Music Books

Book SynopsisTrade Review"A gust of fresh air blowing across a stage. . . . As a compilation of source texts, On Minimalism is unparalleled, containing prescient, critical writings from many commentators and participants. . . . Organized in 21 accessible chunks (not only the expected ones, but also others covering spirituality, multimedia and altered states), each headed by an introduction that synthesizes the coming information, this is a breeze to navigate and, for all its scholarly chops, relaxed in its learning." * The Wire *Table of ContentsContents Foreword by Joan La Barbara Introduction PART ONE 1. Improvisation and Experimentation 2. Dream Music 3. Loops and Process 4. Altered States 5. Gurus and Teachers 6. Cultural Fusion 7. Across the Arts 8. Ensembles PART TWO 9. 1976 10. The New Downtown 11. Instruments and Environments 12. Ambient and New Age 13. Canons 14. Backlash 15. Politics, Identity, and Expression 16. Postminimalists 17. Spiritual Minimalism 18. Popular Culture PART THREE 19. Histories 20. Silences 21. Futures Acknowledgments Listening Guide Notes Bibliography Index

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Book SynopsisLiving Genres in Late Modernityrehears the American 1970s through the workings of its musical genres. Exploring stylistic developments from the late 1960s through the early 1980s, including soul, funk, disco, pop, the nocturne, and the concerto, Charles Kronengold treats genres as unstable constellations of works, people, practices, institutions, technologies, money, conventions, forms, ideas, and multisensory experiences. What these genres share is a significant cultural moment: they arrive just after the sixties and are haunted by a sense of belatedness, loss, or doubt, even as they embrace narratives of progress or abundance. These genres give us reasonsand meansto examine our culture's self-understandings. Through close readings and large-scale mappings of cultural and stylistic patterns, the book's five linked studies reveal how genres help construct personal and cultural identities that are both partial and overlapping, that exist in tension with one another, and that we experienTable of ContentsContents List of Musical Examples Note on Musical Examples Introduction: Listening for Genres 1 1 • Unengaging Histories: The Pop Song’s “More” and Melancholy Democracy, 1968–69 2 • Space Issues: The Seventies-Soul Complex 3 • Exchange Theories: Disco, New Wave, and Album-Oriented Rock 4 • Senses: Nocturnes among the Smaller Genres 5 • Forces: The Late-Modern Concerto Afterword Acknowledgments Notes Index

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Book SynopsisTable of ContentsContents In Lieu of Dedication: Fine Friends, Presiding Spirits—László Somfai, Lyudmila Kovnatskaya, Richard L. Crocker 1. The Many Dangers of Music LACI RESZE (LACI'S PART) 2. Liszt and Bad Taste 3. Goldmark’s Queen: On Signifiers 4. Why You Cannot Leave Bartók Out 5. Liszt’s Problems, Bartók’s Problems, My Problems 6. Kodály’s Pitiful Lament—and Mine милина часть (MILA'S PART) 7. Russian Responses to Bach 8. So Much More Than a Composer 9. Rimsky-Korsakov Catches Up 10. Prokofieff’s Problems—and Ours 11. Коле посвящается (for Kolya) 12. In from the Cold 13. Flesh and Blood Juke Box 14. Tales of Push and Pull 15. Was Shostakovich a Martyr, or Is That Just Fiction? 16. How to Win a Stalin Prize: Shostakovich and His Quintet PARS RICARDI PRIMI (RICARDUS PRIMUS'S PART) 17. Shooting a White Elephant 18. Is This a Thing? 19. Exoticism and Authenticity 20. Pathos Is Banned 21. Everybody Gotta Be Someplace: On Context 22. Alluring Failure, Exhilarating Defeat 23. Envoi: All Was Foreseen; Nothing Was Foreseen Acknowledgments Index

