Music reviews and criticism Books

Book SynopsisCome to My Garden (1970) introduced the world to Minnie Riperton, the solo artist. Minnie captivated listeners with her earth-shattering voice's uncanny ability to evoke melancholy and exultance. Born out of Charles Stepney's masterful composition and Richard Rudolph's attentive songwriting, the album fused a plethora of music genres. A blip in the universe of fusion music that would come to dominate the 1970s, Come to My Garden also featured the work of young bandleaders like Ramsey Lewis and Maurice White, thus bridging the divide between jazz and R&B. Despite fairly positive reviews of the album, even in its many re-releases, it never garnered critical attention. Minnie Riperton's Come to My Garden by Brittnay L. Proctor uses rare archival ephemera, the multiple re-issues of the album, interviews, cultural history, and personal narrative to outline how the revolutionary album came to be and its lasting impact on popular music of the post-soul era (the late 20thTable of ContentsTrack Listing Album Personnel and Credits Acknowledgments Author’s Note Introduction 1. Andrea Davis Meets Minnie Riperton 2. Charles Stepney’s Popular Symphonies 3. Fusion Music, Black Musical Idiom, and the Law of Genre 4. On Black Women’s Gardens 5. Contemporary Resonances 6. Conversation with Richard Rudolph Epilogue

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Book SynopsisLearn about the world’s greatest classical compositions and musical traditions in The Classical Music Book.Part of the fascinating Big Ideas series, this book tackles tricky topics and themes in a simple and easy to follow format. Learn about Classic Music in this overview guide to the subject, great for novices looking to find out more and experts wishing to refresh their knowledge alike! The Classical Music Book brings a fresh and vibrant take on the topic through eye-catching graphics and diagrams to immerse yourself in. This captivating book will broaden your understanding of Classical Music, with:- More than 90 pieces of world-famous music - Packed with facts, charts, timelines and graphs to help explain core concepts- A visual approach to big subjects with striking illustrations and graphics throughout- Easy to follow text makes topics accessible for people at any level of understandingThe Class

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Book SynopsisThe release of the song ‘Hound Dog’ in 1953 marked a turning point in American popular culture, and throughout its history, the hit ballad bridged divides of race, gender, and generational conflict. Ben Wynne’s A Hound Dog Tale discusses the stars who made this rock ‘n’ roll standard famous.Trade ReviewThis well-written book offers a glimpse into the tangled world of early rock 'n' roll and those who were part of the perfect storm that produced the song 'Hound Dog.' Ben Wynne addresses the complicated matter of cultural appropriation by white artists using African American musical forms, and he shows how the young Jewish songwriters who penned the lyrics add an intriguing factor that is typical of a hybrid American culture. A Hound Dog Tale is for fans of the music but also for anyone interested in American society at a galvanizing musical moment." - Charles Reagan Wilson, author of Judgment and Grace in Dixie: Southern Faiths from Faulkner to Elvis"[This book is] very well-researched. Wynne tells us the saga of 'Hound Dog' and, in doing so, contributes to the fact that Big Mama Thornton's role in this story deservedly shines again in the public eye." - Michael Spörke, author of Big Mama Thornton: The Life and Music

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Book SynopsisESG were one of the first bands to sign to British indie label Factory Records, working with famed producer Martin Hannett on their early EPs. The band''s signature guitar sound from iconic single UFO' has been sampled in hundreds of hip hop records, and everyone from Karen O to Kathleen Hanna lists the South Bronx group as a direct influence. So why do the Scroggins sisters appear as nothing more than a footnote in the 1980s music scene? Through interviews with founding member Renee Scroggins, alongside cult-figures from 1980s New York and North England, this book follows the story of a group of sisters who made it out of the New York projects and into the heart of the dancefloor. Come Away With ESG repositions ESG in their rightful place as punk pioneers and explains howtheir primal beats have paved the way for modern dance music today.Trade ReviewThe book gives ESG their rightful place as "funk punk pioneers" and describes how their original beats paved the way for the modern dance music of today. * Ox-Fanzine: Magazine for Rock'n'Roll (translated) *A superb addition to the series. . . . Percy skilfully guides the reader through the ESG story which is, unsurprisingly, often exasperating. . . . This is also a story of survival, a belief in a sound and ultimately a celebration of an album that ‘will sound out for years to come–omnipresent, unstoppable, and finally making sense to those that hear it.’ . . . A cautionary, compulsive tale, brilliantly told. * The Crack *Table of ContentsIntroduction 1. The South Bronx Story 2. From Downtown Manhattan to Up North Manchester: Come Away with ESG 3. Sample Credits Don’t Pay Our Bills 4. Keep On Moving 5. 40 Years of Dancing: ESG’s Decade-Spanning Legacy Notes

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

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

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Book SynopsisWomen and Music in the Age of Austen highlights the central role women played in musical performance, composition, reception, and representation, and analyzes its formative and lasting effect on Georgian culture. This interdisciplinary collection of essays from musicology, literary studies, and gender studies challenges the conventional historical categories that marginalize women’s experience from Austen’s time. Contesting the distinctions between professional and amateur musicians, public and domestic sites of musical production, and performers and composers of music, the contributors reveal how women’s widespread involvement in the Georgian musical scene allowed for self-expression, artistic influence, and access to communities that transcended the boundaries of gender, class, and nationality. This volume’s breadth of focus advances our understanding of a period that witnessed a musical flourishing, much of it animated by female hands and voices. Published by Bucknell University Press. Distributed worldwide by Rutgers University Press. Trade Review“Women and Music in the Age of Austen offers an expansive, lively, colourful view of the gendered musical practices of the eighteenth century and the Romantic period. These essays enrich our knowledge of the musical world of Jane Austen and Frances Burney while shining a spotlight on little-known female performers, critics, composers, consumers, collectors, fans, and musical entrepreneurs of the preceding decades.” -- Angela Esterhammer * author of Print and Performance in the 1820s: Improvisation, Speculation, Identity *“Finding inspiration in a broad range of sources, the volume reflects on women and their musical activities in Georgian England. A focus on Jane Austen and her novels moves in and out of the picture, amplified and receding against historical figures known and unknown. Through these essays by musically-informed literary scholars and musicologists, readers get a sense of the possibilities and desires of women engaged with music over a historical period that brackets the life of our beloved Jane.” -- Maribeth Clark * coeditor of Musicology and Dance: Historical and Critical Perspectives *“Music was important to Jane Austen, as her novels and letters attest, and women played a hitherto undervalued part in the musical world of her time. This sparkling and substantial collection of interdisciplinary essays illuminates Austen’s fiction and her age in many original and surprising ways.” -- Peter Sabor * coeditor of Jane Austen's Manuscript Works *Table of ContentsIllustrations Table Acknowledgements Abbreviations Introduction: “It was all in harmony”: Musical Women in Austen’s Culture Linda Zionkowski with Miriam F. Hart Part I: Representing the Female Performer Chapter 1: A Musical Room of Her Own: Musical Spaces in Jane Austen’s Novels Pierre Dubois Chapter 2: “Prima la musica”: Gentry Daughters at Play in Town, Country, and Continent, 1815-1825 Kelly M. McDonald Chapter 3: Stage Fright: Female Musicians Crossing Musical Borders in Thicknesse’s The School for Fashion and Burney’s The Wanderer Danielle Grover Part II: Women and the Market in Music Chapter 4: Women on the Title Page: Celebrity Endorsement of Musical Scores Penelope Cave Chapter 5: The Lady’s Choice: Women and the Purchase of Music through Subscription Simon D. I. Fleming Chapter 6: Female Musical Entrepreneurship in the Eighteenth Century Alison C. DeSimone Part III: Women as Critics and Fans Chapter 7: Women as Quiet Critics Jane Girdham Chapter 8: Femininity and Foreignness in George Colman’s Farce, The Musical Lady Leslie Ritchie Chapter 9: Georgian Fangirls: Women and Castrati in Eighteenth-Century London Jeffrey A. Nigro Part IV: Women and the Bardic Tradition Chapter 10: Anna Gordon and the Ballad Collectors Ruth Perry Chapter 11: Antiquaries, Female Harpists, and the Survival of the Bardic Tradition Devon R. Nelson Part V: Revisiting the Age of Austen Chapter 12: “That Ecstatic Delight”: Gender and Performance in Adaptations of Sense and Sensibility Gayle Magee Chapter 13: “Here’s harmony!”: Music and Gender in Kirke Mechem’s Pride & Prejudice (2019) and Jonathan Dove’s Mansfield Park (2011) Juliette Wells Bibliography Notes on Contributors Index

