Music Books

Book SynopsisTrade Review”Including works by many of film music's finest scholars, the diversity of articles and approaches here is most welcome. Some pieces will prove to be real game-changers, beautifully written and argued.”—Caryl Flinn, author of Brass Diva: The Life and Legends of Ethel Merman”Valuable new essays on the ways cinema speaks, sings, shouts, and whispers.”—Claudia Gorbman, author of Unheard Melodies: Narrative Film Music"The book will intrigue those interested in voice and film studies and the various ways the singing voice can be used to advantage in cinema." --Choice

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Book SynopsisTrade Review"A welcome contribution to the literature of modern music. . . . Highly recommended." --Choice"An astonishing book, a virtual encyclopedia of James Tenney that threatens to leave no remaining scope for further scholarly work on his music. It answered many questions I've long had about Tenney's music, and has already acted as a spur to my own work. The amount of information one could currently find on Tenney's work would comprise only a small fraction of what is included here."--Kyle Gann, author of The Arithmetic of Listening: Tuning Theory and History for the Impractical Musician"Wannamaker's essential, extraordinary work on the music of James Tenney is a brilliantly detailed and exhaustively researched addition to our comprehensive understanding of Tenney's music and compositional ideas, and to our conception of music of the second half of the twentieth century."--Larry Polansky, Emeritus Strauss Professor of Music, Dartmouth CollegeTable of ContentsPreface xiConventions and Abbreviations xv1. Introduction 11.1. A Summary Chronology 31.2. Aesthetic and Methodological Bases: Music in Sound 102. Early Works and Influences (1934–59) 182.1. Stan Brakhage and Interim (1952) 192.2. Manhattan and Meeting Carolee Schneemann 212.3. Lionel Nowak, Carl Ruggles, and Charles Ives’s Concord Sonata 232.4. Seeds (1956/1961) 253. Tape Music and “Meta/-Hodos” (1959–61) 313.1. Lejaren Hiller and Harry Partch 313.2. The University of Illinois Electronic Music Studio 323.3. Collage #1 (“Blue Suede”) (1961) 343.4. “Meta/-Hodos” (1961) 414. Computer Music and Ergodicity (1961–64) 484.1. Edgard Var se, D’Arcy Thompson, and “Growth to Form” 514.2. John Cage, Variety, and Ergodicity 544.3. Max Mathews and MUSIC 594.4. The Acoustic Correlates of Timbre 624.5. Algorithmic Composition 634.6. Analog #1 (Noise Study) (1961) 684.7. Phases (1963) 765. Performance and the Social (1964–68) 835.1. Downtown in the 1960s 835.2. Tone Roads and an American Experimental Tradition 865.3. Fluxus and Friends 895.4. Carolee Schneemann, Antonin Artaud, Wilhelm Reich 935.5. Choreogram (1964) 975.6. Fabric for Che (1967) 1016. Process and Continuity (1969–71) 1106.1. Gradual Processes 1126.2. For Ann (rising) (1969) 1186.3. Postal Pieces (1965–71) 1247. Interlude: Harmonic Theory 1357.1. The Meaning of Harmony 1377.2. The Harmonic Series 1407.3. Interval Tolerance and “The Language of Ratios” 1447.4. A History of Consonance and Dissonance 1477.5. Roughness and Beating (CDC-5) 1487.6. Toneness and Harmonicity (CDC-2) 1497.7. Harmonic Space (CDC-1) 1557.8. Harmonic Measures and Their Applications 1658. Canons and the Harmonic Series (1972–79) 1698.1. The Harmonic-Series Music 1708.2. Clang (1972) 1728.3. Spectral CANON for CONLON Nancarrow (1974) 1768.4. Harmonium #1 (1976) 1838.5. Three Indigenous Songs (1979) 1899. Harmonic Spaces (1980–85) 1939.1. The Harmonic-Space Music 1939.2. Harmonium #3 (1980) 1959.3. Bridge (1984) 1999.4. Koan for String Quartet (1984) 21610. Transition and Tradition (1986–94) 22410.1. Critical Band (1988) 22510.2. Flocking (1993) 23111. Spectra and Diaphony (1994–2006) 23711.1. Dissonant Counterpoint and Statistical Feedback 23711.2. In a Large, . . . (1994–95) 24111.3. Diaphonic Study (1997) 24611.4. Arbor Vitae (2006) 25012. A Tradition of Experimentation 259Appendix A. Acoustics, Sensation, and Logarithmic Models 261Appendix B. Spectrographic Analysis 265Notes 271References 301Index 315

