliterationIntroductionChapter 1: Azerbaijani Musical Nationalism during the Pre-Soviet and Soviet Eras Chapter 2: Pioneers of the New Azerbaijani Musical IdentityChapter 3: The Russian-Soviet Factor: Facilitating or Disrupting Synthesis? Chapter 4: The Beginning of the National Style: 1900-The 1930s Chapter 5: Growing Maturity: 1940-The Early 1960s Chapter 6: The Spirit of Experimentalism: Since the 1960sChapter 7: Songwriters Chapter 8: Jazz MughamChapter 9: Leaving the Post-Soviet Era Behind Chapter 10: "Mugham Opera" of the Silk RoadEpilogueGlossaryNotesBibliographyIndex
£28.80
Indiana University Press A History of the Harpsichord
Book SynopsisTable of ContentsList of Plates and IllustrationsAcknowledgmentsIntroductionThe Fourteenth and Fifteenth Centuries1. From Psaltery and Monochord to Harpsichord and Virginal The Sixteenth Century2. The Emergence of the Northern Harpsichord3. Antwerp Harpsichord Building between Karest and Ruckers 4. Early Italian Style The Seventeenth Century 5. The Ruckers-Couchet Dynasty6. Later Italian Style7. Seventeenth-Century International Style8. France9. Germany and Austria10. EnglandThe Eighteenth Century 11. The Decline of the Italian Harpsichord12. The Iberian Peninsula 13. Harpsichord building in France to the Revolution14. The Low Countries in the Post-Ruckers Era15. Germany, Scandinavia, Austria, and Switzerland16. Great Britain and America The Nineteenth and Twentieth Centuries17. The Harpsichord Hibernates18. The Harpsichord Revival from the Paris Exposition to World War II 19. The Modern Harpsichord20. Into the future GlossaryBibliography Appendix: Exploded views Index
£55.80
Indiana University Press A Theory of Musical Narrative
Book SynopsisTrade ReviewA Theory of Musical Narrative is an impressive and thought-provoking study which includes many fascinating ideas and insights as well as a comprehensive critique of previous literature. * Music Analysis *[N]atural, elegant, and convincing . . . a must for all music theory collections. Summing Up: Essential. Upper-division undergraduates through researchers and faculty. * Choice *Table of ContentsContentsPrefaceAcknowledgmentsPart 1. A Theory of Musical Narrative 1. An Introduction to Narrative Analysis: Chopin's Prelude in G Major, Op. 28, No. 3 2. Perspectives and Critiques 3. A Theory of Musical Narrative: Conceptual Considerations 4. A Theory of Musical Narrative: Analytical Considerations 5. Narrative and TopicPart 2. Archetypal Narratives and Phases 6. Romance Narratives and Micznik's Degrees of Narrativity 7. Tragic Narratives: An Extended Analysis of Schubert, Piano Sonata in B-flat Major, D. 960, First Movement 8. Ironic Narratives: Subtypes and Phases 9. Comic Narratives and Discursive Strategies 10. Summary and ConclusionGlossaryNotesBibliographyIndex
£25.19
Indiana University Press A Theory of Virtual Agency for Western Art Music
Book SynopsisTrade ReviewThe book represents a major effort and achievement from one the era's most influential music theorists. . . . Essential. * Choice *In A Theory of Virtual Agency for Western Art Music, Robert S. Hatten examines agency as it is projected by music and perceived by listeners. . . . Scholars and performers eager to discover imaginative yet authentic ways to experience and understand music will enjoy this book and relish finding themselves within it. -- Ian Gerg * Notes *Table of ContentsAcknowledgments IntroductionPrelude: From Gesture to Virtual Agency 1. Foundations for a Theory of Agency 2. Virtual Environmental Forces and Gestural Energies: Actants 3. Virtual Embodiment: From Actants to Agents 4. Virtual Identity and Actorial Continuity Interlude I: From Embodiment to Subjectivity5. Staging Virtual Subjectivity 6. Virtual Subjectivity and Aesthetically Warranted Emotions 7. Staging Virtual Narrative Agency 8. Performing Agency 9. An Integrative Agential Interpretation of Chopin's Ballade in F Minor, Op. 52 Interlude II: Hearing Agency: A Complex Cognitive Task 10. Other Perspectives on Virtual Agency PostludeBibliography Index of Names and WorksIndex of Concepts
£59.50
Indiana University Press A Theory of Virtual Agency for Western Art Music
Book SynopsisTrade ReviewThe book represents a major effort and achievement from one the era's most influential music theorists. . . . Essential. * Choice *In A Theory of Virtual Agency for Western Art Music, Robert S. Hatten examines agency as it is projected by music and perceived by listeners. . . . Scholars and performers eager to discover imaginative yet authentic ways to experience and understand music will enjoy this book and relish finding themselves within it. -- Ian Gerg * Notes *Table of ContentsAcknowledgments IntroductionPrelude: From Gesture to Virtual Agency 1. Foundations for a Theory of Agency 2. Virtual Environmental Forces and Gestural Energies: Actants 3. Virtual Embodiment: From Actants to Agents 4. Virtual Identity and Actorial Continuity Interlude I: From Embodiment to Subjectivity5. Staging Virtual Subjectivity 6. Virtual Subjectivity and Aesthetically Warranted Emotions 7. Staging Virtual Narrative Agency 8. Performing Agency 9. An Integrative Agential Interpretation of Chopin's Ballade in F Minor, Op. 52 Interlude II: Hearing Agency: A Complex Cognitive Task 10. Other Perspectives on Virtual Agency PostludeBibliography Index of Names and WorksIndex of Concepts
£22.49
Indiana University Press Jón Leifs and the Musical Invention of Iceland
Book SynopsisIn Jón Leifs and the Musical Invention of Iceland, Árni Heimir Ingólfsson provides a striking account of the dramatic career of Iceland's iconic composer. Leifs (1899–1968) was the first Icelander to devote himself fully to composition and this book enriches our appreciation of his music by exploring the political, literary and environmental contexts that influenced his work.Trade ReviewA thoroughly absorbing study of a formidable and sometimes troubling figure who possessed one of the more original musical voices of the twentieth century. * Alex Ross: the Rest is Noise *By intertwining the narrative of Leifs's personal turmoil and joys, political maneuverings, professional strug-gles, and creative triumphs, Ingólfsson allows the full view of Leifs as artist, composer, and man to become discernable. That complete and detailed picture is what makes this biography compelling. -- Dan White * Music Reference Services Quarterly *Table of ContentsAcknowledgmentsNote on Spelling and NamingIntroduction1. The Land Without Music (1899–1916)2. Years of Study (1916–1921)3. Composer and Conductor (1921–1929)4. Leifs and the Elements of an Icelandic Style5. Icelandic Nation-Building and the 1930 Alþingi Festival (1929–1933)6. "This Music Belongs to Us" (1933–1937)7. Dinosaurs in Berlin (1937–1944)8. Guilt and Retribution (1944–1955) 9. The Final Years (1955–1968)Postlude: Revival and InfluenceAppendix: List of Jón Leifs Completed WorksSelected BibliographyIndex
£67.15
Indiana University Press Jón Leifs and the Musical Invention of Iceland
Book SynopsisIn Jón Leifs and the Musical Invention of Iceland, Árni Heimir Ingólfsson provides a striking account of the dramatic career of Iceland's iconic composer. Leifs (1899–1968) was the first Icelander to devote himself fully to composition and this book enriches our appreciation of his music by exploring the political, literary and environmental contexts that influenced his work.Trade ReviewA thoroughly absorbing study of a formidable and sometimes troubling figure who possessed one of the more original musical voices of the twentieth century. * Alex Ross: the Rest is Noise *By intertwining the narrative of Leifs's personal turmoil and joys, political maneuverings, professional strug-gles, and creative triumphs, Ingólfsson allows the full view of Leifs as artist, composer, and man to become discernable. That complete and detailed picture is what makes this biography compelling. -- Dan White * Music Reference Services Quarterly *Table of ContentsAcknowledgmentsNote on Spelling and NamingIntroduction1. The Land Without Music (1899–1916)2. Years of Study (1916–1921)3. Composer and Conductor (1921–1929)4. Leifs and the Elements of an Icelandic Style5. Icelandic Nation-Building and the 1930 Alþingi Festival (1929–1933)6. "This Music Belongs to Us" (1933–1937)7. Dinosaurs in Berlin (1937–1944)8. Guilt and Retribution (1944–1955) 9. The Final Years (1955–1968)Postlude: Revival and InfluenceAppendix: List of Jón Leifs Completed WorksSelected BibliographyIndex
£28.80
Indiana University Press The Musician as Entrepreneur 17001914
Book SynopsisLeading international scholars consider the socio-economic history of Classical and Romantic musicians.Trade ReviewWeber is an excellent music historian and the book will please all readers interested in musical sociology . . . July 2005 * Choice *Table of ContentsPrefaceI. Overview of the Subject1. William Weber, "The Musician as Entrepreneur and Opportunist, 1700-1914"2. Richard Leppert, "The Musician of the Imagination"II. Early Musical Entrepreneurs3. Tanya Kevorkian, "Changing Times, Changing Music: 'New Church' Music and Musicians in Leipzig, 1700-1750"4. David Gramit, "Selling the Serious: The Commodification of Music and Resistance to it in Germany, c. 1800"III. Concert Management in the Nineteenth Century5. William Weber, "From the Self-Managing Musician to the Independent Concert Agent"6. Laure Schnapper, "Bernard Ullman-Henri Herz: An Example of Financial and Artistic Partnership, 1846-1849"7. Dana Gooley, "Franz Liszt: The Virtuoso as Strategist"8. Simon McVeigh, "'An Audience for High-Class Music': The Musician as Entrepreneur in late Nineteenth-Century London"IV. Women as Entrepreneurs9. Tia DeNora, "Embodiment and Opportunity: Bodily Capital, Reputation and Social Difference in Beethoven's Vienna Partnership"10. Paula Gillett, "Entrepreneurial Women Musicians in Britain: 1790s to the early 1900s"11. Jann Pasler, "Countess Greffulhe as Entrepreneur: Negotiating Class, Gender, and Nation"IndexContributors