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Book SynopsisTrade Review[Audio Culture, Revised Edition] is often so stimulating that you're swept along and back into the music itself - and for those with a hunch that a whole world of sound exists beyond the concert hall, here's your entry point. * The Wire *[Audio Culture] is an indispensable primer full of the theories behind noise, Free-jazz, minimalism, 20th century composition, ambient, avant-garde and all the other crazy shit your square-ass friends can't believe you actually like. With writing and interviews from all the players in question (quoting Stockhausen is five points in hipster bingo), this book deconstructs all the essential ideas: Cage's themes, Eno's strategies, Zorn's games and Merzbow's undying love of porno. * CMJ New Music Monthly (of the first edition) *Audio Culture is the best introduction to the long historical fades and theoretical jumpcuts of what millions in the 21st C. now listen to as music: overwhelming noise and disturbed silences, unfettered Improv and indeterminate obstacles, the performance of recording, electricity, eclectics, mistakes and just the thought of music. * Douglas Kahn, author of Noise, Water, Meat: A History of Sound in the Arts, and Director of Technocultural Studies at the University of California, Davis (of the first edition) *The contributors include composers from the worlds of avant-garde classical music, pop, and jazz--e.g. John Cage, Karlheinz Stockhausen, and Pauline Oliveros--as well as cultural historians like Marshall McLuhan and Jacques Barzun and literary experimentalists such as William Burroughs....Students of contemporary music will find this compendium useful. * Library Journal (of the first edition) *Audio Culture is a book to provoke thought ... This is an excellent selection of texts. * Radical Philosophy (of the first edition) *It's a hideous fate to wish on an anthology as fine as Audio Culture, but if anyone's planning a college course on modern music, they couldn't find a better set text ... All in all, a wonderful book ... The glossary, bibliography and discography are exemplary, guaranteeing Audio Culture is going to be used rather than merely dipped or cribbed. Though you can bet that'll be happening to it as well. * The Wire (of the first edition) *Audio Culture's assemblage of key writings, texts, and manifestos spanning over a century tells that story better than just about anything else in print, while discovering new tributaries in the process. * Frieze (of the first edition) *This is a book that should be read in its totality - it's truly absorbing stuff. * Jazzwise (of the first edition) *Ever wondered how modern music in all its mesmerizing diversity really works? If so, then this is the book for you ... An endlessly fascinating read, a major reference resource, and great value for the money. * Classic FM Magazine (of the first edition) *Eminently readable ... Experimental music enthusiasts and the pipe-and-elbow patch crowd should find plenty in here to peak their interest ... Audio Culture doesn't limit itself to traditional ways of looking at music, just as it doesn't limit its rogue's gallery of contributors ... Topics such as minimalist compositions and noise-based music are finally given some long-overdue critical attention. * Creative Loafing (of the first edition) *Audio Culture: Readings in Modern Music is a cannily collected anthology of seminal music writing, your one-stop shopping destination for ear-opening essays on the nature and recent history of music. The obligatory pioneers and almost-pop icons are all there ... Audio Culture coeditors Christoph Cox and Daniel Warner range boldly and widely, embracing noise, soundscape listening, minimalism, glitch, plunderphonics, and collective music making ... Audio Culture passes the test of a good music book: It's easy to read, insightful, and inspiring. * The Stranger (of the first edition) *Growing steadily alongside a music-writing canon loaded with the likes of Greil Marcus and Lester Bangs, the body of work sampled in Audio Culture wanders far afield from rock and ponders questions that are less than concerned with ideals of human expression. In this sphere of influence, John Cage is Elvis Presley, Brian Eno's cerebral musings trump Lou Reed's tangy antagonism, sonics mean more than lyrics, and movements have yet to be surveyed entirely through a year view ... The best book of its kind, Audio Culture compiles essays and excerpts from artists, critics, and academics given to staring down music with no eyes to return the gaze ... From there, Audio Culture spreads to survey various facets of music and its production, and interpretation. The table of contents reads like a greatest-hits collection: Cage, Eno, Ornette Coleman, Steve Reich, David Toop, Kodwo Eshun, Simon Reynolds ... Audio Culture dangles intellectual threads fit to tie lifers and open-eared wonderers alike. * The Onion (of the first edition) *To be honest, no one looking at the collection of 57 well-chosen essays written by some of the biggest names in music and reprinted from books and publications well-noted for their contribution to music theory will be able to resist reading and buying the book. In fact, there is just so much that makes this book valuable that it is difficult to name them all. Both the content and the structure of Audio Culture add to its strength ... The end result is a complete and cohesive treatment of modern music. Anyone who has edited a collection knows that such an outcome is not an easy one to attain, but it is certainly achieved here ... With growing interest in sound on web-based environments and the ease with which to produce it, Cox and Warner's Audio Culture stands as a must-read for both aspiring artists and music theorists alike. * Leonardo (of the first edition) *Writings on the new music are frequently hidden away in hard-to-find, ephemeral publications, so a collection like this is welcome just by the fact that it brings all these items together ... A collection like this encourages us to realize how really vibrant and successful new music has been and continues to be - both because of and in spite of its ‘marginality' - and how fortunate we are to live in a time of its ascendancy. Cox and Warner have included well-organized discographies and bibliographies, and provide brief introductions to the individual entries, giving some background to each author's work and ideas. Audio Culture will certainly be a useful teaching tool in the field of cultural studies, aesthetics and musicology; and fans and devotees of new music will find a lot here to mull over as well. * Signal to Noise (of the first edition) *In Audio Culture, editors Christoph Cox and Daniel Warner bring to readers an educated, timely and much needed critical perspective of our contemporary musical experience through the writings of some of the most important musical thinkers, including Jacques Attali, John Cage, Umberto Eco, Brian Eno, Karlheinz Stockhausen, Edgar Varese, just to name a few. Audio Culture offers a collection of essays that filter a range of experimental musical practices in an unusually refreshing way. Maybe not since Gregory Whitehead's reader Wireless Imagination (1994) which recorded the ‘silent' history of audio, has literature on this subject sufficiently captured the attention of both the sound enthusiasts and academics at the same time ... The result is an elegant anthology that compiles the manifestos of ‘old masters' such as Italian Futurist Luigi Russolo and statements by Edgard Varese and John Cage while also spotlighting an interview on integration of technology into artistic production by Christian Marclay... It is to the credit of the book that it keeps up with the most interesting key texts and ideas in the field and does not make a huge demand on our Windows-culture-inflicted patience. The book is ambitious enough to cater to a broader audience and manages to respond to the numerous demands made upon it....makes the writings very accessible to readers who are not familiar with the author or topic under discussion. Texts and ideas come from a variety of sources ... Audio Culture succinctly captures the last fifty years that has been the most fascinating times for avant-garde experimentation, performances and sonic landscapes, By treating the existing rhizomic dots and lines between myriads of practices in a progressive fashion, it gives the last decade ... its attention and maybe its future vocabulary. * Rhizome.org (of the first edition) *...offers a collection of essays that filter a range of experimental musical practices in an unusually refreshing way....an intriguing selection of articles from a range of significant radio-sonic heroes as well as important thinkers and philosophers...an elegant anthology...ambitious... Audio Culture guides the readers an intellectual journey from the year 1877 when the first recording fundamentally transformed sound, towards almost better understanding our present culture of omnipresent ipod-users, polyphonic cell-phone ringers and Bjork's Medula, helping both the experts and enthusiasts to new ways of thinking, tracing, developing and presenting audio culture. * rhizome.org (Weekly Digest), 2/05 *Cox's and Warner's book is a wonderfully accessible anthology of essential readings for anyone-academics and enthusiasts alike-interested in the histories of experimental music and sound art. * Debra Singer, Executive Director, The Kitchen (of the first edition) *Cox and Warner's book is warmly recommended. It's highly unlikely that readers will have original copies of all the books and articles featured therein, so the simple fact that the editors have gone to the trouble of bringing them together in one volume is to be praised to the skies....Audio Culture is well worth the price of admission for the writings of Russolo, Cowell, Cage, Schafer, McLuhan, Reynolds, Eno and Cutler, to name but a few. * Paristransatlantic.com January 2005 - Blurb from reviewer *This updated collection remains the essential Baedeker for a woolly cultural landscape in which sound has proven itself to be so much more than just “music”. The historic range, aesthetic breadth, and diversity of contributors give the volume singular value in the growing field of sound studies. * Nicolas Collins, Professor, Department of Sound, The School of the Art Institute of Chicago, USA *Audio Culture is an indispensable resource not only in understanding the contexts and underpinnings of so much music - be it contemporary classical, jazz and improv, electronic music, hip hop and beyond, but also in showing how ideas around music and sound are part of a much wider cultural conversation. The book is brilliantly researched, well structured and includes fascinating reads and insights. * Anne Hilde Neset, Writer, Broadcaster and Director, Kunstnernes Hus, Norway *Table of ContentsAcknowledgments Introduction Part One: Theories I. Music and Its Others: Noise, Sound, Silence Introduction 1. Jacques Attali, “Noise and Politics” 2. Luigi Russolo, “The Art of Noises: Futurist Manifesto” 3. Edgard Varèse, “The Liberation of Sound” 4. Henry Cowell, “The Joys of Noise” 5. John Cage, “The Future of Music: Credo” 6. R. Murray Schafer, “The Music of the Environment” 7. Anne Carson, “The Gender of Sound” 8. Drew Daniel, “Queer Sound” 9. Kevin Quashie, “The Quiet of Blackness: Miles Davis and John Coltrane” II. Modes of Listening Introduction 10. Marshall McLuhan, “Visual and Acoustic Space” 11. Pierre Schaeffer, “Acousmatics” 12. Francisco Lopez, “Profound Listening and Environmental Sound Matter” 13. Brian Eno, “Ambient Music” 14. Pauline Oliveros, “Auralizing the Sonosphere” 15. Maryanne Amacher, “Perceptual Geography: Third Ear Music and Structure Borne Sound” 16. Evelyn Glennie, “Hearing Essay” 17. Iain Chambers, “The Aural Walk” 18. Annahid Kassabian, “Ubiquitous Listening” 19. Lawrence Abu Hamdan, “Forensic Listening” 20. Ultra-red, “Organizing the Silence” III. Music in the Age of Electronic Reproduction Introduction 21. Glenn Gould, “The Prospects of Recording” 22. Brian Eno, “The Studio as Compositional Tool” 23. John Oswald, “Bettered by the Borrower: The Ethics of Musical Debt” 24. Chris Cutler, “Plunderphonia” 25. Kodwo Eshun, “Operating System for the Redesign of Sonic Reality” 26. Kenneth Goldsmith, “Six File-Sharing Epiphanies” 27. Tara Rodgers, “Cultivating Activist Lives in Sound” Part Two: Practices IV. The Open Work Introduction 28. Umberto Eco, “Poetics of the Open Work” 29. John Cage, “Composition as Process: Indeterminacy” 30. Christoph Cox, “Every Sound You Can Imagine: On Graphic Scores” 31. Earle Brown, “Transformations and Developments of a Radical Aesthetic” 32. John Zorn, “The Game Pieces” 33. Anthony Braxton, “Introduction to Catalog of Works” 34. Lawrence “Butch” Morris, “Notes on Conduction” V. Experimental Musics Introduction 35. Michael Nyman, “Towards (a Definition of) Experimental Music” 36. John Cage, “Introduction to Themes & Variations” 37. Brian Eno, “Generating and Organizing Variety in the Arts” 38. Cornelius Cardew, Scratch Music Draft Constitution 39. David Toop, “The Generation Game: Experimental Music and Digital Culture” 40. Jennifer Walshe on “The New Discipline” 41. Yan Jun, “Re-Invent: Experimental Music in China” VI. Improvised Musics Introduction 42. Ornette Coleman, “Change of the Century” 43. Wadada Leo Smith, “Notes (8 Pieces): Creative Music” 44. Derek Bailey, “Free Improvisation” 45. Frederic Rzewski, “Little Bangs: A Nihilist Theory of Improvisation” 46. George E. Lewis, “Improvised Music After 1950: Afrological and Eurological Perspectives” 47. Vijay Iyer, “Improvisation: Terms and Conditions” 48. Mattin, “Going Fragile” 49. Trio Sowari et al., “27 Questions For a Start … And Some Answers to Begin With” VII. Minimalisms Introduction 50. Kyle Gann, “Thankless Attempts at a Definition of Minimalism” 51. Wim Mertens, “Basic Concepts of Minimal Music” 52. Steve Reich, “Music as a Gradual Process” 53. La Monte Young and Marian Zazeela, “Conversation with Richard Kostelanetz” 54. Tony Conrad, “LYssophobia: On Four Violins” 55. Susan McClary, “Rap, Minimalism and Structures of Time in Late Twentieth-Century Culture” 56. Philip Sherburne, “Draw a Straight Line and Follow It: Minimalism in Contemporary Electronic Dance Music” VIII. DJ Culture Introduction 57. László Moholy-Nagy, “Production–Reproduction: Potentialities of the Phonograph” 58. Situationist International, “Détournement as Negation and Prelude” 59. William S. Burroughs, “The Invisible Generation” 60. Paul D. Miller, “Algorithms: Erasures and the Art of Memory” 61. David Toop, “Replicant: On Dub” 62. Simon Reynolds, “Post-Rock” 63. Marina Rosenfeld, “A Few Notes on Production and Playback” IX. Electronic Music and Electronica Introduction 64. Jacques Barzun, “Introductory Remarks to a Program of Works Produced at the Columbia-Princeton Electronic Music Center” 65. Karlheinz Stockhausen, “Electronic and Instrumental Music” 66. Karlheinz Stockhausen et al., “Stockhausen vs. the Technocrats” 67. Eliane Radigue, “The Mysterious Power of the Infinitesimal” 68. Kim Cascone, “The Aesthetics of Failure: ‘Post-Digital’ Tendencies in Contemporary Computer Music” 69. Holly Herndon, “Laptop Intimacy and Platform Politics” Bibliography Chronology Discography Glossary Index of Quotations Index