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Book SynopsisA work-by-work guide to the composer's groundbreaking music Robert Wannamaker's monumental two-volume study explores the influential music and ideas of American composer, theorist, writer, performer, and educator James Tenney. Delving into the whole of Tenney's far-ranging oeuvre, Wannamaker offers close, aurally grounded analyses of works linked to the artist's revolutionary theories of musical form, timbre, and harmonic perception. Written as a reference work, Volume 2, A Handbook to the Pieces, presents detailed entries on Tenney's significant post-1959 experimental works (excepting pieces covered in volume 1). Wannamaker includes technical information, an analysis of intentions and goals, graphs and musical examples, historical and biographical context, and thoughts from Tenney and others on specific works. Throughout, he discusses the striking compositional ideas found in Tenney's music and, where appropriate, traces an idea's appearance from one piece to the next to reveal the evTrade Review"An astonishing book, a virtual encyclopedia of James Tenney that threatens to leave no remaining scope for further scholarly work on his music. It answered many questions I've long had about Tenney's music, and has already acted as a spur to my own work. The amount of information one could currently find on Tenney's work would comprise only a small fraction of what is included here."--Kyle Gann, author of The Arithmetic of Listening: Tuning Theory and History for the Impractical Musician"Wannamaker's essential, extraordinary work on the music of James Tenney is a brilliantly detailed and exhaustively researched addition to our comprehensive understanding of Tenney's music and compositional ideas, and to our conception of music of the second half of the twentieth century."--Larry Polansky, Emeritus Strauss Professor of Music, Dartmouth CollegeTable of ContentsPreface xiii1. 1952–59 (Early Works) 11.1. Monody (1959) 32. 1959–61 (Tape Music) 72.1. Improvisations for Medea (1960) 72.2. Collage #1 (“Blue Suede”) (1961) 83. 1961–64 (Computer Music) 93.1. Analog #1 (Noise Study) (1961) 93.2. Entrance/Exit Music (1962) 93.3. Five Stochastic Studies (1962) 133.4. Stochastic String Quartet (1963) and Stochastic Quartet (1963) 163.5. Dialogue (1963) 223.6. Radio Piece (1963) 273.7. Ergodos I (1963) 283.8. Phases (1963) 303.9. Music for Player Piano (1964) 303.10. Ergodos II (1964) 363.11. String Complement (1964) and Instrumental Responses (1964) 384. 1964–68 (Performance and the Social) 424.1. Choreogram (1964) 424.2. Chamber Music (1964) 424.3. Maximusic (1965) 474.4. Metabolic Music (1965) 474.5. Three Theater Pieces (1965) 494.6. Collage #2 (“Viet Flakes”) (1966) 514.7. A House of Dust (1967) and Letters to Gertrude Stein (1968) 604.8. Fabric for Che (1967) 664.9. Swell Piece (1967) 665. 1969–73 (Process and Continuity) 675.1. For Ann (rising) (1969) 675.2. Quiet Fan for Erik Satie (1970/1971) 675.3. Hey When I Sing These 4 Songs Hey Look What Happens (1971) 745.4. Postal Pieces (1965–71) 755.5. For 12 Strings (rising) (1971) 975.6. In the . . . Mode (1971, 1973) 996. 1972–79 (Canons and the Harmonic Series) 1036.1. Clang (1972) 1036.2. Quintext: Five Textures (1972) 1036.3. Canon (1973) 1176.4. The Chorales Series (1973–75) 1186.5. Spectral CANON for CONLON Nancarrow (1974) 1246.6. Orchestral Study: The “Creation Field” (1974) 1246.7. Three Harmonic Studies (1974) 1266.8. Three Pieces for Mechanical Drum (1974–75) 1346.9. Three Pieces for Drum Quartet (1974–75) 1456.10. Symphony (1975) 1606.11. Harmoniums #1, #4, and #5 (1976–78) 1616.12. Saxony (1978) 1696.13. Three Indigenous Songs (1979) 1727. 1980–85 (Harmonic Spaces) 1737.1. Harmoniums #2, #3, #6, and #7 (1980–2000) 1737.2. Chromatic Canon (1980/1983) 1787.3. Band (1980/1983) 1907.4. Septet (1981) 1937.5. Glissade (1982) 1997.6. Two Koans and a Canon (1982) 2177.7. Voice(s) (1982/1984) 2207.8. deus ex machina (1982) 2267.9. Bridge (1984) 2297.10. Koan for String Quartet (1984) 2297.11. Changes: 64 Studies for 6 Harps (1985) 2297.12. Water on the mountain . . . Fire in heaven (1985) 2578. 1986–94 (Transition and Tradition) 2598.1. The Road to Ubud (1986) 2598.2. Rune (1988) 2648.3. Critical Band (1988) 2758.4. Tableaux Vivants (1990) 2758.5. Three New Seeds (1991) 2888.6. Pika-Don (1991) 2908.7. “Ain’t I a Woman?” (1992) 2988.8. Flocking (1993) 3008.9. Cognate Canons (1993) 3018.10. Forms 1–4 (1993) 3078.11. Ergodos III (1994) 3159. 1994–2006 (Spectra and Diaphony) 3189.1. In a Large, . . . (1994–95) 3189.2. Three Pages in the Shape of a Pear (1995) 3189.3. The Spectrum Series (1995, 2001) 3209.4. Diapason (1996) 3339.5. ’Scend for Scelsi (1996) 3379.6. Diaphonic Study (1997) 3409.7. Diaphonic Toccata (1997) 3419.8. Diaphonic Trio (1997) 3429.9. Song ’n’ Dance for Harry Partch (1999) 3439.10. Seegersong #1 and Seegersong #2 (1999) 3499.11. Last Spring in Toronto (2000) 3529.12. Prelude and Toccata (2001) 3579.13. (Fontana) Mix for Six (Strings) (2001) 3599.14. To Weave (a meditation) (2003) 3619.15. Essay (after a sonata) (2004) 3649.16. Just Another Bagatelle (2004) 3679.17. For Piano and . . . (2005) 3689.18. Panacousticon (2005) 3709.19. Arbor Vitae (2006) 37210. Music in Popular Styles 37310.1. Three Rags for Pianoforte (1969) 37310.2. “Listen . . . !” (1981/1984) 37510.3. Blues Canon (from “Listen . . . !”) (1981) 37610.4. Nathan’s Song (1983) 37610.5. Sneezles (an encore) (1985/1995/2000) 37611. Arrangements 37711.1. Maple Leaf Rag 37711.2. Stoptime Rag 37711.3. General William Booth Enters into Heaven 37711.4. Blues for Annie 37811.5. Beatles Song Arrangements 37811.6. Five Studies for Player Piano 378Notes 379References 407Index 417

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Book SynopsisTrade Review"Recommended." --Choice"An important work, this book is the first in-depth, interdisciplinary study of spirit mediumship as both a healing mechanism and musical way of life in south-central Uganda. It is relevant to African studies, anthropology, ethnomusicology, history, and public health."--Damascus Kafumbe, author of Tuning the Kingdom: Kawuugulu Musical Performance, Politics, and Storytelling in Buganda

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Book SynopsisTrade Review"A unique time capsule of recent history of the state of the field of art music composition in the United States in 1972. Virginia Anderson presents Childs’s interviews as-is, warts and all. As such, each interview is revealing of the character of the times and of the protagonists."--Chris Brown, Professor Emeritus and former Co-Director of the Center for Contemporary Music, Mills College

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Book SynopsisA Choice Outstanding Academic Title for 2022 China's Cultural Revolution (1966-1976) produced propaganda music that still stirs unease and, at times, evokes nostalgia. Lei X. Ouyang uses selections from revolutionary songbooks to untangle the complex interactions between memory, trauma, and generational imprinting among those who survived the period of extremes. Interviews combine with ethnographic fieldwork and surveys to explore both the Cultural Revolution's effect on those who lived through it as children and contemporary remembrance of the music created to serve the Maoist regime. As Ouyang shows, the weaponization of music served an ideological revolution but also revolutionized the senses. She examines essential questions raised by this phenomenon, including: What did the revolutionization look, sound, and feel like? What does it take for individuals and groups to engage with such music? And what is the impact of such an experience over time? Perceptive and provocative, Music Trade Review"This book opens a new window to events during the Mao era; it undermines our preconceived bias about the events of that phase and is full of musical pieces of the period, providing a distinct picture of the society at that time. . . . Scholars trying to understand Chinese culture and East Asian Studies should go through this book, as the multidisciplinary approach of Lei would lead them to explore something new and fresh in the field." --International Institute for Asian Studies "Music as Mao's Weapon is well-written and comes with detailed background information, photographs, music examples and song lists, which makes it attractive also to the non-China expert. It exposes strategies of revolutionary music composition and investigates its effects on the individual in the highly politicized and violent context of the Cultural Revolution. . . . Ouyang's book offers stimulating insight into why, how, and to whom this musical heritage is still meaningful today." --The China Quarterly "Highly recommended." --ChoiceTable of ContentsList of Illustrations ix Acknowledgments xiii Notes on Pinyin, Surnames, Transliteration, and Translation xvii 1 Researching the Battlefield 1 2 Music and Politics 23 Memories of the Battlefield: “It’s in Your Bones, It’s in Your Blood” 71 3 Music and Childhood 76 Memories of the Battlefield: “Learning Music to Avoid Going ‘Up to the Mountains and Down to the Countryside’” 103 4 Music and Memory 109 Memories of the Battlefield: “You Hear These Songs and You Are Inspired” 131 5 Conclusions 138 Appendix A Brief Historical Context of the Cultural Revolution 155 Appendix B Sixty-Five Children’s Songs in New Songs of the Battlefield 159 Chinese Character Glossary 163 Notes 169 Bibliography 177 Index 191

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Book SynopsisIn his nearly forty-year career, Johann Scheibe became Leipzig's most renowned organ builder and one of the late Baroque's masters of the craft. Johann Sebastian Bach and Johann Kuhnau considered Scheibe a valued colleague. Organists and civic leaders shared their high opinion, for Scheibe built or rebuilt every one of the city's organs. Drawing on extensive research and previously untapped archival materials, Lynn Edwards Butler explores Scheibe's professional relationships and the full range of his projects. These assignments included the three-manual organ for St. Paul's Church, renovations of the organs in the important churches of St. Thomas and St. Nicholas, and the lone surviving example of Scheibe's craft, a small organ in the nearby village of Zschortau. Viewing Scheibe within the context of the era, Butler illuminates the music scene of Bach's time as she follows the life of a gifted craftsman and his essential work on an instrument that anchored religious musical practice anTrade Review"A pioneering book with no equivalent in the field. It is packed with fascinating facts about Leipzig and its history that will interest not only musicians and musicologists but scholars of history, religion, and many other disciplines. At the same time, Butler's coverage of Scheibe's professional, personal, and domestic life will engage anyone at all interested in J. S. Bach and his milieu."--Russell Stinson, author of J. S. Bach at His Royal Instrument: Essays on His Organ Works