£31.50
Indiana University Press O Let Us Howle Some Heavy Note
Book SynopsisIn the 17th century, harmonious sounds were thought to represent the well-ordered body of the obedient subject. This book focuses on the various ways that theatrical music represented disorderly subjects - those who presented either a direct or metaphorical threat to the health of the English kingdom in 17th-century England.Trade ReviewSeventeenth-century England provides an outstanding backdrop for this study, which focuses on theatrical characters generally associated with mental disorder. . . . Opera scholars should find this work helpful, and specialists in gender studies will gain much from Winkler's discussion of stereotypes, role reversals, pathological diagnoses, and so on. . . . Recommended. * Choice *. . . an outstanding contribution to the social and political history of musical theater in London from the age of Shakespeare to the rage for Italian opera in the first decade of the eighteenth century. Vol. 61.1 Spring 2008 -- Linda Phyllis Austern * Northwestern University *. . . In keeping with the instability of the seventeenth-century English stage, Amanda Eubanks Winkler refuses to bind her subversive characters in neat packages. I find her observations of negotiated trends, which do not always fit into tidy theoretical boxes, honest conclusions of an extremely complex period of English cultural life. . . . Whether onstage or within Winkler's text, these unruly characters refuse to be absolutely contained.Vol. 13 2009 -- MEGAN McFadden * Women & Music *[T]he book [is] of great interest to anyone who wishes to explore the complex ways in which the assumptions and expectations of society conditioned the representation and reception of madness and witchcraft in the 17th-century English theatre, and the crucial role music played in this interaction. 37.2 2009 * Early Music *Winkler's book is an outstanding contribution to the social and political history of musical theater in London from the age of Shakespeare to the rage for Italian opera in the first decade of the eighteenth century. * Renaissance Quarterly *Table of ContentsContentsAcknowledgmentsNote on TranscriptionsLibrary Sigla1. Music and the Macrocosm: Disorder and History2. "Stay, You Imperfect Speakers, Tell Me More"3. "Remember Me, But Ah, Forget My Fate"4. "O Let Us Howle Some Heavy Note"5. Disorder in the Eighteenth CenturyEpilogueNotesBibliographyIndex
£27.90
Indiana University Press A Theory of Musical Narrative
Book SynopsisProposes a synthesis of approaches to musical narrative from literary criticism, semiotics, historiography, musicology, and music theory, resulting in an reorientation of the field. This volume includes a survey of traditional approaches to musical narrative, and a delineation of the elements and preconditions of musical narrative organization.Trade ReviewA Theory of Musical Narrative is an impressive and thought-provoking study which includes many fascinating ideas and insights as well as a comprehensive critique of previous literature. * Music Analysis *[N]atural, elegant, and convincing . . . a must for all music theory collections. Summing Up: Essential. Upper-division undergraduates through researchers and faculty. * Choice *Table of ContentsContentsPrefaceAcknowledgmentsPart 1. A Theory of Musical Narrative 1. An Introduction to Narrative Analysis: Chopin's Prelude in G Major, Op. 28, No. 3 2. Perspectives and Critiques 3. A Theory of Musical Narrative: Conceptual Considerations 4. A Theory of Musical Narrative: Analytical Considerations 5. Narrative and TopicPart 2. Archetypal Narratives and Phases 6. Romance Narratives and Micznik's Degrees of Narrativity 7. Tragic Narratives: An Extended Analysis of Schubert, Piano Sonata in B-flat Major, D. 960, First Movement 8. Ironic Narratives: Subtypes and Phases 9. Comic Narratives and Discursive Strategies 10. Summary and ConclusionGlossaryNotesBibliographyIndex
£27.90
Indiana University Press Mamontovs Private Opera The Search for Modernism
Book SynopsisOne man's impact on the performing arts in RussiaTrade ReviewThis is a valuable and long overdue work that enriches an ignored but greatly influential artistic enterprise drawn from the era's greatest artistic figures, and sponsored and set together in dynamic collaborations by the ingenuity and tastes of Savva Mamontov. * Sineris *Haldey has performed a crucial service to scholarship and to everyone interested in this fascinating period.V.70.3 July 2011 * The Russian Review *Haldey, a musicologist at the University of Maryland, provides a close-up of what, remarkably, [Mamontov] accomplished and how and why. . . . [S]he manages to evoke successfully a larger than life man and his era. August 22, 2010 * The Reporter-Times *With extensive notes and 40 halftone photographs, this is an important work for Russian and turn-of-the-century cultural studies. Highly recommended.March 2011 * Choice *This fine, rigorously researched book should please anyone interested in the development of the arts in Russia. Opera NewsMarch 1, 2011 * Opera News *Haldey gives an evocative and detailed portrait of the era, drawing on letters, memoirs, contemporary criticism and reviews, and synthesizing important secondary literature in a variety of related fields . . . [This] should be required reading for all historians of Russian theatre. * Slavonic and East European Review *Hadley's research provides an effective reclaiming of the important . . . role played by Savva Mamontov and the MPO in the history of modernist theater in Russia. It should attract the interest of musicologists, visual art and theater historians, as well as social and cultural historians interested in the development of artistic modernism in late imperial Russia. * H-Russia *Haldey's fresh account of Mamontov's vital role in the creation of the modern Russian theater is striking for its originality, the depth of its research and analysis, and the detail it provides. * Slavic and East European Journal *Haldey deserves great credit for re-creating this lost world of art for its own sake and restoring it to its proper place in the pages of Russian history. * Revolutionary Russia *[Haldey's] book will change our understanding of Russian opera in the 'Silver Age.' It is the necessary—and overdue—complement to Braun's 1999 study, whose focus is on the Mariinsky Theater in St. Petersburg. . . .67.4 June 2011 * Notes *Mamontov's Private Opera is a fascinating and detailed presentation—using existing primary source materials—of the power and influence that one man had on both Russian music history and international music history at the turn of the twentieth century. * Music Reference Services Quarterly *This is a bracing account of a time when faith in dramatic art was contagious—and worked wonders. * Slavic Review *Table of ContentsContentsAcknowledgmentsNote on Transliteration and TranslationAbbreviationsIntroduction1. The Silver Age and the Legacy of the 1860s2. Serving the Beautiful3. Echoes of Abramtsevo4. Visual Impressions5. Opera as Drama6. From Meiningen to Meyerhold7. Politics, Repertory, and the Market8. Faces of the EnterpriseAppendix A. Brief Chronology of Savva Mamontov's Life and CareerAppendix B. Selected Premieres and Revivals at the Moscow Private OperaNotesWorks CitedIndex
£31.50
Indiana University Press Music Education in the Middle Ages and the