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Book SynopsisIt is a common article of faith that Mozart composed the most beautiful music we can know. But few of us ask why. Why does the beautiful in Mozart stand apart, as though untouched by human hands? At the same time, why does it inspire intimacy rather than distant admiration, love rather than awe? And how does Mozart's music create and sustain its buTrade ReviewWinner of the 2014 Otto Kinkeldey Award, American Musicological Society One of Choice's Outstanding Academic Titles for 2013 "Here is analysis and commentary written with considerable enthusiasm and affection... Mozart's Grace is written with great fervour and yes, grace, together with a deep love of Mozart's music."--Classical Music Magazine "The premise: identify some of the best bits in Mozart's works, then discover why they succeed so well. The idea is so starkly simple that one could expect a puerile result. However, Burnham, an eminent teacher, writer, and Mozartean, produces something rather wonderful... [Mozart's Grace] is a book that does justice to its subject matter."--Choice "This book has only deepened my admiration for its author."--Leo Black, Musical Times "Mozart's Grace is written with great fervor and yes, grace, together with a deep love of Mozart's music. In these tough economic times one is heartened to see the publication of such a book."--John Robert Brown, Classical Music "Burnham offers a stirring, erudite, and deeply poetic treatment of around fifty select passages as a culmination of some three decades of thought and discussion... Through delightfully written prose bursting with musical metaphors that extend to all five senses, Scott Burnham argues persuasively for why we relentlessly submit ourselves to Mozart."--Steven D. Mathews, Notes "[Burnham's] writing, sentence by sentence, is clear as air yet shimmers with revelatory understanding of the effects that Mozart's music makes on the listener, illustrating and supporting his discoveries with penetrating and meticulous explication of details in the musical examples. In doing so he offers some of the most sensitive, nuanced, perceptive, and eloquent commentary about music (of any kind) I've read."--American Record Guide "Rarely does love pour from musicological writing as generously as it does from Scott Burnham's ingenious, congenial paean. At 169 pages of text including generous musical examples throughout, Mozart's Grace teaches us a great deal about Mozart, concision, and well-turned prose."--David Schneider, Music and LettersTable of ContentsAcknowledgments ix Invitation 1 I Beauty and Grace 7 II Thresholds 37 III Grace and Renewal 117 Knowing Innocence 165 Notes 171 Bibliography 183 Index 187

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Book SynopsisHere for the first time is a stirring collection of rare songs of the Holocaust; songs of resistance, despair, rage, hope and even humour, written in the face of utter evil. The very existence of these songs raises haunting questions. The historical notes and insightful survivor testimony in this groundbreaking volume provide moving answers.

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Book SynopsisCharting the history of the Royal Musical Association over 150 years: from scientific roots and the long resistance of British universities to music study, to bringing UK musicology to worldwide recognition.

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Book SynopsisEmanuele Senici’s new book provides a fresh look at the motives behind the Rossinian furore and its aftermath by placing his works into the culture and society in which they were conceived, performed, seen, heard, and discussed.

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Book SynopsisHow sampling remade hip-hop over forty years, from pioneering superstar Grandmaster Flash through crate-digging preservationist and innovator Madlib Sampling—incorporating found sound and manipulating it into another form entirely—has done more than any musical movement in the twentieth century to maintain a continuum of popular music as a living document and, in the process, has become one of the most successful (and commercial) strains of postmodern art. Bring That Beat Back traces the development of this transformative pop-cultural practice from its origins in the turntable-manning, record-spinning hip-hop DJs of 1970s New York through forty years of musical innovation and reinvention.Nate Patrin tells the story of how sampling built hip-hop through the lens of four pivotal artists: Grandmaster Flash as the popular face of the music’s DJ-born beginnings; Prince Paul as an early champion of sampling’s potential to elaborate on and rewrite music history; Dr. Dre as the superstar who personified the rise of a stylistically distinct regional sound while blurring the lines between sampling and composition; and Madlib as the underground experimentalist and record-collector antiquarian who constantly broke the rules of what the mainstream expected from hip-hop. From these four artists’ histories, and the stories of the people who collaborated, competed, and evolved with them, Patrin crafts a deeply informed, eminently readable account of a facet of pop music as complex as it is commonly underestimated: the aesthetic and reconstructive power of one of the most revelatory forms of popular culture to emerge from postwar twentieth-century America. And you can nod your head to it.Trade Review"The rise of digital sampling is one of the most important musical development of the late twentieth century. Nate Patrin’s Bring That Beat Back is a rollicking, wide-ranging, and immensely readable history of sample-based music-making: its origins, its golden ages, and its enormous role in shaping modern popular music. This book is a must-read for hip-hop obsessives and casual listeners alike."—Jack Hamilton, author of Just around Midnight: Rock and Roll and the Racial Imagination"Much like the art of sampling itself, Nate Patrin deftly weaves pieces of history and criticism together to create a compelling new message. Bring That Beat Back is a masterful, scholarly analysis that illustrates just how essential sampling has been to the development of hip-hop and lifts up the oft-overlooked DJs and producers who paved the way for our genrefluid future."—Andrea Swensson, author of Got to Be Something Here: The Rise of the Minneapolis Sound"The painstaking attention to detail and droves of obscure yet essential information will make this book hard for the beat obsessive and music history buff to put down. The wealth of information won't deter the casual music fan, though—Bring That Beat Back is a fascinating read for anyone with a remote interest in hip-hop, breakbeat culture, the tug-of-war between instrumentalists and technology, or how the politics of the music business affects all three. A true breakbeat bonanza extravaganza!"—J-Zone, drummer, funk enthusiast, producer, author"If sampling is the most successful form of alchemy ever realized, Nate Patrin's meticulous prose and crate-digging research mirror the dazzling ingenuity of hip-hop's best producers. Breaks and loops are artfully recontextualized into a head-nodding slipstream of history, chronicled in a way to make classic rhythms seem fresh again. A necessary read for anyone who seeks to better understand the last half-century of future sound."—Jeff Weiss, founder and editor of POW (Passion of the Weiss)"Patrin conveys the drama of successive generations of musicians all questing for new ways to tap into the thing that makes hip-hop’s language unique—moments sourced from music’s past that somehow point the way forward, expressing both nostalgia and renewal in equal measure."—Library Journal"Could there a better argument for the artistry of sampling, its potential for beauty?"—The Arts Fuse"A must-read for any hip hop fan—Patrin clearly understands the artform of sampling and hip hop production, and he does a great job of not just discussing these different artists and eras in the four sections, but also showing how the sections overlap and inform each other and push the culture forward."—Scratched Vinyl"Patrin's book is packed with leaps, connections, and knowledge transfusions almost as dense as a Madvillain beat... though it proceeds in a somewhat more orderly manner. It functions on multiple levels: it's a history of hip-hop, it's an argument for that genre as a wholly distinctive art form with sampling technology at its root, and it's a map from hip-hop out to a wildly diverse set of artists connected to the genre by way of samples."—The Current"Patrin has an encyclopedic knowledge of his subject, packing each chapter with manic attention to detail."—4Columns"A truly postmodern endeavor that creates conversations between music originating in many eras and genres."—Shepherd Express"This musicological study is never dry, always enthusiastic and appreciative, and groundbreaking in its analysis of the art of sampling as just that: art. Featuring plenty of entertaining cultural history, this is a significant contribution to hip-hop studies."—Rolling Stone "Patrin’s work is thoroughly engaging from first needle drop to last. "—Kirkus ReviewsTable of ContentsContentsIntroduction: The Art of the LoopPart I. The Grandmaster1. Wheels of Steel: How Djs Became Artists2. Change the Beat: Hip-Hop’s First Crossover3. Funky Drummer: Sampling Reaches the PeoplePart II. The Prince4. Synthetic Substitution: A New Medium Finds Its Canon5. Talkin’ All That Jazz: The Legitimization of an Art Form6. Constant Elevation: Hip-Hop’s Rising UndergroundPart III. The Doctor7. Funky Enough: How the West was Made8. G Thang: The Producer as Superstar9. Aftermath: Auteurism in a Post-Gangsta WorldPart IV. The Beat Konducta10. The Loop Digga: Sampling Preserves History (and Itself)11. The Illest Villains: High Concepts and New Voices12. Survival Test: Hip-Hop as a CommunityEpilogue: Breaks and EchoesAcknowledgmentsNotesBibliographySelected DiscographyIndex