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Book SynopsisCompletely rewritten, the updated third edition ofAmerican Musicbroadens the scope of the classic text. Gilbert Chase devotes greater attention to modern forms like jazz, folk, and popular music, while expanding existing scholarship. Chase''s musical tour begins with the various religious movements that dominated our musical expression for over two centuries. From there, he explores the rapid changes and artistic flowerings of the twentieth century—a series of musical revolutions that saw the development of 'serious' instrumental music and an influential avant-garde alongside the birth of ragtime, jazz, and a far-reaching constellation of popular forms.Written by the leading expert of his era,American Musicis a long-standing classroom perennial and an indispensable guide to anyone interested in the United States and its musical heritage.Trade ReviewWinner of a Special Commendation from the Sonneck Society, 1989. (Cf. Society for American Music). "Still leads the field, with unmatched scholarship, polished language, and grand conception. . . . A remarkable book."--American Music"A powerful summary of Chase's life's work. He remains an original and persuasive historian, whose mastery of contextual analysis is admirable."--Ethnomusicology"A landmark in American musical historiography. . . . Indispensable for music teachers and scholars; moreover, it is accessible to the layman. . . . An exhaustive bibliography, excellent discography, and rarely seen illustrations and photographs add to its attractiveness."--Black Perspectives in Music

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Book SynopsisWith notes and annotations that give insight into the larger story of the Jewish experience, this is a study of Yiddish folksongs of several types in both Yiddish and English.Trade Review"Drawing on printed collections and on her own unparalleled knowledge and experience, [Rubin] has produced a book that will charm the scholar and entrance the general reader... [A] wonderfully rich collection." -- Library Journal "An impressive scholarly volume and a surprisingly readable one... [Voices of a People] is certainly a landmark in folklore because of its remarkable combination of scholarship and human understanding." -- Edith Fowke, Canadian Forum "Distinctly revealing and penetrating ... an energetic and lively portrait of every facet of Jewish life." -- Lawrence Cohn, Saturday Review "This highly readable book by the charming and knowledgeable Ruth Rubin should have a wide popular audience... No one who falls under its spell can fail to be moved." -- -- Edson Richmond, Journal of American Folklore

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Book SynopsisExploring sacred song as an integral element of religious culture in AmericaTrade Review"A unique and compelling contribution to American cultural history."--The Antioch Review"The breadth of Marini's study is staggering . . . Marini's solid contribution to the all-too-sparse number of works that recognize the rich contribution of American sacred music promises to spur a number of academic studies and thereby enrich the future of historiography and understanding of American culture."--Journal of Southern Religion"A deeply reflective text, layered with multiple literary and musical references. . . . an excellent text for the classroom. Marini is able to draw many strands of influence together as he explains each musical tradition with ease and clarity."--Journal of the NABPR"A wealth of information as well as readable, thought-provoking interpretations. . . . Marini has produced a volume of value for those interested in American religion and music as well as for specialists in cultural history."--Theology Today"We owe Marini deep thanks for this unusual study. He offers compelling insights into the nature of our public religion, what moves us, how secularity and sacrality intertwine. . . . Marini's book also helps church musicians to think carefully about their powerful role in religious communities and to understand their enormous responsibility in leading those communities in song."--Cross Accent"This book provides rich descriptions of many varieties of sacred music that have evolved in America over the last three hundred years."--Wisconsin Lutheran Quarterly“This unusually fine and important book has no parallel. I know of no other book on American religious music with as wide a sweep. As a historian of American religion, and as a student and practitioner of sacred music, Marini is simply and utterly unique.”--Harvey Cox, Thomas Professor of Divinity at Harvard Divinity School and the author of The Secular City and Fire from Heaven“Enlightening, well informed, and sophisticated. I know of nothing like it.”--Richard Crawford, author of America’s Musical Life: A HistoryTable of ContentsPreface and Acknowledgments ix Introduction: What Is Sacred Song? 1 PART 1: GREAT TRADITIONS OF AMERICAN SACRED SONG 1. Songway: Sacred-Song Traditions of Native America 17 2. Pilgrimage and Penitence: Sacred-Song Traditions of the Hispanic Southwest 39 3. Sacred Harp Singing: Continuity and Change in the American Singing-School Tradition 68 4. "Is It Going to Save Someone?": The Black Church at Song 100 5. Klezmorim and Sephardim: The Jewish Music Revival 130 PART 2: SACRED SONG AND CONTEMPORARY AMERICAN RELIGION 6. New Music of teh Spheres: From the New Age to Neo-Paganism 163 7. Contested Praise: A Tale of Two Hymnals 184 8. Mormons and Music: Maintaining and Mainstreaming Sectarian Identity 213 9. Troubadour for the Lord: Catholic Charismatics and Sacred Song 239 10. The Conservatory Tradition: Interviews with Daniel Pinkham and Neely Bruce 264 11. Gospel Music: Sacred Song and teh Marketplace 296 Conclusion: American Sacred Song and the Meaning of Religious Culture 321 Appendix: Music Examples 331 Index of Titles and First Lines 377 Index of Names and Subjects 383

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Book SynopsisNegotiating identity in hip-hop cultureTrade Review "Miles White's From Jim Crow to Jay-Z drops squarely into the Bermuda Triangle of critical race studies, gender and sexuality studies, and performance studies with useful new approaches to studying rappers as ambivalent cultural exemplars of black masculine performance."--H-Net Review "Invaluable. . . . Provides a clear example of how interdisciplinary approaches to African American music and culture can provide future scholars with the tools to examine the ever changing and diverse identities within the community."--Black Grooves "White's generative approach and application are ground-breaking, innovative, and ultimately laudable."--Popular Music and SocietyTable of ContentsCoverTitle PageCopyright PageContentsAcknowledgmentsIntroduction1 Shadow and Act: American Popular Music and the Absent Black Presence2 The Fire This Time: Black Masculinity and the Politics of Racial Performance3 Affective Gestures: Hip-hop Aesthetics, Blackness, and the Literacy of Performance4 Real Niggas: Black Men, Hard Men, and the Rise of Gangsta Culture5 Race Rebels: Whiteness and the New Masculine DesireEpilogueAppendixNotesReferencesIndex