Book SynopsisWhat were the methods and educational philosophies of music teachers in the Middle Ages and the Renaissance? What did students study? What were the motivations of teacher and student? This title addresses these topics and others to understand the identities of music teachers and students from 650 to 1650 in Western Europe.Trade ReviewRecommended. Graduate students, researchers, faculty.April 2011 * Choice *The editors and authors of this volume have put together an important collection of essays ... [T]he volume as a whole represents a worthy attempt to treat musical pedagogy in an historical manner and ... the authors and editors are to be congratulated. * The Medieval Review *[These essays] address the multifaceted topic of music education in Western Europe over a long span . . . and offer much new information, in part by focusing on places and social groups often previously treated as marginal. . . . One hopes that this engaging collection of essays will spur others to investigate this vast and fascinating topic. Fall 2011 * Early Music America *What is distinctive and welcome about this book is its musicological focus on pedagogy, music education, and the history of education which serves to expand the horizons of our field of study. * British Journal of Music Education *The essays gathered in this volume confirm for us that the study of musical pedagogy in the Middle Ages and Renaissance continues to receive the proper attention it so richly deserves. These contributions present an exciting perspective about the many approaches to themes found under the large umbrella of musical instruction and study, as well as the fascinating fruits that come to bear after their in-depth exploration. This volume is not only a welcome addition to scholarship on this topic but also a telling indicator of new research to come. * Journal of Musicological Research *Table of ContentsAcknowledgmentsIntroduction: Reading and Writing the Pedagogy of the Past / Russell E. Murray, Jr., Susan Forscher Weiss, and Cynthia J. CyrusPerspective 11. Some Introductory Remarks on Musical Pedagogy / James HaarPart 1 Medieval Pedagogy2. Guido d'Arezzo, Ut queant laxis, and Musical Understanding / Dolores Pesce3. Some Thoughts on Music Pedagogy in the Carolingian Era / Charles M. Atkinson4. Medieval Musical Education as Seen through Sources Outside the Realm of Music Theory / Susan BoyntonPart 2 Renaissance Places of Learning5. "Sang Schwylls" and "Music Schools": Music Education in Scotland, 1560–1650 / Gordon Munro6. A Proper Musical Education for Antwerp's Women / Kristine K. Forney7. Juan Bermudo, Self-instruction, and the Amateur Instrumentalist / John GriffithsPerspective 28. The Humanist and the Commonplace Book: Education in Practice / Anthony GraftonPart 3 Renaissance Materials and Contexts9. Musical Commonplaces in the Renaissance / Peter Schubert10. Music Education and the Conduct of Life in Early Modern England: A Review of the Sources / Pamela F. Starr11. Vandals, Students, or Scholars? Handwritten Clues in Renaissance Music Textbooks / Susan Forscher WeissPart 4 Music Education in the Convent12. The Educational Practices of Benedictine Nuns: A Salzburg Abbey Case Study / Cynthia J. Cyrus13. Nun Musicians as Teachers and Students in Early Modern Spain / Colleen BaadePart 5 The Teacher14. Isaac the Teacher: Pedagogy and Literacy in Florence, ca. 1488 / Blake Wilson15. Zacconi as Teacher: A Pedagogical Style in Words and Deeds / Russell E. Murray, Jr.16. The Good Maestro: Pietro Cerone on the Pedagogical Relationship / Gary TownePerspective 317. You Can Tell a Book by Its Cover: Reflections on Format in English Music "Theory" / Jessie Ann OwensContributorsIndex
£38.70
MH - Indiana University Press Decorum of the Minuet Delirium of the Waltz A
Book SynopsisStudies music and social dance in the 18th and 19th centuriesTrade ReviewI think this is an important book for musicians and dance academics alike, since McKee proposes that to understand the musical structures of the minuet and waltz, 'it is helpful to be aware of the bodily rhythms of the dance upon which they are based and the social contexts in which they were performed'. . . . McKee's holistic approach illuminates the total experiences of all the participants. . . . highly informative on the importance of dancing at every level of society, and its varying social functions, during the eighteenth and nineteenth centuries. * Dance Europe *McKee's overall orientation is laudable, since functional dance music has largely been ignored by music analysts, and stylized dance music has been treated as if it had minimal connection to the practice of dancing. . . . Despite the amount of close music analysis, McKee's writing is accessible to a wide range of readers. . . . One hopes that McKee has plans for a future book to follow the mid-century delirium of the waltz to its twentieth-century demise. * Nineteenth-Century Music Review *Think back . . . to an enlightened age of rhythmic egalitarianism, when life was lived in the lightness, suppleness, and grace of triple meter as well as duple, and the two reigning dances were in 3/4. This book is a much-needed, restorative paean to that two-century era and its emblematic dances: the minuet and the waltz. * DANCE CHRONICLE *McKee's book. . . fulfils its aim: that of presenting dance-music relations in two out of three of the most popular ballroom dances in several centuries. To my knowledge, there is no other English publication on such intersection of topics – thus it deserves a place in the libraries of music and dance departments. -- Gediminas Karoblis * Dance Research *Table of ContentsAcknowledgementsIntroduction1. Influences of the Early Eighteenth-Century Ballroom Minuet on the Minuets from J. S. Bach's French Suites, BWV 812–8172. Mozart in the Ballroom: Minuet-Trio Contrast and the Aristocracy in Self-Portrait3. The Musical Visions of Joseph Lanner and Johann Strauss Sr.4. Dance and the Music of Chopin: Historical Background5. The Musical Visions of Chopin6. Chopin's Approach to Waltz FormNotesBibliographyIndex
£31.50
Indiana University Press Music and the Politics of Negation Musical
Book SynopsisA radical re-assessment of the post-modern study of musicTrade ReviewAlthough many authors have sought to bring together critical studies and music, Currie's book is original in both style and substance. Erudite and loquacious, Currie is a gifted storyteller whose work merits study by advanced scholars. His individual approach to the impasse created by the new musicology establishes a model by which that gulf might be bridged without returning to the status quo. * Choice *Music and the Politics of Negation is an important spur for post-new-musicological discussion of the political in/as music. . . . This book is also a benchmark for meaning-rich, close music analysis. * Notes *[This] book's great strength is the way in which it binds together eighteenth-century and contemporary issues, and in doing so, both probes and perpetuates the prestige of the Viennese classics.94.3 2013 * Music & Letters *[J]ames Currie's book . . . organizes a series of close readings of compositions by Mozart and Haydn . . . .67.3 Fall 2014 * Jrnl American Musicological Soc JAMS *Table of ContentsPreface: A No-Music1. Veils (Mozart, Piano Concerto K. 459, Finale)2. Dreams (Fugal Counterpoint)3. Exile (Haydn, String Quartet Op. 33, No. 5)4. Enchantment (Mozart, La clemenza di Tito)5. Forgetting (Edward Said)NotesBibliographyIndex
£26.59
University of Notre Dame Press The Unstoppable Irish
Book SynopsisThis unique book captures the rise of New York''s passionately musical Irish Catholics and provides a compelling history of early New York City.The Unstoppable Irish follows the changing fortunes of New York''s Irish Catholics, commencing with the evacuation of British military forces in late 1783 and concluding one hundred years later with the completion of the initial term of the city''s first Catholic mayor. During that century, Hibernians first coalesced and then rose in uneven progression from being a variously dismissed, despised, and feared foreign group to ultimately receiving de facto acceptance as constituent members of the city''s population. Dan Milner presents evidence that the Catholic Irish of New York gradually integrated (came into common and equal membership) into the city populace rather than assimilated (adopted the culture of a larger host group). Assimilation had always been an option for Catholics, even in IreTrade Review"Unstoppable Irish is the only work I am aware of that analyzes lyrics over such a sustained—not to mention crucial—period of Irish American history. The analysis allows us to see the process of Irish Americanization reflected in an evolving cultural arena, and it shows how song lyrics contribute to the development of what Raymond Williams has called the 'structure of feeling' of any given epoch. In doing so, Milner not only offers insight into the connection between popular culture and American political development, but also leads the way for other cultural historians of Irish America to follow." —Peter O'Neill, author of Famine Irish and the American Racial State "Songs litter the archives of urban history. Apart from mining them for colorful quotations, however, most historians don’t quite know what to do with them. Dan Milner has found an answer by combining the microhistory of the Irish in New York City with a close reading of eighteenth- and nineteenth-century song lyrics from the city’s popular press and stage. Milner’s weaving together of local politics, urban sociology, popular entertainment, and Irish song culture provides insight into how the image of NYC’s Irish Catholics moved from that of unwanted poverty-stricken immigrants to acceptable new citizens, who, by the end of the nineteenth century, were taking charge of the city." —William H. A. Williams, author of 'Twas Only an Irishman’s Dream: The Image of Ireland and the Irish in American Popular Song Lyrics, 1800–1920"Dan Milner caps decades of performing and collecting traditional folk music with an insightful analysis of how songs illuminate the Irish journey from outsiders to insiders. This book is essential for understanding New York City and Irish America." —Robert W. Snyder, Rutgers University-Newark"Music and song is the royal road into the psyche of the Irish and this book is a profound meditation on the journey toward becoming that was taken by the Irish of New York in the 19th century. In all of us that journey lives and these songs and what they tell us about