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Book SynopsisTracing the development of the Moog synthesizer from its conception to its stardom, from its contribution to the San Francisco psychedelic sound, to its adoption by film and advertising, this book conveys the excitement, uncertainties, and consequences of a technology that would provide the soundtrack for a critical chapter of our cultural history.Trade ReviewHow many retrowavey, electroclashy hipsters really know the true roots of the sound they’re preening and prancing to? We’re not talking about ’80s swill like Human League or Erasure—we’re referring to Robert Moog, the inventor of the eponymous sound-generating device that, more than any other single contraption, made the whole electronic-music world possible. Analog Days, penned by Trevor Pinch and Frank Trocco, is a richly detailed look at the early days of synthesized sounds, and is quite fascinating. * Time Out New York *On the subject of discovery, Analog Days covers with polished authority the invention of the electronic music synthesizer by Robert Moog and its usage, between 1964 and the mid-’70s by such sonic explorers as Wendy Carlos, the Beatles and Emerson, Lake and Palmer, as well as the work done by electronic music pioneers Morton Subotnik, Don Buchla and Vladimir Ussachevsky, detailing the battle to use or not use the keyboard which so affected popular music. -- Brad Schreiber * Entertainment Today *Through a series of detailed interviews with people associated with the Moog’s development, ranging from Bob Moog himself to assorted technicians, sound gurus, marketing people and musicians who had input into the Moog’s development, they reconstruct, with the care of anthropologists studying the habits of some obscure tribe, how exactly it was that the Moog became a significant force in musical culture in the 1960s. -- Marcus Boon * The Wire *Pinch and Trocco interview the engineers and musicians who fashioned the new devices, and build up a satisfying picture of the one technology that caught the imagination of the ‘counterculture’ of the 1960s and 1970s… [The authors] have a fascinating story to tell. Today, it is hard to recall what music was like when sounds were restricted to those made by blowing, plucking or hitting things. Music is ubiquitous as never before, and so are synthesized sounds: the two facts go together. So Analog Days is more than a chronicle of an encounter between old arts and new technology: it illuminates a defining technology of our culture. -- Jon Turney * New Scientist *In Analog Days, Trevor Pinch and Frank Trocco tell the story of how the Moog synthesizer came about. They discuss how synthesizers reflected and reinforced cultural aspirations for transformation and transcendence, which were so prevalent in the 1960s. And they explore how this particular synthesizer—developed by Robert Moog and colleagues in a funky storefront in Trumansburg, New York…managed to beat out a host of competitors for commercial success and popular acceptance… Pinch and Trocco have crafted an informative and entertaining account of the complex process by which new instruments and inventions come about, and they analyze the relationship among inventor, user, and general public that leads to widespread acceptance of a new medium or tool… The book is crammed with wonderful stories and details about the many colorful scientists, musicians, salesmen, and cult figures…whose lives intersected through the lure of new musical possibilities… This is a story well worth telling, and Pinch and Trocco do it well. -- Tod Machover * Science *A compelling narrative presented in a thoroughly readable style and told with real affection for its subject matter, the book tells the reader pretty much everything they could want to know about the topic, and if it didn’t make even the most unmusical reader desperate to get their hands on an analogue synth and a set of patch cords, I’d be very surprised. -- Jeremy Gilbert * Year’s Work in Critical and Cultural Theory *The sleek digital synthesizer of today is so easy to play and so ubiquitous in the world of popular music that its presence is often taken for granted. In this well-researched, entertaining, and immensely readable book, Pinch…and Trocco…chronicle the analog synthesizer’s early, heady years, from the mid-1960s through the mid-1970s… Throughout their prose is engagingly anecdotal and accessible, and readers are never asked to wade through dense, technological jargon. Yet there are enough details to enlighten those trying to understand this multidisciplinary field of music, acoustics, physics, and electronics. Highly recommended. -- Larry Lipkis * Library Journal *You have to be as dedicated as the musicians who played, or play, the early Moog, to write a book like this. Trevor Pinch and Frank Trocco are two such people. This book is full of interesting facts and anecdotes involving many pioneers of sound and prominent musicians, who in their quest to creat something new became stubbornly devoted to their contraptions held together with wire and solder. Oscillate between the pages and envelop yourself in Analog Days because you don’t need a Ph.D. in electrical engineering to enjoy this book. -- Keith Emerson[An] unusually intelligent and straightforward cultural history. -- Sir George Martin, C.B.E.Table of ContentsForeword by Robert Moog Preface Introduction: Sculpting Sound 1. Subterranean Homesick Blues 2. Buchla's Box 3. Shaping the Synthesizer 4. The Funky Factory in Trumansburg 5. Haight-Asbury's Psychedelic Sound 6. An Odd Couple in the Summer of Love 7. Switched-On Bach 8. In Love with a Machine 9. Music of My Mind 10. Live! 11. Hard-Wired-the Minimoog 12. Inventing the Market 13. Close Encounters with the ARP 14. From Daleks to the Dark Side of the Moon Conclusion: Performance Discography Sources Notes Glossary Index