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Book Synopsis Inspired by the Hank Williams and Leadbelly recordings he heard as a teenager growing up outside of Boston, Jim Rooney began a musical journey that intersected with some of the biggest names in American music including Bob Dylan, James Taylor, Bill Monroe, Muddy Waters, and Alison Krauss. In It for the Long Run: A Musical Odyssey is Rooney''s kaleidoscopic first-hand account of more than five decades of success as a performer, concert promoter, songwriter, music publisher, engineer, and record producer.As witness to and participant in over a half century of music history, Rooney provides a sophisticated window into American vernacular music. Following his stint as a 'Hayloft Jamboree' hillbilly singer in the mid-1950s, Rooney managed Cambridge''s Club 47, a catalyst of the ‘60’s folk music boom. He soon moved to the Newport Folk Festival as talent coordinator and director where he had a front row seat to Dylan 'going electric.'In the 1970s RooTrade Review "I know how lucky I am to have connected with Jim all those years back when I was just starting out. He always had a way of lifting us all up out of the everyday. We never forgot that we were trying to make music that'd help people get THROUGH the everyday, but, ironically, you have to get on up out of it for awhile in order to do that. Jim always made that possible for me." --Iris DeMent "Without Jim Rooney's early encouragement, I would not have a career." --Nanci Griffith "Rooney is best known for producing records by people like John Prine, Townes Van Zandt and Nanci Griffith. . . . Fortunately for readers, he's also a gifted storyteller, with a humorous sense of perspective and wry self-awareness. Could you really ask for anything more from a musician's memoir?"--Nashville Scene"A love letter to friendship and music."--The Tennessean"Wonderful fellow with an interesting life equals great story."--John Prine"As a singer and entertainer, record producer and song publisher, Jim Rooney has been right smack in the middle of so much authentic American music for over 50 years. His guiding hand has helped launch and expand the careers of a host of great artists and I can't imagine the arc of my own success without the benefit of Jim's natural musical integrity and generous support."--Pat Alger, member of the Nashville Songwriters Hall of Fame and the Georgia Music Hall of Fame“If it were not for Jim Rooney, I could have never negotiated my way through the jungle that is Nashville. We made two wonderful records together and had a blast doing them.”--Robert Earl Keen

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Book SynopsisRepresenting a historical cross-section of performance and training in Western music since the seventeenth century, this book brings to light the private and performance lives of five remarkable women musicians and composers.Trade Review"A welcome contribution to the literature on women in music. Richly contextualized and engagingly written, Porter's book offers portraits of five women who lived lives full of music and whose music should enliven our concert halls more."--Anne MacNeil, author of Music and Women of the Commedia dell'Arte in the Late Sixteenth Century"An engaging book that draws readers into deep consideration of the complexities facing women—then and now—who forge careers in music. Highly recommended."--Choice

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Book SynopsisTrade Review"A valuable contribution to our deeper understanding of the rich, intricate, and elaborate culture of the Appalachian mountain region of America."--Civil War Book Review "This book is meticulously researched, a thorough telling of the story of Appalachian dance, beginning with its European, African-American, and Native-American roots, continuing to modern times. Perhaps because he’s a dancer himself, Jamison writes in a very engaging, reader-friendly manner which scholars and hobbyists alike should appreciate. Highly recommended"--Bluegrass Unlimited"Jamison demonstrates how the history of dance is the story of America: immigration, race, trade, culture, identity, fashion, social stratification, and innovation. The closer you look, the more fascinating it all becomes. . . . This book is about dance, true, but it also provides an analogue for so many other things, reminding us, once again, that few forms of art. . . are ever quite what they seem."--Sing Out! "No praise is too high for this book. . . . Essential for anyone interested in American dance history or southern Appalachian culture."--Country Dance and Song Society News"An enjoyable read. Valuable for those interested in dance, music, African American studies, Native American studies, and US history in general. Recommended."--Choice "Phil Jamison has done an admirable job… Hoedowns, Reels, and Frolics is highly informative and entertaining; it would be a worthy addition to the library of any folk dance-- or folk music-- scholar or enthusiast."--Journal of Folklore Research

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Book SynopsisTrade Review"The musicians run the gamut from the well known (Albert Collins, Freddie King, Arthur Crudup) to the obscure… The University of Illinois Press is to be commended for making this material available once more, this time in permanent form."--Journal of Folklore Research "Groundbreaking artist interviews and a covey of the most enlightening are collected here (along with a gang of photos) over the volume's generous 496 pages. A necessary purchase."--Gary von Tersch, Big City Rhythm & Blues Blues"Blues Unlimited set the standard for all of the other blues publications that followed in its wake. . . . Throughout the book, the editors and writers of Blues Unlimited show a deep knowledge of the history of the musicians under consideration."--Blues Blast Magazine "The pioneering work of Blues Unlimited produced a mine of - often very detailed - information about forgotten and new blues heros. This compilation worthy of reading interviews shows that in a varied and colourful way.”--De Blueskrant"Blues Unlimited was not only an amazing source of information but also an inspiration to the founders of Living Blues magazine. We wanted to do our part in America to join in and complement BU's groundbreaking work. The late Mike Leadbitter, co-editor of BU, and his successors left a marvelous legacy of blues literature and generously shared their research with us."--Jim O'Neal, co-founder, Living Blues magazine"There is a remarkable variety of work here. The obvious commitment to tradition, to getting the story right, reporting it accurately, and providing an unstinting platform for the voices of the human beings that created this musical tradition, shows through time and again, with candor and clarity."--Steven C. Tracy, author of Hot Music, Ragmentation, and the Bluing of American Literature"Without Blues Unlimited, our knowledge and understanding of the history of the blues would be neither as rich nor as detailed as it is. We owe every contributor a debt of gratitude that we can only repay by appreciating their efforts."--Paul Vernon, author of Last Swill and Testament: The Hilarious, Unexpurgated Memoirs of Paul 'Sailor' Vernon, Blues Fanatic, Rare Record Dealer, Ligger, Erstwhile Bon Viveur, and Friend to the Stars"The Blues Unlimited crew provided a wonderful service to blues enthusiasts worldwide and did themselves proud--real trailblazers. A sure, can't miss winner."--Steve Cushing, host of Blues Before Sunrise and author of Pioneers of the Blues Revival

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

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Book SynopsisTrade Review”Including works by many of film music's finest scholars, the diversity of articles and approaches here is most welcome. Some pieces will prove to be real game-changers, beautifully written and argued.”—Caryl Flinn, author of Brass Diva: The Life and Legends of Ethel Merman ”Valuable new essays on the ways cinema speaks, sings, shouts, and whispers.”—Claudia Gorbman, author of Unheard Melodies: Narrative Film Music "The book will intrigue those interested in voice and film studies and the various ways the singing voice can be used to advantage in cinema." --ChoiceTable of ContentsCoverTitleCopyrightContentsAcknowledgmentsIntroduction: Voices in, of, and on the Cinema / James Buhler and Hannah LewisPart One: Historical Approaches to Technology and the Voice1. Apprehending Human Voice in the “Silent Cinema” / Julie Brown2. Silencing and Sounding the Voice in Transition-Era / Hannah Lewis3. FM Radio and the New Hollywood Soundtrack /Julie Hubbert4. Pinewood’s Fiddler Fans Goldwyn’s Folly: London’s Battle for Postproduction Sound Business / Katherine QuanzPart Two: The Practice of the Singing Voice5. Vococentrism and Sound in Ingmar Bergman’s The Magic Flute / Marcia J. Citron6. Breaking into Soundtrack in 1980s Teen Films / Cari McDonnell7. Girls’ Voices, Boys’ Stories, and Self-Determination in Animated Films since 2012 / Robynn J. StilwellPart Three: The “Auteuristic” Voice of the Soundtrack8. The Trouble with Onscreen Orchestrators: Progeny and Compositional Crisis in the Four Daughters Films / Nathan Platte9. Some Thoughts on Genre, the Vococentric Cinema, and “Stella by Starlight” / David Neumeyer10. Listening to Soundscapes in Kurosawa’s Dersu Uzala (1975) / Brooke McCorkle11. Peter Weir and the Piano Concerto / Erik HeinePart Four: Narrative and Vococentrism12. Monocentrism, or Soundtracks in Space: Rediscovering Forbidden Planet’s Multi-Speaker Release / Eric Dienstfrey13. Sound and the Comic/Horror Romance Film: Formula, Affect, and Inflection / Janet Staiger14. Once More into the Breach: Interrogating Ben Winters’s Nondiegetic Fallacy / Jeff Smith15. The End(s) of Vococentrism / James BuhlerContributorsIndexBack cover