the hopes and dreams of our forebears, as well as the heartache they endured, reward the scrutiny that Milner brings to them here." —Irish Central"An incisive and enlightening exploration of immigrant culture and integration. Dan Milner offers insights into popular song as a means of protest and pride, which echo from nineteenth-century music halls to present-day rap. This is cultural history at its demotic best." —Peter Quinn, author of Banished Children of Eve: A Novel of Civil War New York"An excellent, well-researched work that tells a fascinating story about the early Irish Catholic experience in America. . . . The way Milner traces this history is fascinating. Rather than relying solely on dry sources like archival newspapers and secondary scholarship, he incorporates song texts—folk songs, street songs, and early variety theater lyrics, all taken from period sources such as broadsides, songsters, and published songs—to create a deeper and more nuanced reading of the Irish Catholic experience." —The Irish Echo“In this fascinating study Dan Milner focuses on the songs of the New York Irish and uses them to uncover the experience of that immigrant community in the century from 1783. The Irish experience over that period was essentially a struggle for Catholic incomers to achieve acceptance from a Protestant establishment.” —Dublin Review of Books"[A] treasury of mini-essays on many indelible songs from throughout the nineteenth century. . . . Milner brings Irish American history to life, through song, in this compelling book." —New York Irish History"MIlner offers evidence—largely through folk and popular period songs of the era—of how New York City’s Irish Catholic community gained acceptance in the city, culminating in the election of its first Catholic mayor, William R. Grace. Milner’s central premise is that the Irish integrated, rather than simply assimilated, within the larger New York population." —Boston Irish Reporter“The study focuses on the century-long period from the withdrawal of British troops from New York at the end of the American War of Independence to the first term of Irish-born William R. Grace, New York’s first Catholic mayor. Milner is clearly knowledgeable on the subject.” —ChoiceTable of ContentsList of Illustrations Acknowledgements Introduction Colonial New York The New York Irish in the New Republic Irish Famine and American Nativism The Civil War, and Draft Riots of 1863 The Road to Respectability Conclusion Notes Bibliography Index
£21.59
WW Norton & Co Dangerous Melodies
Book SynopsisA Juilliard-trained musician and professor of history explores the fascinating entanglement of classical music with American foreign relations.Trade Review"A riveting and illuminating book." -- Lloyd Schwartz - Wall Street Journal"Authoritative….not only valuable and fair-minded history but an unceasingly engaging series of tales." -- Tim Page - Washington Post"It’s remarkable how much Rosenberg’s detailed study applies to current events and cultural discourse…A clear-eyed and perspicacious work for classical music scholars and fans and anyone interested in the intersection of politics and culture." -- Library Journal"Rosenberg masterfully tells these stories." -- Booklist"A thoroughly researched and engrossing history…Richly detailed and freshly illuminating. " -- Kirkus Reviews (starred review)"Classical music aficionados will find much enjoyable lore from a time when the music was at the center of international rivalries." -- Publishers Weekly"Backed up by meticulous scholarship, Dangerous Melodies is clearly motivated by a great love for music; throughout this tribute to its emotional power, the author poses insightful and disturbing questions about the political uses that can be made of humanity’s deep need for artistic communication." -- Eugene Drucker, founding member, Emerson String Quartet, and author of The Savior"Jonathan Rosenberg’s important book provides a panoramic yet fascinatingly detailed—and often surprising—view of the political role played, willingly or otherwise, by classical music and musicians in the United States through much of the twentieth century. Highly recommended for anyone who cares about the intersection of art and politics." -- Harvey Sachs, author of Toscanini: Musician of Conscience"Riveting and eye opening, Dangerous Melodies tells the story of a long period in American history when classical music played an intensely dramatic role in how US citizens viewed world events, often fearing for their very safety if certain performances were to take place. Thoroughly researched and well written, the book offers both scholar and general reader invaluable information through gripping stories of intrigue, heroism, and villainy." -- L. Michael Griffel, chairperson of the Music History Department, Juilliard School"Jonathan Rosenberg provides a richly textured portrait of how classical music, with its concentration of German and Russian repertoire and performers, could fixate American communities and give rise to sentiments across the political spectrum, from knee-jerk nationalism to subtle reflection. The result is an engrossing story that illuminates an earlier era while serving as a cautionary tale for our own." -- James M. Keller, program annotator of the New York Philharmonic and the San Francisco Symphony
£28.79
WW Norton & Co Dvoraks Prophecy
Book SynopsisA provocative interpretation of why classical music in America “stayed white”—how it got to be that way and what can be done about it.
£22.79
LUP - University of Michigan Press Hearing Harmony Toward a Tonal Theory for the
Book SynopsisOffers a listener-based, philosophical-psychological theory of harmonic effects for Anglophone popular music since the 1950s. It begins with chords, their functions and characteristic hierarchies, then identifies the most common and salient harmonic-progression classes, or harmonic schemas.Trade ReviewDoll’s writing allows for a broad spectrum of musical literacy in his audience… It’s thorough enough for music scholars, but accessible enough to be suited for other scholars with some musical background, and perhaps even rock musicians and fans with intellectual interests."" - Shaugn O’Donnell, Associate Professor of Music Theory and Director of Graduate Studies at the City College of New York
£31.30
The University of Michigan Press Sounding Together
Book SynopsisA book of essays that tackles key challenges facing scholars studying music of the United States in the early twenty-first century. The book encourages scholars in music circles and beyond to explore the intersections between social responsibility, community engagement, and academic practices through the simple act of working together.
£23.70
The University of Michigan Press Taking It to the Bridge
Book Synopsis
£80.70
The University of Michigan Press In and Out of Phase
Book SynopsisOffers the first sustained look at the creative interactions between artists and musicians of the 1960s, looking at four pairs of creators who used process-oriented ideas and techniques in their music and art: Dan Flavin and La Monte Young; Sol LeWitt and Milton Babbitt; Richard Serra and Steve Reich; and Bruce Nauman and Meredith Monk.
£60.95
The University of Michigan Press Sounding Dissent
Book Synopsis
£69.30
The University of Michigan Press Contingent Encounters
Book SynopsisOffers a comparative study of improvisation as it appears between music and everyday life. Drawing on work in musicology, cultural studies, and critical improvisation studies, as well as his own performing experience, Dan DiPiero argues that comparing improvisation across domains calls into question how improvisation is typically recognised.Table of Contents 1. Introduction: Improvisation as Contingency Part One: Contingent Music 2. Out to Lunch 3. Waves, Linens, and White Light 4. Gunweep | Elephant in the Room Part Two: Contingent Life 5. The Structure of Everyday Life 6. Everyday Practices 7. Perception, Situation, Orientation 8. Conclusion: On Aesthetics and Politics Epilogue: Improvisation, Cultural Analysis, and Collective Action References Index
£64.95
University of California Press Who Hears Here