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Book Synopsis A fascinating journey into global politics that made classical music a proxy for power, inadvertently creating the “sound of Hollywood,” and excluding hundreds of composersTrade Review“The great virtue of John Mauceri’s The War on Music is that it acknowledges what many writers on the subject know but can’t say: that something went badly wrong in music in the 20th century, and especially after 1945. . . . Fluently written and often cogent.”—Barton Swaim, Wall Street Journal“Two world wars changed the course of music in the 20th century. Charting the malign influence of politics, from Hitler to Stalin, Mauceri shows how music became part of the weaponry of identity. Refugee composers lost their place in the mainstream and Mauceri argues for a re-evaluation of those forgotten and discarded.”—Richard Fairman, Financial Times, “Best summer books of 2022: Classical music”“Conductor John Mauceri has released a study of the forgetting of so much classical music, especially music composed in America by refugees from Nazi-dominated Europe. A leitmotif of his work is how often not only music students but professors or professional musicians don’t even know the names (let alone the scores) of the composers who had been household names in Central Europe.”—Mark Almond, The Critic“This is an illuminating, provocative and entertaining read, from an author with impeccable credentials.”—Mike Tilling, Yorkshire Times“A well-founded, cogent, and forceful argument for a fresh look at all of the century’s great music, much of it written under extraordinary circumstances, and why we need to go back and listen.”—Jon Burlingame, author of The Music of James Bond“A profound thinker and observer and an eminent American musician, John Mauceri brilliantly explores the contested terrain of twentieth-century classical music and adds a whole new dimension to our understanding of musical politics and musical repertory.”— Larry Wolff, author of The Singing Turk“En garde! In his provocative new book The War on Music: Reclaiming the Twentieth Century—one that is certain to initiate heated and impassioned discussion—the prodigiously talented and multifaceted conductor and writer John Mauceri throws down a musical gauntlet as he endeavors to upend and re-examine some of the reigning assumptions of the history of post-war twentieth-century classical music. No matter how one responds to the thrust of John Mauceri’s sweeping musical worldview, one must salute him for his fervent, dauntless, and audacious engagement.”—Jonathan Cott, author of Dinner With Lenny: The Last Long Interview With Leonard Bernstein“Mauceri’s brilliant The War on Music begins with the question, ‘Why do we not play the music Hitler banned?’ and then pulls back the curtain to answer it, in chilling detail.”— Robert Thompson, president, G. Schirmer

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Book SynopsisAs the 1970s ended, Waits felt trapped by his persona and career. But at his low point: Francis Ford Coppola asked Tom to write the score for "One From the Heart". He cleaned up, and met Kathleen Brennan. This work tells the story of a man creating that elusive American second act, and also about finding the prefect collaborator in his wife.Trade ReviewAnother bodice-ripper in the 33 1/3 series. -- Cory Frye * Under the Radar Magazine *Smay acts as a side-mouth talking tour guide leading us through the darkness, giving us flashlights so we can illuminate the parts to love the whole we never quite see. -- Matthew Fiander * Popmatters.com *Intelligent discussion of Tom Waits is a rare bird, and this volume is welcome addition. * The Big Takeover *

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Book SynopsisTrade ReviewThis is a paean to a lost age of wild rock'n'roll and decadent rock'n'roll journalism -- Louis Wise * Sunday Times - Music Book of the Year 2017 *Allan Jones’s wildly entertaining account of observing the excesses and eccentricities of rock stars at close quarters throughout the boom years of the 1970s and 80s, and barely hanging on to his health and sanity in the process. -- Richard Wise * The Guardian *Allan Jones' collection of stories lovingly evoke the hell and hedonism of music journalism at the peak of rock'n'roll's excess -- Dylan Jones * GQ Magazine *These inglorious glory days are long gone, but with this book, Jones throws them one hell of a wake. -- Victoria Segal * The Sunday Times *Mercifully he had a sense of humour, and lived to tell the tale, one of outrageous egos, unbound hedonism and an era lost to history. * Choice Magazine *Melody Maker editor Allan Jones has a wealth of often hilarious anecdotes to tell of his backstage encounters with many of the top rock stars of the Seventies and Eighties. * Choice Magazine *The full madness and lunacy from a time that is long gone is laid out here in all its bare-arsed glory. It is a deliciously good read. * Electronic Sound *It is a seriously entertaining book and one that lovingly evokes a period ... when working for one of the big music papers was a real badge of honour ... it is a tremendous giggle and I urge you to read it. * British GQ *hilarious. I was laughing out loud as I turned the pages * just backdated *a music journalist’s riotously entertaining tales from the heyday of rock. * The Sunday Times *His hilarious new book Can't Stand Up For Falling Down recounts his career and life around the music industry, mixing with some of the most famous faces on the planet and launching the careers of some of the most celebrated artists in the music world. * The MALESTRÖM *As well as being a celebration of excess, this is also, of course, an exercise in nostalgia * Times Literary Supplement *Table of ContentsIntroduction Leonard Cohen: London, June 1974 Tony Iommi: Iommi Mansions, Warwickshire, July 1974 Van Morrison: Knebworth, July 1974 Ray Davies: London, September 1974 Roxy Music: Cardiff, September 1974 KC and The Sunshine Band: London, October 1974 Lemmy: London, January 1975 John Martyn: Leeds, February 1975 Dave Brock: Devon, February 1975 Joe Strummer: London, February 1975 Wayne Nutt: Aberdeen, March 1975 Mick Ronson: Newcastle, April 1975 Alex Harvey: Glasgow, September 1975 Gordon Lightfoot: London, October 1975 Be-Bop Deluxe: Shrewsbury, January 1976 Patti Smith: London, May 1976 Phil Lynott’s Mum: Manchester, August 1976 Bryan Ferry: London, January 1977 The Byrds: London, April 1977 Angie Bowie: Somerset, April 1977 Lou Reed: London | Stockholm, April 1977 Olivia Newton-John: Lake Tahoe, Nevada, April 1977 The Sex Pistols: London, May 1977 Elvis Costello: London, June 1977 The Sex Pistols: London, June 1977 Stiff Records: London, July 1977 The Mont De Marsan Punk Festival: Southern France, August 1977 David Bowie: London, September 1977 Dr Feelgood: Leicester, September 1977 Nick Lowe: Glasgow, October 1977 Gregg Allman and Cher: London, November 1977 Nick Lowe: Finland, February 1978 Tony Iommi: Glasgow, March 1978 Elvis Costello: Belfast, March 1978 Lou Reed: Philadelphia | New York, May 1978 Kenny Everett: London, July 1978 John Peel: London, August 1978 The Legendary Ariola Juncket: New York |Los Angeles | Portland, August 1978 Al Stewart: Los Angeles, September 1978 The Clash: London, November 1978 XTC: New York, December 1978 The Boomtown Rats: Los Angeles | Atlanta | Dallas, January 1979 The Clash: Cleveland | Washington DC, January 1979 Mike Oldfield: Berlin, April 1979 Lou Reed and David Bowie: London, April 1979 Robert Fripp: Bournemouth, April 1979 The Pretenders: Chester | Blackburn, July 1979 The Searchers: Rhydyfelen, South Wales, November 1979 Jerry Dammers: Hemel Hempstead, December 1979 London Calling: Melody Maker HQ, December 1979 Squeeze: Australia, February 1980 Def Leppard: Glasgow, February 1980 The Police: Bombay, March 1980 The Police: Cairo, March 1980 The Police: Milan, April 1980 Elvis Costello | The Specials | Rockpile: Montreux, July 1980 Monsters of Rock Festival: Castle Donnington, August 1980 Ozzy Osbourne: Texas, March 1982 Morrissey: Reading, February 1984 Johnny Marr: Reading, February 1984 R.E.M.: Athens, GA, June 1985 Van Morrison: London, June 1986 Eddie Grant: Barbados, October 1986 Townes Van Zandt: London, October 1987 Lou Reed: London, February 1989 Neil Young: London, October 1989 R.E.M.: Athens, Georgia, December 1991 Warren Zevon: London, September 1992 Bob Dylan: New York, October 1992 Neil Young: London, October 1992 Pearl Jam: New York, April 1994 The Afterglow

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Book SynopsisA Classic Rock book of 2020I had to leave town for a little while-- with these words, Elvis Presley truly came home to rock and roll. A little over a month earlier he had staged rock's first and greatest comeback in a television program, forever known as The '68 Comeback Special. With this show, he resurrected himself--at the age of 33, no less--from the ashes of a career mired in bad movies and soundtracks. So where to go from here? Like a killer returning to the scene of the crime, Elvis came back home to Memphis, where it had all begun. Eschewing the fancier studios of Nashville and Hollywood, he set up shop at the ramshackle American Sound Studio, run by a maverick named Chips Moman with an in-house backing band now known as The Memphis Boys, and made the music of his life. The resulting work, From Elvis in Memphis, would be the finest studio album of his career, an explosion of mature confidence and fiery inspiration. It was the sound of Elvis establishing himself as a trueTrade ReviewIn just over 160 pages, Wolfson offers a compelling, slightly tragic, and surprisingly full look at the ultimate larger-than-life artist. * Pittsburgh Current *If all you know of Elvis Presley is “Don’t Be Cruel,” "Love Me Tender," or that hideous white jumpsuit Vegas phase, do yourself a favor and check out “From Elvis In Memphis.” And while you’re at it, pick up Eric Wolfson’s wonderful celebration of that record. You won’t regret it. * All Music Books *From Elvis In Memphis is one of Elvis’ best and Eric Wolfson’s book a worthy companion. It comes highly recommended. * Elvis Today *[A] fine piece of work that opens up the album in new ways. * Greil Marcus, author of Mystery Train, Lipstick Traces, & The Old, Weird America: The World of Bob Dylan's Basement Tapes *Like the best books of the 33 1/3 series, Wolfson's contribution brings alive an album that may be largely unknown to music fans but deserves serious appraisal–and gets it. * PopMatters *I can do nothing else than highly recommend this neat piece of work. It has been a pretty long time since I enjoyed an Elvis related book as much as this one. * Elvis News *Vividly evokes the characters from this history. * Memphis Flyer *This book is a great, colorful and above all essential read on one of Elvis’ most important albums. It documents the story behind the album in-depth, keeping you engrossed throughout the book. It makes you think, re-listen to the songs from new perspectives and form your own opinions. * Elvis Day by Day *One of the most important examinations of Elvis’ music ever released, & as an examination of a single Elvis album, unique. * Elvis Information Network *Table of ContentsAcknowledgments Prologue: From Elvis in Hell The Cover: From Elvis in Burbank 1 The Arrival 2 The Great Advice 3 The Promise 4 The Funeral Procession 5 The Tear-Stained Pillow 6 The Departure Interlude: From Elvis in Purgatory 7 The Shaking 8 The Backroads 9 The Confession 10 The Cotton Dress 11 The Beautiful Bird 12 The Vicious Cycle The Back Cover: From Elvis in Vegas Epilogue: From Elvis in Paradise Works Cited