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Book SynopsisGospel music evolved in often surprising directions during the post-Civil Rights era. Claudrena N. Harold's in-depth look at late-century gospel focuses on musicians like Yolanda Adams, Andraé Crouch, the Clark Sisters, Al Green, Take 6, and the Winans, and on the network of black record shops, churches, and businesses that nurtured the music. Harold details the creative shifts, sonic innovations, theological tensions, and political assertions that transformed the music, and revisits the debates within the community over groundbreaking recordings and gospel's incorporation of rhythm and blues, funk, hip-hop, and other popular forms. At the same time, she details how sociopolitical and cultural developments like the Black Power Movement and the emergence of the Christian Right shaped both the art and attitudes of African American performers. Weaving insightful analysis into a collective biography of gospel icons, When Sunday Comes explores the music's essential place as an outlet for AfTrade Review"A groundbreaking study." --Black Perspectives"The beauty of Claudrena N. Harold’s brilliant When Sunday Comes: Gospel Music in the Soul and Hip-Hop Eras is in how it illustrates the power of gospel music to maintain its character, grow from its roots, evolve to reach new listeners, and spiral steadily upward in its call-and-response to new audiences who acclaim the uplifting spiritual strength and enduring beauty of the music. " --No Depression"A multilensed view of a continually evolving and consistently vibrant art form. For gospel fans, music scholars, and scholars of African American history and culture generally." --Library Journal"An in-depth history of African American gospel music." --Booklist"When Sunday Comes is the book we’ve been waiting for--a thoughtful and thought-provoking analysis of the impact contemporary singers, songwriters, and musicians have made, and continue to make, on gospel music. With this volume, Claudrena Harold makes a valid argument for scholars to look more closely at this important period in gospel music history."--Robert M. Marovich, author of A City Called Heaven: Chicago and the Birth of Gospel Music"A prodigious job of research. The author seems to have consulted all available print sources in addition to important manuscript collections and interviews. No book covers this terrain as thoroughly and with such a deep knowledge and appreciation for the music. I don’t think it would be out of line to describe When Sunday Comes as a labor of love." --David W. Stowe, author of No Sympathy for the Devil: Christian Pop Music and the Transformation of American EvangelicalismTable of ContentsAcknowledgments Introduction Chapter 1. Lord, Let Me Be an Instrument: The Artistry and Cultural Politics of Reverend James Cleveland Chapter 2. A Special Kind of Witness: Andraé Crouch, the Growth of Contemporary Christian Music, and the Politics of Race Chapter 3. Hold My Mule: Shirley Caesar and the Gospel of the New South Chapter 4. A Wonderful Change: Walter Hawkins and the Love Alive Explosion Chapter 5. Higher Plane: The Gospel According to Al Green Chapter 6. The Only Thing Right Left in a Wrong World: The Clark Sisters, the Winans, Commissioned, and the Search for Cultural Authority in the 1980s Chapter 7. If I Be Lifted: Milton Brunson and the Thompson Community Singers Chapter 8. Through It All: Vanessa Bell Armstrong and the Perils of Crossover Chapter 9. Hold Up the Light: The Crossover Success of BeBe and CeCe Winans Chapter 10. Outside the County Line: The Southern Soul of John P. Kee Chapter 11. We Are the Drum: Take 6, the Sounds of Blackness, and the New Black Aesthetic Epilogue: Do You Want a Revolution? Kirk Franklin, Yolanda Adams, and the Beginning of a New Era in Gospel Music Notes Selected Bibliography Index

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Book SynopsisTrade ReviewDottie Dodgion was honored during the "In Memoriam" segment of the Grammy Awards 2022 "Dodgion had a fascinating story to relate. She and Enstice produced a book that flows naturally and always maintains the reader's interest." --Jersey Jazz"This highly readable history says much about the demands upon someone determined to be a performer. . . . This book also contains an audio companion illustrating Dodgion's insufficiently celebrated playing, and she certainly knows how to tell a story, musically and verbally. " --Jazzwise"The Lady Swings undulates as much with dynamic rhythm as it does with delicious drama and laugh-out-loud storylines." --JazzTimes"Written in a breathtaking, breezy narrative that takes the reader on a musical journey that is reflected as if in the mirror of Ms Dodgion’s life itself. . . . This is what makes the book so exciting: the mere fact that you will discover a musician who gave – and continues to give – her life to the music she fell in love with as a child and one who remains its guardian, keeping the flame aglow even in the sunset of her life." --JazzdaGama"A pioneering woman in jazz and swinging drummer, Dottie Dodgion played with some of the great musicians of her time. She has a unique story to tell."--Quincy Jones​​"When I first caught Dottie Dodgion in action I was bowled over. I didn’t hear a great female drummer but a truly great jazz drummer, period, able, as you’ll be happy to learn from the story she tells with such insight, humor and complete honesty, to please both Charles Mingus and Wild Bill Davison. The lady's words swing as hard as her ride cymbal, and will keep your foot tapping all the way through."--Dan Morgenstern, Director Emeritus, Institute of Jazz Studies, Rutgers University​​​"Dottie Dodgion not only takes you on a dizzying ride through her incredible life, she teaches you some of the great secrets of jazz and unmasks the archaic attitudes toward female musicians that have marginalized great talents like hers. What a wonderful journey she’s had. What a wonderful book this is!"--Judy Chaikin, director and cowriter of The Girls in the Band“A unique and important contribution to the history of jazz."--Dee Spencer, composer, performer, educator ​​"An interesting book about an eventful life in music." --New York City Jazz Record "The Lady Swings belongs on the short list of essential jazz autobiographies." --All About Jazz "The Lady Swings is an entertaining and informative book, one that is easily recommended." --Syncopated Times "A full portrait of the obstacles American women faced in the 20th century jazz scene . . . Dodgion's pull-no-punches style and determination in the face of daunting situations bring an obscure figure to vivid life." --Library Journal "A compelling tale of a groundbreaking person from a memorable time in American cultural history." --FraNoi "A swinging tale that is more than a fascinating footnote in the annals of jazz." --Kirkus Finalist, Book of the Year About Jazz: Biography and Autobiography, Jazz Journalists Association (JJA), 2022 Table of ContentsForeword Acknowledgments Prefatory Notes Introduction Part I. The California Years Scene One: On the Road Scene Two: Spot Behind The Scenes One: The Giaimos Scene Three: Eleanor Powell’s Shoes Behind The Scenes Two: The Tiptons Scene Four: The Eight-Day Clock Scene Five: Polio Scene Six: Jail Bait Scene Seven: TD&L Scene Eight: Mingus Scene Nine: Apple Pie, Apple Pie, Apple Pie Scene Ten: A Little Help from My Friends Scene Eleven: The Drummer Was Always Late Scene Twelve: Monty Scene Thirteen: Jerry Scene Fourteen: 176 Steps Behind The Scenes Three: Eugene’s Lessons Scene Fifteen: First Time in Vegas Scene Sixteen: Followed by Myself in the Moonlight Scene Seventeen: The IT Club Scene Eighteen: Thunderbird Part II. The New York and East Coast Years Scene Nineteen: 14 Drummers Scene Twenty: Mount Airy Lodge Scene Twenty-One: Strollers Scene Twenty-Two: The Village Stompers Scene Twenty-Three: Eddie Condon’s Behind The Scenes Four: Pearls to Swine Scene Twenty-Four: Park Ridge Scene Twenty-Five: Piano Party Behind The Scenes Five: Ruby Scene Twenty-Six: Suburban Housewife Scene Twenty-Seven: In the Middle of the Brook Scene Twenty-Eight: Harold’s Rogue and Jar Scene Twenty-Nine: Melba Liston And Company Scene Thirty: Fazee Cakes Part III. California Redux Scene Thirty-One: The Best Kept Secret in Town Scene Thirty-Two: A Leader at Sixty-Five Scene Thirty-Three: Pacific Grove Scene Thirty-Four: Octogenarian Postscript Notes Discography Inde