Book SynopsisGuthrie P. Ramsey, Jr., is an award-winning musicologist, music historian, composer, and pianist whose prescient theoretical and critical interventions have bridged Black cultural studies and musicology. Representing twenty-five years of commentary and scholarship, these essays document Ramsey's search to understand America's Black musical past and present and to find his own voice as an African American writer in the field of musicology. This far-reaching collection embraces historiography, ethnography, cultural criticism, musical analysis, and autobiography, traversing the landscape of Black musical expression from sacred music to art music, and jazz to hip-hop. Taken together, these essays and the provocative introduction that precedes them are testament to the legacy work that has come to define a field, as well as a rousing call to readers to continue to ask the hard questions and write the hard truths. Trade Review"The book stands as a testament to [Guthrie's] commitment. His 14 essays capture a range of perspectives and musical styles as he traces the history of Black music from the Civil War through to the work of one of the brightest stars currently on the scene, Robert Glasper. Ramsey brings a depth and an essential understanding to the discussion of American popular music." * Christian Science Monitor *Table of ContentsContents Foreword by Tammy L. Kernodle Acknowledgments Introduction: Who Hears Here Now? 1. Cosmopolitan or Provincial? Ideology in Early Black Music Historiography, 1867–1940 2. Who Hears Here? Black Music, Critical Bias, and the Musicological Skin Trade 3. The Pot Liquor Principle: Developing a Black Music Criticism in American Music Studies 4. Secrets, Lies, and Transcriptions: New Revisions on Race, Black Music, and Culture 5. Muzing New Hoods, Making New Identities: Film, Hip-Hop Culture, and Jazz Music 6. Afro-Modernism and Music: On Science, Community, and Magic in the Black Avant-Garde 7. Bebop, Jazz Manhood, and “Piano Shame” 8. Blues and the Ethnographic Truth 9. Time Is Illmatic: A Song for My Father, A Letter to My Son 10. A New Kind of Blue: The Power of Suggestion and the Pleasure of Groove in Robert Glasper’s Black Radio 11. Free Jazz and the Price of Black Musical Abstraction 12. Jack Whitten’s Musical Eye 13. Out of Place and Out of Line: Jason Moran’s Eclecticism as Critical Inquiry 14. African American Music Onward: An Afterword by Shana L. Redmond Notes Index
£22.50
University of California Press Listening for the Secret The Grateful Dead and
Book SynopsisWith roots in popular music traditions, improvisation, and the avant-garde, this book provides a lens through which we can better understand the meaning and creation of the counterculture community. It examines the wider significance and impact of its politics of improvisation.Trade Review"...presents a complex but rounded picture of a band that was both deeply traditional yet genuinely avant-garde, fiercely independent yet—at least in its latter years—undeniably mainstream, apolitical yet politically challenging." * All About Jazz *Table of ContentsSeries Foreword Acknowledgments Introduction 1. Popular Avant-Garde? Renegotiating Tradition 2. Wave That Flag: An Apolitical Band 3. Crashes in Space: Aspects of Improvisation Coda: Listening for the Secret Discography Notes Bibliography Index
£63.90
University of California Press Nostalgia for the Future
Book SynopsisNostalgia for the Future is the first collection in English of the writings and interviews of Luigi Nono (19241990). One of the most prominent figures in the development of new music after World War II, he is renowned for both his compositions and his utopian views. His many essays and lectures reveal an artist at the center of the analytical, theoretical, critical, and political debates of the time. This selection of Nono's most significant essays, articles, and interviews covers his entire career (19481989), faithfully mirroring the interests, orientations, continuities, and fractures of a complex and unique personality. His writings illuminate his intensive involvements with theatre, painting, literature, politics, science, and even mysticism. Nono's words make vividly evident his restless quest for the transformative possibilities of a radical musical experience, one that is at the same time profoundly engaged with its performers and spaces, its audiences, and its human and social motivations and ramifications.Trade Review"The appeal of what the English music historian Harriet Boyd-Bennett called Nono's 'sonic hubub' is elucidated in this long overdue collection of the composer's writings and interviews. A comparable French edition of this material appeared back in 1993, which indicates how belated, albeit still timely, its insights are for opera lovers undeterred by avant garde sounds." * Opera Now *Table of ContentsPreface Introduction EXERGO: Clarifications (1956) EXCURSUS I. An Autobiography of the Author Recounted by Enzo Restagno (1987) PART ONE. MUSICAL ANALYSIS AND COMPOSITION 1. Luigi Dallapiccola and the Sex Carmina Alcaei (ca. 1948) 2. On the Development of Serial Technique (1956) 3. The Development of Serial Technique (1957) 4. Text—Music—Song (1960) 5. [About Il canto sospeso] (1976) EXCURSUS II. A Letter from Los Angeles (1965) PART TWO. MUSIC ONSTAGE: FROM A "THEATER OF IDEAS" TO THE "TRAGEDY OF LISTENING" 1. Some Clarifications on Intolleranza 1960 (1962) 2. Possibility and Necessity of a New Music Theater (1962) 3. Play and Truth in the New Music Theater (1962) 4. Die Ermittlung: A Musical and Theatrical Experience with Weiss and Piscator [Music and Theater] (1966) 5. Toward Prometeo: Journal Fragments (1984) EXCURSUS III. Interview with Renato Garavaglia (ca. 1979–80) PART THREE. "CONSCIENCE, FEELINGS, COLLECTIVE REALITY" 1. Historical Presence of Music Today (1959) 2. Music and Resistance (1963) 3. Replies to Seven Questions by Martine Cadieu (1966) 4. Music and Power (1969) 5. In the Sierra and in the Parliament (1971) EXCURSUS IV. Technology to Discover a Universe of Sounds: Interview with Walter Prati and Roberto Masotti (1983) PART FOUR. PORTRAITS AND DEDICATIONS 1. Josef Svoboda (1968) 2. Remembering Two Musicians (1973) 3. Victor Jara’s Song (1974) 4. Preface to Arnold Schoenberg’s Harmonielehre (1977) 5. Bartók the Composer (1981) 6. For Helmut (1983) 7. For Marino Zuccheri (1986) EXCURSUS V. Interview with Michelangelo Zurletti (1987) PART FIVE. THE "POSSIBLE INFINITIES" 1. Error as a Necessity (1983) 2. Other Possibilities for Listening (1985) 3. Lecture at the Chartreuse in Villeneuve-les-Avignon (1989) EXCURSUS VI. “Proust” Questionnaire (1986) Notes and Abbreviations Bibliographical Notes and Comments to the Texts Chronology of Nono’s Works Index
£64.00
University of California Press Nostalgia for the Future
Book SynopsisNostalgia for the Future is the first collection in English of the writings and interviews of Luigi Nono (19241990). One of the most prominent figures in the development of new music after World War II, he is renowned for both his compositions and his utopian views. His many essays and lectures reveal an artist at the center of the analytical, theoretical, critical, and political debates of the time. This selection of Nono's most significant essays, articles, and interviews covers his entire career (19481989), faithfully mirroring the interests, orientations, continuities, and fractures of a complex and unique personality. His writings illuminate his intensive involvements with theatre, painting, literature, politics, science, and even mysticism. Nono's words make vividly evident his restless quest for the transformative possibilities of a radical musical experience, one that is at the same time profoundly engaged with its performers and spaces, its audiences, and its human and social motivations and ramifications.Trade Review"The appeal of what the English music historian Harriet Boyd-Bennett called Nono's 'sonic hubub' is elucidated in this long overdue collection of the composer's writings and interviews. A comparable French edition of this material appeared back in 1993, which indicates how belated, albeit still timely, its insights are for opera lovers undeterred by avant garde sounds." * Opera Now *Table of ContentsPreface Introduction EXERGO: Clarifications (1956) EXCURSUS I. An Autobiography of the Author Recounted by Enzo Restagno (1987) PART ONE. MUSICAL ANALYSIS AND COMPOSITION 1. Luigi Dallapiccola and the Sex Carmina Alcaei (ca. 1948) 2. On the Development of Serial Technique (1956) 3. The Development of Serial Technique (1957) 4. Text—Music—Song (1960) 5. [About Il canto sospeso] (1976) EXCURSUS II. A Letter from Los Angeles (1965) PART TWO. MUSIC ONSTAGE: FROM A "THEATER OF IDEAS" TO THE "TRAGEDY OF LISTENING" 1. Some Clarifications on Intolleranza 1960 (1962) 2. Possibility and Necessity of a New Music Theater (1962) 3. Play and Truth in the New Music Theater (1962) 4. Die Ermittlung: A Musical and Theatrical Experience with Weiss and Piscator [Music and Theater] (1966) 5. Toward Prometeo: Journal Fragments (1984) EXCURSUS III. Interview with Renato Garavaglia (ca. 1979–80) PART THREE. "CONSCIENCE, FEELINGS, COLLECTIVE REALITY" 1. Historical Presence of Music Today (1959) 2. Music and Resistance (1963) 3. Replies to Seven Questions by Martine Cadieu (1966) 4. Music and Power (1969) 5. In the Sierra and in the Parliament (1971) EXCURSUS IV. Technology to Discover a Universe of Sounds: Interview with Walter Prati and Roberto Masotti (1983) PART FOUR. PORTRAITS AND DEDICATIONS 1. Josef Svoboda (1968) 2. Remembering Two Musicians (1973) 3. Victor Jara’s Song (1974) 4. Preface to Arnold Schoenberg’s Harmonielehre (1977) 5. Bartók the Composer (1981) 6. For Helmut (1983) 7. For Marino Zuccheri (1986) EXCURSUS V. Interview with Michelangelo Zurletti (1987) PART FIVE. THE "POSSIBLE INFINITIES" 1. Error as a Necessity (1983) 2. Other Possibilities for Listening (1985) 3. Lecture at the Chartreuse in Villeneuve-les-Avignon (1989) EXCURSUS VI. “Proust” Questionnaire (1986) Notes and Abbreviations Bibliographical Notes and Comments to the Texts Chronology of Nono’s Works Index
£28.90
University of California Press Categorizing Sound
Book SynopsisAddresses the relationship between categories of music and categories of people, particularly how certain ways of organizing sounds becomes integral to how we perceive ourselves and how we feel connected to some people and disconnected from others.