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Book SynopsisCharles A. Perrone is Professor Emeritus of Portuguese and Luso-Brazilian Culture and Literatures in the Department of Spanish and Portuguese Studies at the University of Florida, USA. He is the author of Masters of Contemporary Brazilian Song: MPB 1965-1985 (1989), Seven Faces: Brazilian Poetry since Modernism (1996), and Brazil, Lyric, and the Americas (2010). He is co-editor of Brazilian Popular Music and Globalization (2001) and Crônicas brasileiras: A Reader (2014). He has translated numerous contemporary Brazilian writers, most notably poets such as Augusto de Campos and Paulo Leminski.Table of ContentsAcknowledgements Preface: The Origins 1. Intro: Pagings and Stagings 2. The Product: Data and Strata 3. PPP: Persons, Personnel, and Parapheranalia 4. Setting the Table, On the Ground 5. Spelling Out a Partnership in Rhyme 6. A Trio of Stage Tunes 7. A Loose Can(n)on 8. Happy Comrades Abroad 9. A Cup, A Chalice, A Gem 10. In Spite of You, Tomorrow Will Be Another Day 11. Outro: Rio, Brazil, and Beyond Bibliography / Works Cited Index

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Book SynopsisThis entertaining history of Cuba and its music begins with the collision of Spain and Africa and continues through the era of Miguelito Valdés, Arsenio Rodríguez, Benny Moré, and Pérez Prado. It offers a behind-the-scenes examination of music from a Cuban point of view, unearthing surprising, provocative connections and making the case that Cuba was fundamental to the evolution of music in the New World. The ways in which the music of black slaves transformed 16th-century Europe, how the claves appeared, and how Cuban music influenced ragtime, jazz, and rhythm and blues are revealed. Music lovers will follow this journey from Andalucía, the Congo, the Calabar, Dahomey, and Yorubaland via Cuba to Mexico, Puerto Rico, Saint-Domingue, New Orleans, New York, and Miami. The music is placed in a historical context that considers the complexities of the slave trade; Cuba's relationship to the United States; its revolutionary political traditions; the music of Santería, Palo, Abakuá, and Vodú; and much more.Trade Review"As enthralling as it is comprehensive, [Sublette's] book breathes life and fire into the whole history of Cuban music." --Bonnie Raitt"Essential . . . a solid, supremely lush effort." -- Publishers Weekly"Like none other...a chronicle as much of the music itself as of the histories embedded in the sounds." --The Boston Phoenix"It was Cuba that turned beat around, and thanks to Sublette any serious music fan will now know why." -- The New York Times Book Review"If you buy only one book on Cuba in your Life . . . this is the one." -- The Nation"Ned, a New Yorker, has painted with a latin passion a huge fresco of Cuba and its music with exquisite and astounding details. A real page turner!" --Georges Collinet, host of Afropop Worldwide"Sublette's book does for the field of Cuban popular music what Perez Prado's 'Mambo Number Five' did for the mambo--bring the tradition to world attention in a rich and most fabulous way." --Robert Farris Thompson, author of Flash of the Spirit:African and Afro-American Art and Philosopy"Magesterial . . . absorbing . . . fascinating . . . enlightening . . . compulsively readable pages . . . anyone (interested in Cuban music) should be reading this right now." --pitchforkmedia.comTable of ContentsThe Highest-Priced Slaves; Drums of War; "We Have Always Had the Drum"; Zarabanda's Mambo; The Areito and the Romance; By Post from the Indies; The Shipyard; The Fertile Crescent; The Atlantis of the Caribbean; Buying Whites and Selling Blacks: A Contradanza; La Nuit des Tropiques; The Western and Central Sudanic Blues; The Congo That Was Cuba; A Secret Language, for Men Only; Hiding in Plain Sight; The Romance of Revolution; Rumba; Fire; Marti's Monster; Guitar and Piano; If He Bathes, He Splashes You; The Tango Age; Tres and Bongo; The Dance of the Millions; The Son Boom; The Mulata Love triangles; The Peanut Vendor; The Fall; The Revolution of 1933; The Liberation of the Drum; Nagüe, Nagüe, Nagüe, Nagüe; Mano a Mano; Biablo!; Life is a Dream; Mambo Number Five; Television; Index.

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Book SynopsisShows how Brahms organized musical elements for expressive purposesTrade ReviewThrough its unique combination of historical narrative, expressive content, and technical analytical approaches, the essays in Expressive Intersections in Brahms will have a profound impact on the current scholarly discourse surrounding Brahms analysis. Because the analyses are so engaged with expressivity, performers too, will likely find many of them enlightening and perhaps critical in helping to hone their interpretations. * Notes *This exceptionally fine collection brings together many of the best analysts of Brahms, and nineteenth-century music generally, in the English-speaking world today. * Nineteenth-Century Music Review *Table of ContentsAckowledgementsPart I1. "The Wondrous Transformation of Thought into Sound": Some Preliminary Reflections on Musical Meaning in Brahms, Heather Platt and Peter H. Smith2. The Learned Self: Artifice in Brahms's Late Intermezzi, Steven Rings Part II3. "Alte Liebe" and the Birds of Spring: Text, Music, and Image in Max Klinger's Brahms Fantasy, Yonatan Malin4. Brahms's Maidens in their Cultural Context, Heather Platt5. Ancient Tragedy and Anachronism: Form as Expression in Brahms's Gesang der Parzen, Margaret NotleyPart III6. Sequence as Culmination in the Chamber Music of Brahms, Ryan McClelland7. 'Phantasia Subitanea': Temporal Caprice in Brahms's Op. 116, nos. 1 and 7, Frank Samarotto8. Monumentality and Formal Processes in the First Movement of Brahms's Piano Concerto No. 1 in D Minor, op. 15, James Hepokoski9. The Drama of Tonal Pairing in Chamber Music of Schumann and Brahms, Peter H. SmithBibliographyList of ContributorsIndex

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

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Book Synopsis

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Book SynopsisOver the past fifty years Roger Sessions has developed, in articles, lectures, and addresses, various themes that reflect the stages of his own musical and intellectual growth. These themes form the basis of the present collection of essays. Many of the essays deal with specific problems that musicians, especially composers, have faced during the pTable of Contents*Frontmatter, pg. i*Contents, pg. v*Editor's Note, pg. vii*Preface, pg. ix*The Composer and His Message [1939], pg. 3*Music in Crisis [1933], pg. 27*The New Musical Horizon [1937], pg. 45*Song and Pattern in Music Today [1956], pg. 53*Problems and Issues Facing the Composer Today [1960], pg. 71*Style and "Styles" in Music [1961], pg. 88*Art, Freedom, and the Individual [957], pg. 105*Composer and Critic [1934], pg. 120*America Moves to the Avant-Scene [1937], pg. 123*To Revitalize Opera [1938], pg. 137*The Scope of Music Criticism [1947], pg. 146*Music in a Business Economy [1948], pg. 157*How a "Difficult" Composer Gets That Way [1950], pg. 169*Music and the Crisis of the Arts [1954], pg. 175*New Vistas in Musical Education [1934], pg. 187*The Composer in the University [1949], pg. 193*What Can Be Taught? [1967], pg. 204*Heinrich Schenker's Contribution [1935], pg. 231*Hindemith on Theory [1937], pg. 241*Exposition by Krenek [1938], pg. 249*Escape by Theory [1938], pg. 256*The Function of Theory [1938], pg. 263*Music and Nationalism [1933], pg. 271*Vienna-Vale, Ave [1938], pg. 282*On the American Future [1940], pg. 288*American Music and the Crisis [1940], pg. 295*No More Business-as-Usual [1942], pg. 304*Artists and This War [1942], pg. 313*Europe Comes to America [1945], pg. 319*Ernest Bloch [1927], pg. 329*On Oedipus Rex [1928], pg. 339*Hindemith's Mathis der Maler [1934], pg. 347*Schoenberg in the United States [1944, revised 1972], pg. 353*Some Notes on Schoenberg and the "Method of Composing with Twelve Tones" [1952], pg. 370*Thoughts on Stravinsky [1957], pg. 376*In Memoriam Igor Stravinsky [1971], pg. 386*In Memoriam Luigi Dallapiccola [1975], pg. 387

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Book SynopsisEverybody likes a good song and a good story. The 100 Greatest Cover Versions traces the histories of some of the great songs you may know only as second-hand recordings and explores some unusual and creative takes on a few of pop's well-known tracks.Trade Review“If you enjoy knowing more about the journey and reincarnation of some of pop's greatest songs, then you'll love this little gem. Each entry is self-contained, and is no more than two pages long, so it's great to pick up and read when you've only got a few moments to spare. The detail is very impressive, and it's written with real style.”