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Book SynopsisTrade Review"Recommended." --Choice"An important work, this book is the first in-depth, interdisciplinary study of spirit mediumship as both a healing mechanism and musical way of life in south-central Uganda. It is relevant to African studies, anthropology, ethnomusicology, history, and public health."--Damascus Kafumbe, author of Tuning the Kingdom: Kawuugulu Musical Performance, Politics, and Storytelling in Buganda

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Book SynopsisTrade ReviewBadura-Skoda has written a remarkable volume, the result of a lifetime of scholarly research and investigation. . . . Essential. * Choice *Table of ContentsPrefaceAcknowledgmentsIntroduction1. Bartolomeo Cristofori 2. Giving Cristofori's nuovo cimbalo a Name: Terminology Problems throughout the Eighteenth Century 3. Domenico Scarlatti4. New inventions in Germany, Pantalone Instruments, and Gottfried Silbermann 5. Johann Sebastian Bach and the "Piano et Forte"6. Pianoforte Builders in Germany around 1750 7. The Generation of Bach's Older Sons 8. From Alberti, Platti, and Rutini to Eckard and the Younger Sons of Bach 9. Developments in the Second Half of the Century: Johann Andreas Stein and Sébastien Erard10. Joseph Haydn-Wenzel and Johann Schantz, Young Mozart and Nannette Stein11. Anton Walter and Wolfgang Amadeus Mozart 12. From Broadwood, Merlin, and Clementi to BeethovenEpilogueAppendix: Scipione Maffei's Article of 1711Selected BibliographyIndex

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Book SynopsisFeatures work by 10 contributors on "Queen Bey" Examines Beyoncé's career, and her involvement in current issues Uses accessible language that will appeal to both a general and scholarly audience interested in social justice, Black Lives Matter, and feminism Builds on editors' previous volume on Lady Gaga from RoutledgeTrade Review"Iddon and Marshall's Beyoncé is poised to expand critical conversations about the biggest and most influential pop star of the 21st century."—Daphne Brooks, author of Bodies in Dissent: Spectacular Performances of Race and FreedomTable of ContentsIntroductionPart I: Beyoncé at Work, Making Beyoncé1. Surviving the Hustle: Beyoncé's Performance of Work2. "A Scientist of Songs": Beyoncé's Recording Studio Music Making and the Problem of Authorship in Popular Music3. "Singing All The Time": Constructions of Cultural Identity in Beyoncé's I am... Sasha FiercePart II: Beyoncé On Screen, Reading Beyoncé4. Beyoncé's Mixed Media Feminism: Sounding, Staging, and Sampling Gender Politics in "***Flawless"5. "At Last a Dream That I Can Call My Own": Beyoncé and the Performance of Stardom in Dreamgirls and Cadillac Records6. For the Texas Bama Femme: A Black Queer Femme-inist Reading of Beyoncé's "Sorry"7. Gypsying Beyoncé: The Latin Crossover through Hispanic StereotypesPart III: Beyoncé Online, Re-presenting Beyoncé8. Unlikely Resemblances: "Single Ladies," and Comparative Judgment of Popular Dance9. "I See Music": Beyoncé, YouTube, and the Question of Signed-Songs10. "Girl I'm Tryna Kick It With Ya": Tracing the Reception of "7/11"'s Embodiment of Girl/Bedroom Culture Through YouTube Reaction VideosBibliographyIndex

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Book SynopsisFeatures work by 10 contributors on "Queen Bey" Examines Beyoncé's career, and her involvement in current issues Uses accessible language that will appeal to both a general and scholarly audience interested in social justice, Black Lives Matter, and feminism Builds on editors' previous volume on Lady Gaga from RoutledgeTrade Review"Iddon and Marshall's Beyoncé is poised to expand critical conversations about the biggest and most influential pop star of the 21st century."—Daphne Brooks, author of Bodies in Dissent: Spectacular Performances of Race and FreedomTable of ContentsIntroductionPart I: Beyoncé at Work, Making Beyoncé1. Surviving the Hustle: Beyoncé's Performance of Work2. "A Scientist of Songs": Beyoncé's Recording Studio Music Making and the Problem of Authorship in Popular Music3. "Singing All The Time": Constructions of Cultural Identity in Beyoncé's I am... Sasha FiercePart II: Beyoncé On Screen, Reading Beyoncé4. Beyoncé's Mixed Media Feminism: Sounding, Staging, and Sampling Gender Politics in "***Flawless"5. "At Last a Dream That I Can Call My Own": Beyoncé and the Performance of Stardom in Dreamgirls and Cadillac Records6. For the Texas Bama Femme: A Black Queer Femme-inist Reading of Beyoncé's "Sorry"7. Gypsying Beyoncé: The Latin Crossover through Hispanic StereotypesPart III: Beyoncé Online, Re-presenting Beyoncé8. Unlikely Resemblances: "Single Ladies," and Comparative Judgment of Popular Dance9. "I See Music": Beyoncé, YouTube, and the Question of Signed-Songs10. "Girl I'm Tryna Kick It With Ya": Tracing the Reception of "7/11"'s Embodiment of Girl/Bedroom Culture Through YouTube Reaction VideosBibliographyIndex

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Book SynopsisTrade Review"The Performing Pianist's Guide to Fingering is a very practical and highly useful (and musical!) approach to the subject. . . . [It] is an excellent resource and guide for informing pianists about factors that influence and impact their fingering choices and options."—Murray McLachlan, Chair, European Piano Teachers' AssociationTable of ContentsPrefaceAcknowledgmentsPart I: Fingering Techniques1. Fingering Keyboard Works of Selected Composers and StylesAppendix: The Fingering of Benno Moiseiwitsch in Manuscript IllustrationsBibliographyPart II: Baroque Fingering and Interpretation: What Can a Modern Pianist Learn?Introduction: The Pianist's Dilemma2. An Overview of General Baroque Fingering Concepts3. Articulation (attack, decay, lifting, slurring, Affekt)4. Hand splitting or Re-distributions, Stemming, and Cross hands5. Crossing and Turning of the Fingers6. Repeated Notes, Glissandi, Musical Figures, and the Overdot7. Fingering in Ornamentation8. Fingering in Chords and in Chordal Realizations9. Bach's Poetic Meter10. Singing with the Fingers11. Dancing with the Fingers: A Guide to Understanding Scarlatti's Iberian Sonatas when Choosing a FingeringConclusionBibliographyIndex