£22.50
University of California Press The Faure Song Cycles Poetry and Music 18611921
Book SynopsisGabriel Fauré's mélodies offer an inexhaustible variety of style and expression that havemade them the foundation of the French art song repertoire. During the second half of his long career, Fauré composed all but a handful of his songs within six carefully integrated cycles. Fauré moved systematically through his poetic contemporaries, exhausting Baudelaire's Les fleurs du mal before immersing himself in the Parnassian poets. He would set nine poems by Armand Silvestre in swift succession (1878-84), seventeen by Paul Verlaine (1887-94), and eighteen by Charles Van Lerberghe (1906-14). As an artist deeply engaged with some of the most important cultural issues of the period, Fauré reimagined his musical idiom with each new poet and school, and his song cycles show the same sensitivity to the poetic material. Far more than Debussy, Ravel, or Poulenc, he crafted his song cycles as integrated works, reordering poems freely and using narratives, key schemes, and even leitmotifs to unify the individual songs. The Fauré Song Cycles explores the peculiar vision behind each synthesis of music and verse, revealing the astonishing imagination and insight of Fauré's musical readings. This book offers not only close readings of Fauré's musical works but an interdisciplinary study of how he responded to the changing schools and aesthetic currents of French poetry.Table of ContentsList of Music Examples Preface Acknowledgments 1. Romancing the mélodie A Hugo Cycle? 2. Ascending Parnassus Poème d’un jour, op. 21 3. The Discovery of MusicCinq mélodies "de Venise," op. 58 4. Wagnerian correspondancesLa bonne chanson, op. 61 5. Theatrical SongLa chanson d’Ève, op. 95 6. Writing in the SandLe jardin clos, op. 106 7. Neoclassical VoyagesMirages, op. 113 and L’horizon chimérique, op. 118 Notes Bibliography Index
£50.15
University of California Press Dreaming with Open Eyes
Book SynopsisDreaming with Open Eyes examines visual symbolism in late seventeenth-century Italian opera, contextualizing the genre amid the broad ocularcentric debates emerging at the crossroads of the early modern period and the Enlightenment. Ayana O. Smith reevaluates significant aspects of the Arcadian reform aesthetic and establishes a historically informed method of opera criticism for modern scholars and interpreters. Unfolding in a narrative fashion, the text explores facets of the philosophical and literary background and concludes with close readings of text and music, using visual symbolism to create readings of gender and character in two operas: Alessandro Scarlatti's La Statira (Rome, 1690), and Carlo Francesco Pollarolo's La forza della virtà (Venice, 1693). Smithâs interdisciplinary approach enhances our modern perception of this rich and underexplored repertory, and will appeal to students and scholars not only of opera, but also of literature, philosophy, and visual and intellectTable of ContentsList of Figures List of Musical Examples Acknowledgments Introduction part one. the image of truth 1. Founding Arcadia: The Aesthetics of Verisimilitude and Buon Gusto 2. Performing L’Endimione: A History and Reappraisal of Guidi’s Favola pastorale 3. Reading the Classics: Intellectual and Cultural Resonances in Gravina’sDiscorso sopra l’Endimione part two. the truth of representation 4. Reconciling Icon, Mythos, and Tupos: The Role of Images in L’Endimione 5. Believing in Opera: Visual Modes in Alessandro Scarlatti’s La Statira 6. Deceiving the Eye: Mirror, Statue, and Stone in Carlo Francesco Pollarolo’s La forza della virtù Epilogue: Constructing Gender and Politics; Queen Christina’s ImageNotes Bibliography Index
£50.15
University of California Press The La Traviata Affair
Book SynopsisRace, politics, and opera production during apartheid South Africa intersect in this historiographic work on the Eoan Group, a coloured cultural organization that performed opera in the Cape. The La Traviata Affair charts Eoan's opera activities from the group's inception in 1933 until the cessation of their productions by 1980. It explores larger questions of complicity, compromise, and compliance; of assimilation, appropriation, and race; and of European art music in situations of non-European dispossession and disenfranchisement. Performing under the auspices of apartheid, the group's unquestioned acceptance of and commitment to the art of opera could not redeem it from the entanglements that came with the political compromises it made. Uncovering a rich trove of primary source materials, Hilde Roos presents here for the first time the story of one of the premier cultural agencies of apartheid South Africa. Table of ContentsList of Illustrations Acknowledgments Note on Terminology Introduction 1 • We Live to Serve: A Demimonde before Art 2 • The La Traviata Affair: From Courtesan to Lover 3 • Eoan’s Best Opera Success: An Amorous Fantasy 4 • Scala Is Scala and Eoan Is Eoan: Th e Struggle to Breathe 5 • Slow Death: On Twilight and Loss Postscript Appendix 1: Eoan’s Music Productions Appendix 2: The Eoan Group Constitution Notes Selected Bibliography Index
£27.00
University of California Press Stravinsky in the Americas
Book SynopsisStravinsky in the Americas explores the pre-Craft period of Igor Stravinsky's life, from when he first landed on American shores in 1925 to the end of World War II in 1945. Through a rich archival trove of ephemera, correspondence, photographs, and other documents, eminent musicologist H. Colin Slim examines the twenty-year period that began with Stravinsky as a radical European art-music composer and ended with him as a popular figure in American culture. This collection traces Stravinsky's rise to famecatapulted in large part by his collaborations with Hollywood and Disney and marked by his extra-marital affairs, his grappling with feelings of anti-Semitism, and his encounters with contemporary musicians as the music industry was emerging and taking shape in midcentury America. Slim's lively narrative records the composer's larger-than-life persona through a close look at his transatlantic tours and domestic excursions, where Stravinsky's personal and professional life collided in often-dramatic ways.Trade Review"This meticulously documented book sheds new light on the first two decades of Stravinsky's association with America, from the time of his first concert tour in 1925 to the premiere of the Symphony in Three Movements at Carnegie Hall in Janunary 1946. . . . This is not only a book to delight lovers of Stravinskian minutiae but also one that provides a richly documented study of a period in Stravinsky's life that has received relatively little attention." * Gramophone *Table of ContentsList of Illustrations Foreword by Richard Taruskin Preface Acknowledgments Introduction PART I: FIVE TRANSATLANTIC TOURS (1925–1940) 1. Tour I (1925) 2. Tour II (1935) 3. Tour III (1936) 4. Tour IV (1937) 5. Tour V (October 1939–Late May 1940) PART II: DOMESTIC EXCURSIONS FROM WARTIME LOS ANGELES (1940–1946) 6. Excursions (1940–1941) 7. Excursions (1942) 8. Excursions (1943) 9. Excursions (1944) 10. Excursions (1945–Early 1946) Appendix: Stravinsky and “Neoclassicism” Notes Bibliography Index
£34.20
University of California Press Hearing Luxe Pop Glorification Glamour and the
Book SynopsisHearing Luxe Pop explores a deluxe-production aesthetic thathas long thrived in American popular music, in which popular-music idioms are merged with lush string orchestrations and big-band instrumentation. John Howland presents an alternative music history that centers on shifts in timbre and sound through innovative uses of orchestration and arranging, traveling from symphonic jazz to the Great American Songbook, the teenage symphonies of Motown to the countrypolitan sound of Nashville, the sunshine pop of the Beach Boys to the blending of soul and funk into 1970s disco, and Jay-Z's hip-hop-orchestra events to indie rock bands performing with the Brooklyn Philharmonic. This book attunes readers to hear the discourses gathered around the music and its associated images as it examines pop's relations to aspirational consumer culture, theatricality, sophistication, cosmopolitanism, and glamorous lifestyles.Trade Review"Love this book for its championing of style, its critical edge, its humorous voice, its generosity, extravagance, and immersiveness." * Twentieth-Century Music *"Hearing Luxe Pop [is] underpinned by relevant notated examples and rich descriptions of the music, situated within discourses around sophistication, cosmopolitanism and glamourous lifestyles, which together make this book a dearly needed contribution to the field of popular music studies." * Swedish Journal of Music Research *Table of ContentsAcknowledgments Introduction: From Paul Whiteman, to Barry White, Man 1 • Hearing Luxe Pop: Jay-Z, Isaac Hayes, and the Six Degrees of Symphonic Soul 2 • The (Symphonic) Jazz Age, Musical Vaudeville, and "Glorified" Entertainments 3 • Jazz with Strings: Between Jazz and the Great American Songbook 4 • Defining Populuxe: Capitol Records and the Swinging Early Hi-Fi Era 5 • Phil Spector, Early 1960s "Teenage Symphonies," and the Fabulous Lower Middlebrow 6 • Mining AM (White) Gold: The 1960s MOR-Pop Foundations of 1970s Soft Rock 7 • Isaac Hayes and Hot Buttered (Orchestral) Soul, from Psychedelic to Progressive 8 • From Sophistisoul to Disco: Barry White and the Fall of Luxe Pop Afterword Notes Index
£64.00
University of California Press Hearing Luxe Pop Glorification Glamour and the
Book SynopsisTrade Review"Love this book for its championing of style, its critical edge, its humorous voice, its generosity, extravagance, and immersiveness." * Twentieth-Century Music *"Hearing Luxe Pop [is] underpinned by relevant notated examples and rich descriptions of the music, situated within discourses around sophistication, cosmopolitanism and glamourous lifestyles, which together make this book a dearly needed contribution to the field of popular music studies." * Swedish Journal of Music Research *Table of ContentsAcknowledgments Introduction: From Paul Whiteman, to Barry White, Man 1 • Hearing Luxe Pop: Jay-Z, Isaac Hayes, and the Six Degrees of Symphonic Soul 2 • The (Symphonic) Jazz Age, Musical Vaudeville, and "Glorified" Entertainments 3 • Jazz with Strings: Between Jazz and the Great American Songbook 4 • Defining Populuxe: Capitol Records and the Swinging Early Hi-Fi Era 5 • Phil Spector, Early 1960s "Teenage Symphonies," and the Fabulous Lower Middlebrow 6 • Mining AM (White) Gold: The 1960s MOR-Pop Foundations of 1970s Soft Rock 7 • Isaac Hayes and Hot Buttered (Orchestral) Soul, from Psychedelic to Progressive 8 • From Sophistisoul to Disco: Barry White and the Fall of Luxe Pop Afterword Notes Index