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Book SynopsisThis book brings together an extensive and varied collection of Sir Peter Maxwell Davies''s written and spoken-word items for the first time. Spanning the composer''s entire career, this compendium offers a balanced selection of Davies''s articles and essays, speeches and lectures, interviews, radio broadcasts, programme notes, tributes and letters to newspapers. A number of items are published for the first time, including a new article from Davies himself (commissioned specially for this book), and several BBC radio broadcast interviews and talks from the 1960s. The structure of the book is chronological and divided into three parts, allowing readers to trace the development of Davies''s thought and work over time, and to place each item in its biographical and historical context. The introduction and notes by Nicholas Jones place the writings in context, making this volume invaluable for those interested in the music and wider culture of post-war Britain.Table of ContentsPart I. From Manchester to Hoy, 1934–1970: 1. Maxwell Davies, composer; 2. Sonata for Trumpet and Piano, Op. 1; 3. Webern: Variations for Piano, Op. 27; 4. Nikos Skalkottas: Sonatina and Tender Melody for Cello and Piano; 5. The young British composer; 6. Indian classical music; 7. Musical life in Italy; 8. Problems of a British composer today; 9. St Michael – Sonata for Seventeen Wind Instruments; 10. Prolation; 11. Realizing the 'aural vision' of Prolation; 12. Composing music for school use; 13. First Fantasia on an 'In Nomine' of John Taverner; 14. Sinfonia; 15. Echoes of the past in the present; 16. In defence of compositional technique; 17. The young composer in America; 18. Second Fantasia on John Taverner's 'In Nomine'; 19. Seven In Nomine; 20. Where our colleges fail; 21. Musical innovation; 22. Antechrist; 23. Sets or series; 24. Messiaen: Turangalîla-Symphonie; 25. Manipulating time and immoral realizations; 26. Schoenberg: Pierrot Lunaire; 27. St Thomas Wake; 28. Worldes Blis; 29. Eight Songs for a Mad King; 30. Vesalii Icones; 31. The orchestra is becoming a museum; 32. Revelation and Fall; 33. Taverner; Part II. From Hoy to Sanday, 1971–1997: 34. Two early Orkney works; 35. 'Pax Orcadiensis'; 36. Benjamin Britten: a tribute; 37. Symphony; 38. Safer 'out' than in; 39. The Lighthouse; 40. Symphony No. 2; 41. Michael Tippett: a tribute; 42. Darkening our civilization; 43. St Magnus festival – one decade on; 44. Symphony No. 4; 45. The Arts Council and the Royal Philharmonic Orchestra; 46. London's needs for all its orchestras; 47. Cheltenham Music Festival: a tribute; 48. Remembering Darmstadt; 49. Symphony No. 6; 50. The late Strathclyde Concertos; 51. The influence of Aboriginal music; 52. Renaissance architecture, symphonic precedents and historical resonances; 53. Notes from a cold climate; Part III. Sanday, 1998–2016: 54. A Roma, con amore; 55. Mr Emmet Takes a Walk; 56. Music to our ears; 57. A composer's point of view (I): on music, mathematics and magic squares; 58. A composer's point of view (II): on parody, references and meaning; 59. A composer's point of view (III): on religion; 60. A composer's point of view (IV): on the composition of 'light' and 'serious' music; 61. Symphony No. 7; 62. The Naxos Quartets; 63. Studying with Petrassi; 64. Master of the Queen's music; 65. Will serious music become extinct?; 66. A disorientating ruckus; 67. Bearing witness; 68. A conducting lesson with Leonard Bernstein; 69. Kommilitonen! (Young Blood!); 70. Beacons of light: in praise of music's benevolence; 71. A symphony for troubled times; 72. In search of Borromini; 73. Indivisible parameters and spirit-stirring amalgams; 74. Calling us to our sleep.

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Book SynopsisAward-winning author Jack Boss returns with the ''prequel'' to Schoenberg''s Twelve-Tone Music (Cambridge, 2014) demonstrating that the term ''atonal'' is meaningful in describing Schoenberg''s music from 1908 to 1921. This book shows how Schoenberg''s atonal music can be understood in terms of successions of pitch and rhythmic motives and pitch-class sets that flesh out the large frameworks of ''musical idea'' and ''basic image''. It also explains how tonality, after losing its structural role in Schoenberg''s music after 1908, begins to re-appear not long after as an occasional expressive device. Like its predecessor, Schoenberg''s Atonal Music contains close readings of representative works, including the Op. 11 and Op. 19 Piano Pieces, the Op. 15 George-Lieder, the monodrama Erwartung, and Pierrot lunaire. These analyses are illustrated by richly detailed musical examples, revealing the underlying logic of some of Schoenberg''s most difficult pieces of music.Trade Review'Schoenberg's Atonal Music offers a study of the endlessly fascinating and enigmatic music Schoenberg wrote from around 1908 to roughly 1920. Jack Boss is a complete master of the music and the surrounding literature; he has an appropriate and effective analytical methodology, and he offers a synoptic understanding of these challenging musical works that greatly enriches our understanding of them. This book is an important prequel to Schoenberg's Twelve-Tone Music (Cambridge, 2014), which deservedly received the Wallace Berry award from the Society for Music Theory.' Joseph Straus, City University of New York'With this provocative re-interpretation of six of Schoenberg's middle-period works, Jack Boss turns time-honored conceptions of tonality versus atonality and 'amotivicism' on their heads. Through his vividly argued analyses grounded in motivic/set-class relations, the 'conflict-elaboration-resolution model' of the 'musical idea', and the use of 'expressive' tonality, Schoenberg's Three Piano Pieces, Op. 11, reveal a novel structural identity, cohering in a unified cycle. Erwartung, previously understood as the quintessence of amotivicism, finds logic in the development of a 'basic image', two leitmotifs representing the Lover's body and the Woman's sense of loss. With further analyses based on the concepts of 'musical idea', 'basic image', and 'spectres of tonality', Boss thus propounds a fascinating revisionist history - a consistent and steady development to and from atonality, setting the stage for Schoenberg's future twelve-tone works.' Severine Neff, Eugene Falk Distinguished Professor of Music, Emeritus, University of North Carolina, Chapel Hill'Jack Boss' book, Schoenberg's Atonal Music, presents a unified, integrated, and consistent picture of the composer's middle period compositional processes and works in contrast to the dichotomies of tonal versus atonal, atonal versus serial, and intuitive verses rational composer found in much Schoenberg scholarship. Boss creates an analytical model that links Schoenberg's tonal, atonal, and serial compositions, demonstrates the processes found in his tonal works continue albeit transformed by new structural resources in the atonal works, and demonstrates the organicism and applicability of pitch-class set analysis as a consequence of Schoenberg's method of working with and transforming small intervallic patterns.' Ciro Scotto, Ohio UniversityTable of Contents1. Tonal oder Atonal? The complicated, contradictory nature of Schoenberg's middle-period music (Op. 11, No. 1); 2. Piano pieces Op. 11, Nos. 2 and 3: The latter movements of a remarkably progressive cycle; 3. Das Buch der hängenden Gärten, Op. 15, Nos. 7 and 11: basic images in two of the earliest atonal pieces; 4. Erwartung, Op. 17: A Leitmotivic Opera and a 'cumulative setting', atomized; 5. Six little piano pieces, Op. 19 (Nos. 2, 3, and 6): musical idea and basic image in miniature; 6. Pierrot lunaire, Op. 21, Nos. 1, 14 and 21: basic image at the apex of its development; 7. Summary, and the way forward to twelve-tone music.

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Book SynopsisThe correspondence between composer John Cage and Peter Yates represents the third and final part of Cage''s most significant exchanges of letters, following those with Pierre Boulez and with David Tudor. Martin Iddon''s book is the first volume to collect the complete extant correspondence with his critical friend, thus completing the ''trilogy'' of Cage correspondence published by Cambridge. By bringing together more than 100 letters, beginning in 1940 and continuing until 1971, Iddon reveals the dialogue within which many of Cage''s ideas were first forged and informed, with particular focus on his developing attitudes to music criticism and aesthetics. The correspondence with Yates represents precisely, in alignment with Cage''s fastidious neatness, the part of his letter writing in which he engages most directly with the last part of his famous tricolon, ''composing''s one thing, performing''s another, listening''s a third''.Trade Review'This is the third book that Martin Iddon has contributed to Arnold Whittall's influential series at Cambridge University Press … Iddon is a footnote virtuoso where every individual mentioned is given full details - helpfully on the page - and there are many examples of ingenious investigation.' Peter Dickinson, Musical OpinionTable of ContentsIntroduction; 1. John Cage to Peter Yates, undated [1940?]; 2. John Cage to Peter Yates, 1940; 3. John Cage to Peter Yates, 1941; 4. John Cage to Peter Yates, 1941; John Cage, 'Organized Sound' draft, 1941; Peter Yates, 'Organized Sound,' California Arts and Architecture (1941); 5. John Cage to Peter Yates, undated [1941]; 6. John Cage to Peter Yates, undated [ca. 1947]; 7. John Cage to Peter Yates, undated [ca. 1947]; 8. John Cage to Peter Yates, undated [ca. September 1948]; Peter Yates, 'Music,' Arts and Architecture (1948); 9. John Cage to Peter Yates, undated [ca. 1948; Peter Yates, 'Music,' Arts and Architecture (1948); Peter Yates, 'Music,' Arts and Architecture (1948); 10. John Cage to Peter Yates, undated [ca. 1948]; 11. John Cage to Peter Yates, undated [ca. 1948]; 12. John Cage to Peter Yates, undated [early 1949]; Peter Yates, 'Music,' Arts and Architecture (1949); 13. Peter Yates to John Cage, 1953; Peter Yates, 'Music,' Arts and Architecture (1953); 14. John Cage to Peter Yates, 1953; 15. Peter Yates to John Cage, 1953; Peter Yates, 'Pierre Boulez,' Arts and Architecture (1957); Peter Yates, 'A Collage of American Composers - Part 3,' Arts and Architecture (1959); Peter Yates, 'A Collage of American Composers - Part 4,' Arts and Architecture (1959); 16. Peter Yates to John Cage, 1959; 17. John Cage to Peter Yates, 1959; 18. Peter Yates to John Cage, 1959; 19. Peter Yates to John Cage, 1959; Peter Yates, 'Virgil Thomson and Horatio Parker,' Arts and Architecture (1959); 20. Peter Yates to John Cage, 1959; 21. Peter Yates to John Cage, 1959; 22. John Cage to Peter Yates, 1959; 23. Peter Yates to John Cage, 1960; 24. Peter Yates to John Cage, 1960; 25. John Cage to Peter Yates, undated [ca. 1960]; Peter Yates, 'Two Albums by John Cage - Part 1,' Arts and Architecture (1960); 26. Peter Yates to John Cage, 1960; 27. John Cage to Peter Yates, 1960; 28. Peter Yates to John Cage, 1960; Peter Yates, 'Two Albums by John Cage - Part 2,' Arts and Architecture (1960); 29. John Cage to Peter Yates, 1960; 30. Peter Yates to John Cage, 1960; 31. John Cage to Peter Yates, 1960; 32. Peter Yates to John Cage, 1960; 33. Peter Yates to John Cage, 1960; 34. John Cage to Peter Yates, 1960; 35. Peter Yates to John Cage, 1960; 36. John Cage to Peter Yates, 1960; 37. John Cage to Peter Yates, 1960; 38. Peter Yates to John Cage, 1960; 39. John Cage to Peter Yates, 1960; Peter Yates, 'Monday Mad on Tuesday,' Arts and Architecture (1960); Peter Yates, 'Music,' Arts and Architecture (1960); 40. John Cage to Peter Yates, 1961; 41. Peter Yates to John Cage, 1961; Peter Yates, 'American Experimental Tradition,' unpublished manuscript [ca. 1961]; 42. John Cage to Peter Yates, 1961; 43. John Cage to Peter Yates, 1961; 44. John Cage to Peter Yates, undated [1961]; 45. John Cage to Peter Yates, 1961; 46. John Cage to Peter Yates, 1961; 47. Peter Yates to John Cage, 1961; 48. John Cage to Peter Yates, 1961; 49. Peter Yates to John Cage, 1961; Peter Yates and John Whitney, 'Notes for Music,' unpublished manuscript [1961]; Peter Yates, 'Sound,' manuscript [1961]; 50. John Cage to Peter Yates, 1961; 51. Peter Yates to John Cage, 1961; 52. Peter Yates to John Cage, 1961; Peter Yates, 'A Lost Center,' manuscript [1961]; 53. John Cage to Peter Yates, 1961; 54. John Cage to Peter Yates, 1961; Peter Yates, 'A General Report,' Arts and Architecture (1962); 55. John Cage to Peter Yates, 1962; 56. John Cage to Peter Yates, 1962; Peter Yates, 'Silence by John Cage,' Arts and Architecture (1962); Peter Yates, review of John Cage, Silence, Notes: the Quarterly Journal of the Music Library Association (1962); Peter Yates, 'More Than Time,' Arts and Architecture (1962); Peter Yates, 'John Cage's Weekend in Los Angeles,' Arts and Architecture (1962); 57. John Cage to Frances and Peter Yates, 1962; Peter Yates, 'The American Artist,' manuscript written for the