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Book SynopsisTrade ReviewThe book succeeds . . . by discussing the material world and practices of classical music. In setting forth concrete details and eschewing the hyperbolic and metaphoric, Stefaniak brings classical music back to life. -- M. Dineen * Choice *Table of ContentsAcknowledgmentsChronologyIntroduction1. Schumann's Early-Career Concert Vehicles: Transcendent Interiority and the Cutting Edge of Popular Pianism2. The Imagined Revelation of Musical Works3. The Compositional Agency of the Revelatory Interpreter4. Clara Schumann's 1840s Compositions and her Midcentury Persona5. Navigating and Shaping Local Concert Scenes and Canons: Clara Schumann's 1854-56 Tours6. Revelatory Interpretation and the Performance of MemoryEpilogueBibliographyIndex

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Book SynopsisIntroduces art song literature and composers from Latin AmericaTrade ReviewMezzo-soprano Hoover (Univ. of Hawai'i at Mānoa; board member, Latin American Art Song Alliance), along with six supporting contributors (including the founder of LAASA), has constructed this guide to 20th-century Latin American art songs. Designed for singers and voice teachers wishing to investigate this literature, the main body of the work is 22 chapters, one for each of the 22 Latin American countries surveyed. Each chapter has a 'brief introduction to the region... followed by an annotated catalog of compositions organized alphabetically by composer.' Over half of these pages are taken up by the chapters on Argentina and Brazil. Several countries have just over a page of introduction and a handful of songs; a few have just one song. The volume includes a preface, introduction, bibliography, indexes, appendixes, and notes. The 'List of Publishers' might prove useful in locating the songs. Hoover states that this is a 'representative' rather than a 'definitive' book--a starting point for investigating the literature. No similar work exists, and most general Latin American music guides are years, even decades old. Summing Up: Recommended. Practitioners and collections serving vocal music programs; lower-level undergraduates and above. --Choice J. L. Patterson, University of Wisconsin--Eau Claire, December 2010"Hoover, along with six supporting contributors (including the founder of LAASA), has constructed this guide to 20th-century Latin American art songs.... No similar work exists, and most general Latin American music guides are years, even decades old.... Recommended." —Choice"[Hoover] has made an important contribution to the study and performance of Latin American art song—and indeed, to art song in general—with this publication. Singers who are interested in exploring new repertoire should investigate this book, and teachers who are looking for new song literature will find the volume useful as well." —Journal of Singing, Vol. 67 No. 2, 2010"This reference work is a tremendous resource for anyone interested in the Latin American art song repertoire. The fact that it lists so many composers and compositions, how to obtain them, along with voice ranges and types, truly makes this book practical and necessary for research discovery and planning in the academic music disciplines." —Reference Reviews, Vol. 25, No. 1, 2011"Maya Hoover’s guide to the Latin American art song repertoire will be a welcome addition to any music library reference collection or to the voice teacher’s bookshelf. The only resource of its kind, the volume introduces the reader to a wealth of contemporary classical vocal repertoire from twenty-two Latin American countries." —Music Reference Services QuarterlyTable of ContentsPrefaceAcknowledgmentsIntroduction1. Argentina / Allison Weiss2. Bolivia3. Brazil / Stela M. Brandão4. Chile5. Colombia / Ellie Anne Duque6. Costa Rica7. Cuba8. Dominican Republic9. Ecuador10. El Salvador11. Guatemala12. Haiti / Jean-Ronald LaFond13. Honduras14. Jamaica15. Mexico16. Nicaragua17. Panama18. Paraguay19. Peru / José-Luis Maúrtua20. Puerto Rico21. Uruguay22. Venezuela / Kathleen L. WilsonAppendix A: List of Countries and Regions in Latin AmericaAppendix B: Statistics by Geographic RegionAppendix C: List of PublishersAppendix D: List of Suggested RepertoireNotesBibliographyList of ContributorsIndex

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Book SynopsisTaking a sociocultural and human-centered approach, Music in Latin America and the Caribbean gathers the best scholarship from writers all over the world to cover in depth the musical legacies of indigenous peoples, creoles, African descendants, Iberian cTrade Review"Simply put, this is a wonderful--in some respects even an extraordinary--book. From one end to the other, it strikes a series of elegant balances on every level." Allan W. Atlas, Distinguished Professor of Music, The Graduate Center, The City University of New YorkTable of Contents Prologue Acknowledgments Native Peoples: Introductory Panorama (Carol E. Robertson) Myth, Cosmology, and Performance (Carol E. Robertson) Metamorphosis: Mythic and Musical Modes of Ceremonial Exchange among the Wakuénai of Venezuela (Jonathan D. Hill) Brazil's Indigenous Universe (to ca. 1990): The Xavante, Kamayurá, and Suyá (Elizabeth Travassos) The Yawari Ritual of the Kamayurá: A Xinguano Epic (Rafael José de Menezes Bastos) Music and Worldview of Indian Societies in the Bolivian Andes (Max Peter Baumann) Local Practices among the Aymara and Kechua in Conima and Canas, Southern Peru (Thomas Turino) Amerindian Music of Chile (Maria Ester Grebe) Musical Culture of Indigenous Societies in Argentina (Irma Ruiz) Fertility Ritual (Carol E. Robertson) Music and Healing (Carol E. Robertson) The Fundamental Role of Music in the Life of Two Central American Ethnic Nations: The Mískito in Honduras and Nicaragua, and the Kuna in Panama (Ronny Velásquez) Mexico's Indigenous Universe (Marina Alonso Bolaños) Musical Traditions of the P'urhépecha (Tarascos) of Michoacán, Mexico (E. Fernando Nava López) Aerophones of Traditional Use in South America, with References to Central America and Mexico (Dale A. Olsen) Epilogue (Carol E. Robertson) Index Contributors Recorded Examples

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Book SynopsisThe second book in a major four-volume work focusing on the musical legacies of the New World.Trade ReviewPerforming the Caribbean Experience takes its rightful place in the Mundo Nuevo canon and even carves out its own niche, as the most comprehensive creole investigation of cultural forms to date. * The Caribbean Review of Books *

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Book SynopsisAn expert's guide to the skills of the greatest conductorsTrade Review“Holden’s strong suit is his practical experience as a professional conductor. Abundant enthusiasm and love of the craft ensures a stimulating book.”—Cyril Ehrlich -- Cyril Ehrlich

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Book SynopsisThe essential companion to musical London

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Book SynopsisDespite the apparent incompatibility between Mozart's humanitarian and cosmopolitan outlook and Nazi ideology, the Third Reich tenaciously promoted the great composer's music to further the goals of the fascist regime. This book provides a fresh understanding of how the Nazis shamelessly manipulated Mozart for their own political advantage.Trade Review"The story is complicated and many-faceted, yet Levi provides the detail and the context necessary for a convincing narrative. The tone, journalistic and anti-sensational throughout, could scarcely be more effective. . . . This intriguing study comprehends a range of vital topics, and seems oddly pertinent to the present day. Highly recommended."—B.J. Murray, Choice -- B.J. Murray * Choice *"Mozart and the Nazis is a well-researched, detailed account of perceptions about Mozart, his music, and his legacy in the Third Reich and beyond. . . . The rich detail provided in Mozart and the Nazis gives readers a wealth of material for gaining a deeper understanding of how such an important musical figure can be mythologized and exploited to serve both universalist and exclusionary political philosophies."—Pamela Potter, H-Judaic -- Pamela Potter * H-Judaic *