£999.99
University of California Press The Hum of the World
Book SynopsisTrade Review"Summing Up: Recommended." * CHOICE *An Alex Ross "Bookshelf" recommendation * The Rest is Noise *"The Hum of the World is a more-than-intriguing read and definitely one that will get you thinking about the role of sound within a cosmic context. . . . Recommended." * Journal of the Association of Anglican Musicians *Table of ContentsPrelude Sound and Knowledge The Audiable: An Introduction Some Leitmotifs The Standard of Vision A Philosophy of Listening? Constructive Description Sight, Sound, and Language The Sound of Words Seeing, Saying, and Hearing The Audiable: Variations on a Theme Music in the Air “No Sound without Music” Language and the Human Lord Bacon’s Echoes Ripple Effects: Distant Voices The Infinite Broadcast Immanence Reading Transfigured: St. Augustine To the Life: The Image Moving Pictures Modern Times: The Cartoon The Sound of Meaning Music and the Audiable: A Suite in Three Movements Plato’s Singing School Musical Synesthesia The Music of Language The Soundscape Song Noise and Silence Fish, Flesh, or Fowl Sensory Hybrids “Waiting to Be the Music” Circle Songs Forty-Part Motets The Ether Elemental Media Elemental Fluids Writing the Soundscape Haunting Melodies The Lifelike: The Undead Beyond Words? 1 The Audiable and the Audible Into Silence Enchantments of the Name The Inaudible On Saying “I am” The Shriek Metal Here Comes That Song Again The Mirror of Silence Rhythmic Hearing Media All the Way Down The Auditory Window Cacophony: Dispossession (Beckett) Euphony: Repossession (Beckett) Worldly Dissonance Sounds of Battle: The Civil War Sounds of Battle: World War I Ulysses in Auschwitz Intermezzo Sounding Bodies Pandemonium? Songs of Entropy By Hand Past and Present Consciousness Acknowledgments Index
£22.50
University of California Press Jazz Places How Performance Spaces Shape Jazz
Book SynopsisThe social connotation of jazz in American popular culture has shifted dramatically since its emergence in the early twentieth century. Once considered youthful and even rebellious, jazz music is now a firmly established American artistic tradition. As jazz in American life has shifted, so too has the kind of venue in which it is performed. In Jazz Places, Kimberly Hannon Teal traces the history of jazz performance from private jazz clubs to public, high-art venues often associated with charitable institutions. As live jazz performance has become more closely tied to nonprofit institutions, the music's heritage has become increasingly important, serving as a means of defining jazz as a social good worthy of charitable support. Though different jazz spaces present jazz and its heritage in various and sometimes conflicting terms, ties between the music and the past play an important role in defining the value of present-day music in a diverse range of jazz venues, from the Village Vanguard in New York to SFJazz on the West Coast to Preservation Hall in New Orleans. Trade Review"An insightful and thought-provoking read from first to last, Hannon Teal steers the reader through the intricacies of the construction of jazz histories. . . . It will be difficult to attend any jazz event, anywhere, after reading Jazz Places . . . without taking a closer look at the brick and mortar, glass and steel." * All About Jazz *"An impressive book." * The New York City Jazz Record *"Jazz Places is an agile and well-thought-out book offering a wealth of evidence on the power of sites in music-making, music consumption, and production of narratives about music history." * American Music *"Jazz Places is clearly well-researched, and the author demonstrates her knowledge of jazz history exceptionally well. This book is a fascinating read for any jazz enthusiast." * Music Reference Service Quarterly *Table of ContentsAcknowledgments Introduction: Jazz, Place, and Heritage 1. Jazz Heritage Live at the Village Vanguard 2. Phantom Partners: Large-Scale Venues on a National Scene 3. Schools on the Scene 4. Unearthing The Stone: From Underground to The New School 5. Reinventing the Recorded at Preservation Hall Epilogue Notes Bibliography Index
£64.00
University of California Press Jazz Places
Book SynopsisThe social connotation of jazz in American popular culture has shifted dramatically since its emergence in the early twentieth century. Once considered youthful and even rebellious, jazz music is now a firmly established American artistic tradition. As jazz in American life has shifted, so too has the kind of venue in which it is performed. In Jazz Places, Kimberly Hannon Teal traces the history of jazz performance from private jazz clubs to public, high-art venues often associated with charitable institutions. As live jazz performance has become more closely tied to nonprofit institutions, the music's heritage has become increasingly important, serving as a means of defining jazz as a social good worthy of charitable support. Though different jazz spaces present jazz and its heritage in various and sometimes conflicting terms, ties between the music and the past play an important role in defining the value of present-day music in a diverse range of jazz venues, from the Village Vanguard in New York to SFJazz on the West Coast to Preservation Hall in New Orleans. Trade Review"An insightful and thought-provoking read from first to last, Hannon Teal steers the reader through the intricacies of the construction of jazz histories. . . . It will be difficult to attend any jazz event, anywhere, after reading Jazz Places . . . without taking a closer look at the brick and mortar, glass and steel." * All About Jazz *"An impressive book." * The New York City Jazz Record *"Jazz Places is an agile and well-thought-out book offering a wealth of evidence on the power of sites in music-making, music consumption, and production of narratives about music history." * American Music *"Jazz Places is clearly well-researched, and the author demonstrates her knowledge of jazz history exceptionally well. This book is a fascinating read for any jazz enthusiast." * Music Reference Service Quarterly *Table of ContentsAcknowledgments Introduction: Jazz, Place, and Heritage 1. Jazz Heritage Live at the Village Vanguard 2. Phantom Partners: Large-Scale Venues on a National Scene 3. Schools on the Scene 4. Unearthing The Stone: From Underground to The New School 5. Reinventing the Recorded at Preservation Hall Epilogue Notes Bibliography Index
£22.50
University of California Press Women Rapping Revolution
Book SynopsisDetroit, Michigan, has long been recognized as a center of musical innovation and social change. Rebekah Farrugia and Kellie D. Hay draw on seven years of fieldwork to illuminate the important role that women have played in mobilizing a grassroots response to political and social pressures at the heart of Detroit's ongoing renewal and development project. Focusing on the Foundation, a women-centered hip hop collective,Women Rapping Revolutionargues that the hip hop underground is a crucial site where Black women shape subjectivity and claim self-care as a principle of community organizing. Through interviews and sustained critical engagement with artists and activists, this study also articulates the substantial role of cultural production in social, racial, and economic justice efforts.Trade Review"Women Rapping Revolution covers a lot of ground in a relatively condensed space, but it doesn’t lack for information or thoughtful analysis. On top of all this, they also manage to make it a very accessible book. Farrugia and Hay do an excellent job of not only getting you to understand all of the different factors in play within the hip hop scene in Detroit, but they’ll get the wheels spinning in your head as you consider all of the factors in play in your own city." * Scratched Vinyl *Table of ContentsForeword By Piper Carter Foreword By Mahogany Jones Preface Acknowledgments Introduction: Intersections of Detroit, Women, and Hip Hop 1 Detroit Hip Hop and the Rise of the Foundation 2 Hip Hop Sounds and Sensibilities in Post-Bankruptcy Detroit 3 Negotiating Genderqueer Identity Formation 4 Vulnerable Mavericks Wreck Rap’s Conventions 5 “Legendary,” Environmental Justice, and Collaborative Cultural Production 6 Hip Hop Activism in Action Conclusion: Women, Hip Hop, and Cultural Organizing Notes Bibliography Index
£22.50
University of California Press Russian Opera and the Symbolist Movement Second
Book SynopsisAcclaimed for treading new ground in operatic studies of the period, Simon Morrison's influential and now-classic text explores music and the occult during the Russian Symbolist movement. Including previously unavailable archival materials about Prokofiev and Tchaikovsky, this wholly revised edition is both up to date and revelatory. Topics range from decadence to pantheism, musical devilry to narcotic-infused evocations of heaven, the influence of Wagner, and the significance of contemporaneous Russian literature. Symbolism tested boundaries and reached for extremes so as to imagine art uniting people, facilitating communion with nature, and ultimately transcending reality. Within this framework, Morrison examines four lesser-known works by canonical composersPyotr Tchaikovsky, Nikolay Rimsky-Korsakov, Alexander Scriabin, and Sergey Prokofievand in this new edition also considers Alexandre Gretchaninoff's Sister Beatrice and Alexander Kastalsky's Klara Milich, while also making the case for reviving Vladimir Rebikov's The Christmas Tree.Trade Review“Worth investigation by anyone interested in the culture of this period or the composers discussed.” * Times Literary Supplement *“Ploughs new ground. . . . A fascinating study [and] a challenging mixture of literary and musical analysis.” * Opera Journal *“A rewarding and valuable study not only because of its insight and richness but also because of the accompanying reproductions of musical scores.” * Slavic & East European Journal *“Morrison draws on an impressive array of sources and disciplines…. His use of contemporary secondary sources is particularly effective, given his interest in the culture of reception.” * Slavic Review *“Morrison’s book has become a standard reading-list item and the accepted starting point for the researches of a new generation of graduate students. Ideas that were striking and fresh [when first published] have become common currency—a tribute to the book’s success.” * Journal of the American Musicological Society *Table of ContentsAcknowledgments A Note on Transliteration and Dates Introduction 1 • Decadence: Tchaikovsky at the Edge Interlude • Symbolism’s Nutcracker 2 • Syncretism: Rimsky-Korsakov and Belsky Interlude • Klara Milich 3 • Theurgy: Scriabin and the Impossible Interlude • Another Church Musician Writes an Opera 4 • Mimesis: Prokofiev’s Demons Conclusion Notes Index