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Book SynopsisA historically situated study of the relationship between music, sound and the sublime, this book embraces familiar works and composers, such as Handel, C. P. E. Bach, Haydn and Wagner, but also explores less familiar repertory and source material. Performers and audiences are also considered as agents and sites of sublime experience.Trade Review'... carefully presented ...' Agathe Sueur, translated from Revue de musicologieTable of ContentsSonorous sublimes: an introduction Sarah Hibberd and Miranda Stanyon; 1. Thunder or celestial harmony: French theological debates on the sonorous sublime Sophie Hache; 2. 'A pleasing rape': John Dennis, music and the queer sublime Matthew Head; 3. The idea of the past in eighteenth-century British music Suzanne Aspden; 4. C. P. E. Bach and the neoclassical sublime: revisions of a concept Keith Chapin; 5. Cherubini's Médée and sublime vengeance Sarah Hibberd; 6. When does the sublime stop? Cavatinas and quotations in Haydn's Seasons Elaine Sisman; 7. Counterfeits, contraltos and consonance in De Quincey's sublime Miranda Stanyon; 8. The consecration of sound: sublime musical creation in Haydn, Weber and Spohr Benedict Taylor; 9. Commanding performances: opera, surrogation and the royal sublime in 1848 Dana Gooley; 10. Wagner's sublime effects: bells, cannon and the perception of heavy sound David Trippett.

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Book SynopsisOne of the defining aspects of music is that it exists in time. From clapping to dancing, toe-tapping to head-nodding, the responses of musicians and listeners alike capture the immediacy and significance of the musical beat. This Companion explores the richness of musical time through a variety of perspectives, surveying influential writings on the topic, incorporating the perspectives of listeners, analysts, composers, and performers, and considering the subject across a range of genres and cultures. It includes chapters on music perception, visualizing rhythmic notation, composers'' writings on rhythm, rhythm in jazz, rock, and hip-hop. Taking a global approach, chapters also explore rhythmic styles in the music of India, Africa, Bali, Latin America and the Caribbean, and Indigenous music of North and South America. Readers will gain an understanding of musicians'' approaches to performing complex rhythms of contemporary music, and revealing insights into the likely future of rhythm in music.Trade Review'The importance of this collection for music scholarship lies not only in the subject matter - rhythm has long been ignored by traditional music studies - but in the fact that fully half the volume is devoted to music other than the Western European classical canon … Summing Up: Recommended. Upper-division undergraduates through faculty; professionals.' M. Dineen, ChoiceTable of ContentsIntroduction Russell Hartenberger and Ryan McClelland; I. Overview of rhythm: 1. Rhythm in Western music: Concepts and literature Ryan McClelland; 2. Perception of rhythm Daniel Cameron and Jessica Grahn; II. Performing rhythm: 3. Visualizing the rhythms of performance Alan Dodson; 4. A percussionist understands rhythm Steven Schick; 5. A different kind of virtuosity Russell Hartenberger; 6. Conducting rhythm David Robertson; III. Composing with rhythm: 7. Expressive rhythm and meter in the German Lied Harald Krebs; 8. Rhythm in post-tonal music: a modernist primer Gretchen Horlacher; 9. The concept of rhythm: composers in their own words Adam Sliwinski; IV. Rhythm in jazz and popular music: 10. Jazz rhythm: the challenge of “swing” Matthew W. Butterfield; 11. Rhythmic influence in the rock revolution Trevor de Clercq; 12. Rhythm in contemporary rap music Mitchell Ohriner; V. Rhythm in global musics: 13. The musical rhythm of Agbadza songs David Locke; 14. Rhythmic thought and practice in the Indian subcontinent James Kippen; 15. The draw of Balinese rhythm Leslie Tilley; 16. Rhythmic structures in Latin American and Caribbean music Peter Manuel; 17. Indigenous rhythm and dance in North and South America Kristina F. Nielsen; VI. Epilogue: 18. The future of rhythm Nick Collins; Select bibliography; Index.

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Book SynopsisBenjamin Britten, pianist, conductor, educator, composer of a wide range of music from large-scale operas and choral works to string quartets and songs, is acknowledged as a pivotal figure in mid-twentieth-century Britain. This volume explores the contexts for his multi-faceted career and his engagement with his contemporaries in music, art, literature, and film, British musical institutions, royal and governmental entities, and the church, as well as his ground-breaking projects, philosophical and ideological tenets. The book is thematically structured in five parts: Britten''s relationships with Peter Pears, his close friends, mentors, and colleagues; musical life in Britain; his interactions with previous and contemporary generations of composers; his professional work with choreographers, librettists, stage designers, and directors; and his socio-cultural, religious, and political environment. The chapters shed light on the many opportunities and challenges of post-war British musical life that shaped Britten''s creative output.Trade Review'informative and thought-provoking' Nigel Simeone, GramophoneTable of ContentsPrologue: Positioning Britten Vicki P. Stroeher and Justin Vickers; Part I. The Britten Circle(S): 1. Early mentors: The bridges, the Auden set, and the mayers of long Island Arnold Whittall; 2. Peter Pears Justin Vickers; 3. The open secret Nicholas Clark; 4. Britten's circle Lucy Walker; 5. Britten's musical assistants Christopher Scheer; 6. Britten's publishers as advance and rear guard Philip Reed; Part II. British Musical Life: 7. Composing in England Eric Saylor; 8. Britten and Film Mervyn Cooke; 9. Britten and the radio Alison Garnham; 10. Television and the composer Danielle Ward-Griffin; 11. Music critics and the press Philip Reed and Vicki P. Stroeher; 12. Britten and English opera: Myths and a (Chequered) history Mervyn Cooke; 13. Festival culture in the British Isles Justin Vickers; 14. Concert life in Britain Philip Reed; 15. Benjamin Britten and folksong Julian Onderdonk; 16. Educating the Nation: Britten's music for young people Kate Guthrie; Part III. Britten and Other Composers: 17. The compositional context: creating a voice Christopher Mark; 18. Responding to a British musical past Michael Burden; 19. Britten and the English musical renaissance Alain Frogley; 20. Responding to the continent Arved Ashby; 21. An English tradition? Christopher Mark; 22.'An exciting time with all Russians': Anglo-Soviet musical contacts Cameron Pyke; 23. The Avant-Garde Philip Rupprecht; Part IV. Wordsmiths, Designers, and Performers: 24. W. H. Auden Vicki P. Stroeher; 25. Eric Crozier Justin Vickers; 26. Two librettists: Montagu slater and Ronald Duncan Ian Patterson; 27. The wise, queer heart of Englishness: E. M. Forster Hanna Rochlitz; 28.William Plomer's poetics of exile at home Kevin Salfen; 29.'Don't colour them, the music will do that': Myfanwy Piper and Britten's marriage of words and music Frances Spalding; 30. Designing and dancing Britten Kevin Salfen and Lucy Walker; 31.Pears as illuminator, interpreter, and inspiration Justin Vickers; 32. Britten's singers Roger Vignoles; 33. Britten's performers: those most 'Instrumental' Thomas Schuttenhelm; Part V. British Socio-Cultural, Religious, and Political Life: 34. English and British national identity in the Arts Irene Morra; 35. Britten's landscapes Charlotte de Mille; 36. Monarchy, royalty, and arts patronage Matthias Range; 37. Literary leanings Nicholas Clark; 38. Faith, spirituality, and the church Margaret Lane; 39. The politics of the closet J. P. E. Harper-Scott; 40. Communism, socialism, and pacifism in British politics: From the 1930s to the cold war Joanna Bullivant; Epilogue: Britten's Legacy Arnold Whittall; Topical bibliography for further reading; Works cited; Index.