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Book SynopsisTells the story of the life and musical work of Finnish composer Jean Sibelius (1865-1957). Drawing on Sibelius' own correspondence and diaries, contemporary reviews, and the remarks of family and friends, this book presents an account of the events of the musician's life.Trade Review"Andrew Barnett is unfailingly perceptive and has the ability to engage the interest of both the less informed and the more expert reader. Few would be better qualified to undertake a new book on the Finnish master."—Robert Layton, author of Sibelius (Master Musicians Series) -- Robert Layton"A book of great importance: a fresh, evenhanded account of the composer, especially of his early years. . . . A welcome antidote to the seesaw of critical attention from uncritical admirers and excessively harsh critics. . . . Highly recommended."—Choice * Choice *“Barnett neatly dispels other myths, explaining how from around 1930 to his death, Sibelius completed briefer works while striving, unsuccessfully, to complete his Eighth Symphony. . . . A warmly humanizing, informed biography.”--Benjamin Ivry, The Newark Star-Ledger -- Benjamin Ivry * The Newark Star-Ledger *

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Book SynopsisFirst performed at the midpoint of the twentieth century, John Cage's 4'33", a composition conceived of without a single musical note, is among the most celebrated and ballyhooed cultural gestures in the history of modern music. This title offers the reader both an expert's analysis and highly personal interpretation of Cage's most divisive work.Trade Review"'Gann's book perfectly proves Cage's belief that putting a frame around silence can be as rewarding as music itself.' (Andrew Male, Mojo) '4'33", Gann argues, though often suspected of being merely a 'provocative stunt', is actually one of the best understood and most influential works of avant-garde music... In describing the piece's premieres and reception, Gann recaptures its 'Promethean' impact, which cost Cage some friends and prompted his mother to ask, "Don't you think that John has gone too far this time?'" (The New Yorker)"

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Book SynopsisThe production of Wagner's operas is fiercely debated. This book evokes the - often scandalous - great productions that have left their mark not only on our understanding of Wagner but on modern theatre as a whole. It concludes with a critique of the iconoclastic interpretations by Patrice Chereau, Ruth Berghaus, and Hans-Jurgen Syberberg.Trade Review“[A] massive undertaking… This book is truly epic in its scope, and it will certainly become one of the standard reference works in English, not only in Wagner but on twentieth-century stagecraft.” - Patrick O’Connor, Literary Review -- Patrick O'Connor * Literary Review *"...long meditated as well as meticulously researched...its overview is magisterial, and, despite its considerable length, the crisply organised structure and unfailing lucidity of the prose make it worth the effort of a thorough and continuous reading."---Rupert Christiansen, The Spectator -- Rupert Christiansen * The Spectator *"...one of the most marvellous books I have read this year...Patrick Carnegy recounts with deep scholarship combined with good humour, Wagner's obsession with special effects."---A.N. Wilson, The Daily Telegraph -- A.N. Wilson * The Daily Telegraph *

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Book SynopsisLooks at the actual contribution of Jewish composers in Germany and Austria before 1933, at their increasingly precarious position between then and 1939, at the forced emigration of composers and performers before and during the war, and at the emaciated post-war musical life of Germany and Austria.Trade Review"'A meticulously documented study of this 'lost generation' of composers, ranging historically over almost two centuries.' (Mark Pappenheim, BBC Music Magazine) 'Compelling... rich in unexpected facts and quotes... Its greatest virtue is the unearthing of composers, critics, conductors and musicians destined for obscurity. Haas makes a pleasingly detailed argument for honouring a treasure trove to which the development of Western music owes a considerable debt.' (Rebecca K. Morrison, Independent) 'Forbidden Music... offers an essential supplement to standard histories of music in thrall to big names and vested interests. The trajectory is tortuous and tragic, the future still uncertain.' (David Gutman, International Record Review)"

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Book SynopsisEvery year, Johann Sebastian Bach's major vocal works are performed to mark liturgical milestones in the Christian calendar. Written by a renowned Bach scholar, this concise and accessible book provides an introduction to the music and cultural contexts of the composer's most beloved masterpieces, including the Magnificat, Christmas Oratorio, and St. John Passion. In addition to providing historical information, each chapter highlights significant aspectssuch as the theology of loveof a particular piece. This penetrating volume is the first to treat the vocal works as a whole, showing how the compositions were embedded in their original performative context within the liturgy as well as discussing Bach's musical style, from the detailed level of individual movements to the overarching aspects of each work. Published in the approach to Easter when many of these vocal works are performed, this outstanding volume will appeal to casual concertgoers and scholars alike.Trade Review'Markus Rathey provides concise and very readable introductions to six of Bach’s greatest works. Apart form the sheer power of the music, the meditation that Bach intended them to inspire is greatly assisted and deepened by an understanding of the rich traditions of theology and liturgy from which they grew. Bach lovers, people approaching Bach for the first time, and particularly people outside these traditions will find this book an enriching companion.' - David Ledbetter, author of Unaccompanied Bach: Performing the Solo Works 'Rathey achieves something that is rare in writing about Bach: a book that is fully informed by scholarship but also one that is relevant and understandable for virtually any interested reader, at any level of musical education. Rathey's particular contribution is to explain what initially appear to be arcane expressions in the texts of Bach’s major sacred works, bringing out the significance of the many references to love. This helps us to experience Bach’s music as far more sensual and emotional than many may hitherto have believed.’ - John Butt, author of Bach's Dialogue with Modernity: Perspectives on the Passions

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Book SynopsisFrom the author of The History of Rock 'n' Roll in Ten Songs comes his Basement Tapes: the complete Real Life Rock Top 10 columns For nearly thirty years, Greil Marcus has written a remarkable column called Real Life Rock Top Ten. It has been a laboratory where he has fearlessly explored and wittily dissected an enormous variety of cultural artifacts, from songs to books to movies to advertisements. Taken together, his musings, reflections, and sallies amount to a subtle and implicit theory of how cultural objects fall through time and circumstance and often deliver unintended consequences, both in the present and in the future. Real Life Rock reveals the critic in full: direct, erudite, funny, fierce, vivid, uninhibited, and possessing an unerring instinct for art and fraud. The result is an indispensable volume packed with startling arguments and casual brilliance.

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Book SynopsisA richly detailed portrait of the music and surrounding culture in one of history's most creative eras.

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Book SynopsisThe story of conductor extraordinaire Gustavo Dudamel, and the music education program, El Sistema, that led him to success.Trade Review"Starred Review. This passionate and inspiring story should be read by all those interested in music education, community building, and advocacy for the disadvantaged. An essential purchase." "Tunstall soundly probes how it is that classical music has played such a powerful role in the protection, education, and elevation of so many children born into poverty. The author does a noble job tracing the history of El Sistema, while managing to keep the narrative as much in the immediate present as possible."

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Book SynopsisAn intimate portrait of Handel's life and inner circle, modelled after one of the composer's favourite forms: the fugue.Trade Review"...a sequence of thematic chapters, each with its own timeline, charting the composer's career through others' eyes and ears, evoking more vividly than most the society in which Handel moved." -- Hugh Canning, Sound Choices 2014 - The Sunday Times

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Book Synopsis

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Book SynopsisAn original concept: in one volume, a study-size score of a major musical work, and a comprehensive body of tools for the study of that work.

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Book SynopsisAn original concept: in one volume, a study-size score of a major musical work, and a comprehensive body of tools for the study of that work.

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Book SynopsisFour CDs—fully tracked and indexed—contain all examples from the text performed on a variety of instruments and by vocalists.

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