£50.15
University of California Press The Tradition of Western Music
£63.90
University of California Press The Lyric Myth of Voice
Book SynopsisHow did voice become a metaphor for selfhood in the Western imagination? The Lyric Myth of Voice situates the emergence of an ideological connection between voice and subjectivity in late eighteenth-century Italy, where long-standing political anxieties and new notions of cultural enlightenment collided in the mythical figure of the lyric poet-singer. Ultimately, music and literature together shaped the singing voice into a tool for civilizing modern Italian subjects. Drawing on a range of approaches and frameworks from historical musicology to gender studies, disability studies, anthropology, and literary theory, Jessica Gabriel Peritz shows how this ancient yet modern myth of voice attained interpretable form, flesh, and sound. The publisher gratefully acknowledges the generous support of the AMS 75 PAYS Fund of the American Musicological Society, supported in part by the National Endowment for the Humanities and the Andrew W. Mellon Foundation.Table of ContentsContents List of Illustrations and Tables Editorial Principles Introduction 1 • The Poet Sings 2 • The Orfeo Act 3 • Civilizing Song 4 • Domesticating the Tenth Muse 5 • Sublime Suffering and the Good Mother Epilogue Acknowledgments Notes Bibliography Index
£46.75
University of California Press The Folk
Book SynopsisWho are the folk in folk music? This book traces the musical culture of these elusive figures in Britain and the US during a crucial period of industrialization from 1870 to 1930, and beyond to the contemporary alt-right. Drawing on a broad, interdisciplinary range of scholarship, The Folk examines the political dimensions of a recurrent longing for folk culture and how it was called upon for radical and reactionary ends at the apex of empire. It follows an insistent set of disputes surrounding the practice of collecting, ideas of racial belonging, nationality, the poetics of nostalgia, and the pre-history of European fascism. Deeply researched and beautifully written, Ross Cole provides us with a biography of a people who exist only as a symptom of the modern imagination, and the archaeology of a landscape directing flows of global populism to this day.Trade Review"This is not a book about music, song, or performers. It is intellectual history of a rarefied kind. This needs to be understood if we are to appreciate Cole’s work for what it is: a quite brilliant deconstruction of the entire historiography of ‘folk’. His thesis is compelling, deceptively simple, and ultimately irrefutable. Cole’s great leap is to see, in this process, coherence, where others have seen only mess, hypocrisy, and contradiction. . . [He has produced] a convincing and definitive deconstruction of the myth of the folk, its antecedents, intentions, methods, and consequences. If there were such a thing as justice, no one would ever again speak on the subject of ‘folk music’ without having first digested this book." * Music & Letters *"Cole’s argument is something of a wake-up call. If a previous generation of song collectors and musicologists stand implicated in a process that lends itself all too easily to fascism, then contemporary ethnomusicologists would be right to infer some challenge to the ways in which we shape and exercise interpretative frames and critical practices in our own work. . . . This book, then, should fuel an important debate. Cole is a formidable wordsmith, and this very elegantly written volume will be instructive reading for musicians and musicologists who want to better understand the political context and undercurrents of the folk revival, and how its dynamics might play out today." * Ethnomusicology Forum *"Impressively wide-ranging. . . . There really are so many strands and stories to this richly informed investigation. It is the critical tension between the believers and non-believers that makes this particular study of the folk phenomenon so fascinating." * Twentieth-Century Music *Table of ContentsList of Illustrations Preface Introduction Lost Voices 1. Collecting Culture Science, Technology, & Reification 2. A Geography of the Forgotten Vernacular Music & Modernity's Discontents 3. Utopian Community Nostalgia from Marx to Morris 4. Difference and Belonging On the Songs of Black Folk 5. Soul through the Soil Cecil Sharp & the Specter of Fascism Coda Blood Sings: A Soundtrack for the Alt-Right Notes Bibliography Index
£64.00
University of California Press The Folk
Book SynopsisWho are the folk in folk music? This book traces the musical culture of these elusive figures in Britain and the US during a crucial period of industrialization from 1870 to 1930, and beyond to the contemporary alt-right. Drawing on a broad, interdisciplinary range of scholarship, The Folk examines the political dimensions of a recurrent longing for folk culture and how it was called upon for radical and reactionary ends at the apex of empire. It follows an insistent set of disputes surrounding the practice of collecting, ideas of racial belonging, nationality, the poetics of nostalgia, and the pre-history of European fascism. Deeply researched and beautifully written, Ross Cole provides us with a biography of a people who exist only as a symptom of the modern imagination, and the archaeology of a landscape directing flows of global populism to this day.Trade Review"This is not a book about music, song, or performers. It is intellectual history of a rarefied kind. This needs to be understood if we are to appreciate Cole’s work for what it is: a quite brilliant deconstruction of the entire historiography of ‘folk’. His thesis is compelling, deceptively simple, and ultimately irrefutable. Cole’s great leap is to see, in this process, coherence, where others have seen only mess, hypocrisy, and contradiction. . . [He has produced] a convincing and definitive deconstruction of the myth of the folk, its antecedents, intentions, methods, and consequences. If there were such a thing as justice, no one would ever again speak on the subject of ‘folk music’ without having first digested this book." * Music & Letters *"Cole’s argument is something of a wake-up call. If a previous generation of song collectors and musicologists stand implicated in a process that lends itself all too easily to fascism, then contemporary ethnomusicologists would be right to infer some challenge to the ways in which we shape and exercise interpretative frames and critical practices in our own work. . . . This book, then, should fuel an important debate. Cole is a formidable wordsmith, and this very elegantly written volume will be instructive reading for musicians and musicologists who want to better understand the political context and undercurrents of the folk revival, and how its dynamics might play out today." * Ethnomusicology Forum *"Impressively wide-ranging. . . . There really are so many strands and stories to this richly informed investigation. It is the critical tension between the believers and non-believers that makes this particular study of the folk phenomenon so fascinating." * Twentieth-Century Music *Table of ContentsList of Illustrations Preface Introduction Lost Voices 1. Collecting Culture Science, Technology, & Reification 2. A Geography of the Forgotten Vernacular Music & Modernity's Discontents 3. Utopian Community Nostalgia from Marx to Morris 4. Difference and Belonging On the Songs of Black Folk 5. Soul through the Soil Cecil Sharp & the Specter of Fascism Coda Blood Sings: A Soundtrack for the Alt-Right Notes Bibliography Index
£22.50
University of California Press Terrible Freedom
Book SynopsisFrom her childhood in Detroit to her professional career in New York City, American composer Lucia Dlugoszewski (19252000) lived a life of relentless creativity as a poet and writer, composer for dance, theater, and film, and, eventually, choreographer. Forging her own path after briefly studying with John Cage and Edgard Varèse, Dlugoszewski tackled the musical issues of her time. She expanded sonic resources, invented instruments, brought new focus to timbre and texture, collaborated with artists across disciplines, and incorporated spiritual, psychological, and philosophical influences into her work. Remembered today almost solely as the musical director for the Erick Hawkins Dance Company, Dlugoszewski's compositional output, writings on aesthetics, creative relationships, and graphic poetry deserve careful examination on their own terms within the history of American experimental music.Table of ContentsContents List of Illustrations Acknowledgments Margins, Shadows, and Footnotes: An Introduction 1 • Lucille in Detroit (1925–48) 2 • Letters from New York (1949–51) 3 • New York Beginnings: A Broader View (1950–53) 4 • Expanding Creativity and Collaboration (1953–60) 5 • The Disparate Element (1960–70) 6 • Aesthetic Immediacy (1970–80) 7 • Rage (1980–87) 8 • Losses (1988–2000) Out from the Shadows: A Conclusion Appendix 1: Selected Works List Appendix 2: Lucia Dlugoszewski–Erick Hawkins Collaborations Appendix 3: Discography Notes Sources and Bibliography Index
£32.30