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Book SynopsisThe body of pre-1972 sound recordings is vast. Commercially released "popular" recordings come most readily to mind -- from Frank Sinatra and Ella Fitzgerald to the Beatles and the Rolling Stones. But pre-1972 commercial recordings encompass a wide range of genres: ragtime and jazz, rhythm and blues, gospel, country and folk music, classical recordings, spoken word recordings and many others. Some remain popular; others have long since faded from memory and are of interest only to scholars. There are, in addition, many unpublished recordings such as journalists'' tape, oral histories, and ethnographic and folklore recordings. There are also recordings of old radio broadcasts, which were publicly disseminated by virtue of the broadcast, but in many cases are technically unpublished under the standards of the U.S. Copyright Act. These recordings are a rich aspect of this country''s cultural heritage, and it is important to ensure that they will be preserved and accessible for researchers and scholars, as well as to future generations. This book provides an overview of the Copyright Office''s research and public outreach concerning the legal treatment of pre-1972 sound recordings. It explains the process by which the Office undertook its research; describes the comments received as well as the views expressed at the public meetings; and explains the Office''s recommendations and the reasons for them.

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Book SynopsisFew music groups have been able to sustain a fan base as passionate and dedicated as that of Phish, and this entertaining guide rewards those fans with everything they need to know about the band in a one-of-a-kind format. Packed with history, trivia, lists, little-known facts, and must-do adventures that every Phish fan should undertake, it ranks each item from one to 100, providing an indispensable, engaging road map for devotees old and new.

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Book SynopsisMalcolm Forsyth (1936–2011) was a musical legend: a much-loved composer, performer, teacher, and mentor. Reflections on Malcolm Forsyth presents a captivating and approachable portrait of one of Canada’s finest modern composers. Readers will discover both public and private sides to the man and gain fresh insights from critical assessments of a broad range of Forsyth’s compositions, his continuing popular appreciation, and his lasting influence on the next generation of musicians and music scholars. Drawing from the perspectives of leading scholars, composers, and musicians, as well as on those of family, friends, students, and colleagues, Reflections on Malcolm Forsyth honours the rich life and cultural significance of this exceptional creative mind. It is important reading for music students and researchers, professional performers, and anyone who loves contemporary music. Contributors: Tommy Banks, Allan Gordon Bell, Nora Bumanis, Robin Elliott, Amanda Forsyth, Valerie Forsyth, Allan Gilliland, Carl Hare, Mary I. Ingraham, Edward Jurkowski, Ryan McClelland, John McPherson, Fordyce C. (Duke) Pier, Roxane Prevost, Kathy Primos, Tanya Prochazka, Leonard Ratzlaff, Rayfield Rideout, Robert C. Rival, Julia Shaw, Dale Sorensen, Christopher TaylorTrade Review"Reflections On Malcolm Forsyth has obvious interest for musicologists, but also tells an uncommon and compelling tale of an immigrant who fell under Canada’s spell." -- Holly DoanTable of ContentsFigures Acknowledgements Prelude / AMANDA FORSYTH Introduction / MARY I. INGRAHAM & ROBERT C. RIVAL 1 Reflections on a Life and Career / ROBIN ELLIOTT 2 Sonorous Pleasure: Portrait of a Master Orchestrator as Pedagogue / ALLAN GORDON BELL 3 Remembering and Continuing: Rhapsody for 14 Strings / RYAN MCCLELLAND 4 Finding Inspiration in Canadian Folk Songs: An Analysis of Three Métis Songs from Saskatchewan / ROXANE PREVOST 5 Breathing in G: Harmonic Tension and Repose in the Cello Concerto Electra Rising / ROBERT C. RIVAL 6 Allusion and Reflection in Je répondrais… for Solo Piano / EDWARD JURKOWSKI 7 “Here, All Is a Beginning”: Reflections of Forsyth in A Ballad of Canada / MARY I. INGRAHAM 8 Interlude: Reminiscences / CARL HARE, TOMMY BANKS, NORA BUMANIS & JULIA SHAW, ALLAN GILLILAND, JOHN MCPHERSON, FORDYCE C. (DUKE) PIER, TANYA PROCHAZKA, RAYFIELD RIDEOUT, CHRISTOPHER TAYLOR 9 A Life Experience: The Early Orchestral Works / KATHY PRIMOS 10 Splendour in the Brass: A Legacy of Brass Music / DALE SORENSEN 11 The Choral Music / LEONARD RATZLAFF Postlude / VALERIE FORSYTH List of Works Contributors Permissions Index

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Book SynopsisWe cannot simply listen to our urban past. Yet we encounter a rich cultural heritage of city sounds presented in text, radio and film. How can such "staged sounds" express the changing identities of cities? This volume presents a collection of studies on the staging of Amsterdam, Berlin and London soundscapes in historical documents, radio plays and films, and offers insights into themes such as film sound theory and museum audio guides. In doing so, this book puts contemporary controversies on urban sound in historical perspective, and contextualises iconic presentations of cities. It addresses academics, students, and museum workers alike. With contributions by Jasper Aalbers, Karin Bijsterveld, Carolyn Birdsall, Ross Brown, Andrew Crisell, Andreas Fickers, Annelies Jacobs, Evi Karathanasopoulou, Patricia Pisters, Holger Schulze, Mark M. Smith and Jonathan Sterne.Trade Review"An important compendium for dealing with questions concerning the study of urban soundscapes." Stefan Drees, Die Musikforschung [German quarterly musicological journal published by the German Society for Music Research], 62/1 (2015) "Recommended to connoisseurs who wish to broaden their perspective with the insights of the media studies as well as socio-cultural and/or historiographical perspectives on sound." Jan Wedekind, DIE TONKUNST [German quarterly journal for classical music and musicology], 8/2 (2014) Reviewed in: H-Net-Reviews, 6 (2014), Andrew Behrendt

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Book SynopsisThe integration of audible space is a central aspect of electroacoustic music. Ever since the earliest analogue days of electroacoustic music, pioneers of the genre - including Pierre Schaeffer, Iannis Xenakis, Karlheinz Stockhausen, and Luigi Nono - used special devices and methods for their compositions and refined the possibilities of integrating the sound of space into music.In this anthology, analytical portraits of compositions and groups of compositions show the wide spectrum of spatial practices in early electroacoustic music. Additionally, retrospective views on the use of spatial composition in earlier epochs and in instrumental music of the 20th century portray the practice of spatial composition in different eras and genres, as well as the universality of spatial music as a topic. In this way the book contributes to a more differentiated understanding of the term "spatial music".Die Integration des hörbaren Raums ist ein zentraler Aspekt der elektroakustischen Musik. Schon auf Basis der Analogtechnik entstanden spezielle Geräte und Verfahren, die Pioniere des Genres wie Pierre Schaeffer, Iannis Xenakis, Karlheinz Stockhausen oder Luigi Nono für ihre Vorstellungen von Raummusik heranzogen und weiter entwickelten.In diesem Band, der englisch- und deutschsprachige Beiträge gleichermaßen versammelt, zeigen analytische Portraits einzelner Kompositionen oder Kompositionsgruppen das breite Spektrum spatialer Praktiken in der frühen elektroakustischen Musik. Geschichtliche Rückblicke auf spatiale Kompositionsweisen früherer Epochen bis hin zur instrumentalen Musik des 20. Jahrhunderts stellen den epochen- und genrespezifischen Umgang mit Raum dar und belegen nicht nur die Universalität des Themas Raummusik, sondern leisten auch einen Beitrag zu deren begrifflicher Differenzierung.

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Book SynopsisDieser durchgehend zweisprachige Band versammelt Beiträge zu ästhetischen, künstlerischen und pädagogischen Fragestellungen der musikalischen Improvisation. Er beinhaltet Reflexionen und Modelle, die sich mit der Kunst der Improvisation und den in ihr handelnden Menschen befassen und darüber hinaus faszinierende Perspektiven auch für Kultur und Wissenschaft bieten.This book, bilingual throughout, brings together essays providing aesthetic, artistic and pedagogical interrogations of the art of musical improvisation. It contains reflections and models which deal both with the art of improvisation and with the people who carry it out and offers fascinating perspectives for culture and for scholarship more generally.Contributions by Alan Bern, Rogério Costa, Nina Polaschegg, Edwin Prévost, and others.

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Book SynopsisEveryday articulations of music, place, urban politics, and inclusion/exclusion are powerfully present in Istanbul. This volume analyzes landscapes of music, community, and exclusion across a century and a half.An interdisciplinary group of scholars and artists presents four case studies: the rembetika, the music of the Asiks, the Zakir/Alevi tradition, and hip-hop, in Beyoglu, Üsküdar, the gentrifying Sulukule neighborhood, and across the metropolis.Trade Review"A significant contribution to the literature of music in and from Istanbul, which will show readers from different disciplines, social, and musical contexts the four important musical cornerstones of this landscape." -- Hande Saglam, Anthropos, 114 (2019)

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Book SynopsisAnonymity practices in electronic music culture have long been the object of journalistic and academic discourse. Yet anonymity itself is ephemeral and ontologically precarious. How can scholars research anonymous entities without impairing their anonymity, and what can they learn from their precarity? This study describes two projects of anonymity performance as forms of critical practice (Judith Butler/Michel Foucault) involving performative play with anonymity through the use of fake identities or collaborative persona imaginations. Adopting a reflexive and performative writing style, this performance ethnography calls for a radical performative turn and an ontological reflexivity in the cultural studies of music.

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Book SynopsisThis collection investigates the concept of modernity in music and its multiple interpretations in Europe and East Asia. Through contributions by both European and East Asian musicologists it discusses how a decentered understanding of musical modernity could be matched on multiple historiographical perspectives while being attentive to the specificities of local music and their narratives in East Asia and Europe. The essays connect local, global and transnational history with sociological theories of modernity and modernization, making the volume an important contribution to overcoming the Eurocentric dichotomy between western music and world music within the field of historical musicology.

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