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Book SynopsisThe Joy of Playing, the Joy of Thinking brings together two sensitive minds in an exhilarating conversation on the arts. Charles Rosen, concert pianist and pioneering musicologist, and writer Catherine Temerson range widely—from musical aesthetics to tales of the great composers, the development of modernism, and the need to play.Trade ReviewHere one really finds oneself in Rosen’s presence, as he starts to spin a line of thought as elegant as any Bellini cantilena. -- Simon Callow * New York Review of Books *Rosen shares absorbing anecdotes relating to his studies with Moriz Rosenthal, who had been a student of Liszt, and the time that he inadvertently offended Stravinsky by asking about an assumed printer’s error in a score…It is just the thing for those missing the camaraderie of post-concert chat. -- Claire Jackson * BBC Music Magazine *Charles Rosen was a rarity among musicians; he excelled equally at the highest levels of performance and scholarship. This book presents the best kind of intellectual conversation: elevated, wide-ranging, impossible to predict, and sometimes very funny indeed. You’ll wish you could have joined in. -- Tim Page, Professor at the Annenberg School of Journalism and Thornton School of Music, University of Southern California, and winner of the 1997 Pulitzer Prize for CriticismI devoured this scintillating little book with pleasure. What I most appreciate is Charles Rosen’s keen awareness of history—not just of music, but of concurrent literature and visual art. His capacity and readiness to apply the past to understandings of the present is a gift increasingly rare today. -- Joseph Horowitz, author of Classical Music in America and Conversations with ArrauFew could produce such lucid formulations as Charles Rosen, especially in the course of dialogue. A spellbinding conversationalist, he exemplifies the well-rounded humanist no longer common in public discourse. His colleague Catherine Temerson asks carefully crafted questions. No one else could have created this exquisite book. -- Susan McClary, author of Feminine Endings: Music, Gender, and Sexuality and Conventional Wisdom: The Content of Musical FormA surprising treasure. Catherine Temerson’s perceptive questions reveal new insights from Charles Rosen. One comes away from reading the book with the same sense of intellectual excitement and energy that defined an evening’s conversation with the master pianist himself. -- Jeffrey Kallberg, author of Chopin at the Boundaries: Sex, History, and Musical Genre

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Book SynopsisTrade Review"Shortlisted for the Royal Philharmonic Society Music Awards""The most comprehensive [biography] to date. . . . Dweller in Shadows has many virtues. . . . The deepest impress of [the] book, however, is that it grows into the portrait of a hero."---Anthony Lane, New Yorker"Kate Kennedy finally does justice to the neglected poet, whose musician’s ear for the sounds of the war captures the reality of trench life like no other . . . . Enthralling, meticulously researched and deeply sympathetic."---Andrew Motion, The Spectator"[A] poignant biography of Gurney. . . . [Kennedy] captures not only her subject’s melancholy and angst but also his unique artistic accomplishments. For this Ms. Kennedy is particularly well-suited. . . . Her longtime interest in the intersection of words and music is evident in her sensitive analysis of Gurney’s songs and her careful, probing readings of his verse."---David Yezzi, Wall Street Journal"This substantial and, for the most part, unusually readable biography gives us a rich picture of the world and terrible existence of an astonishing, multitalented artist whose true time is long overdue."---Lachlan Mackinnon, Times Literary Supplement"Compelling and extraordinary."---Sean Rafferty, BBC Radio 3 ‘In Tune’"[A] fine, well-researched and intelligent biography. . . . This painstaking biography will do much to enhance [Gurney's] reputation."---Simon Heffer, Literary Review ​​​​​​​"[An] admirably detailed and perceptive biography. . . . [Kennedy] examines in some detail the extraordinary depth and talent of Gurney’s creative genius—she is particularly illuminating in talking about his poetry—while being candid about his erratic behaviour and impractical approach to adult life."---Daniel Jaffé, BBC Music Magazine ​​​​​​​"A particularly rich and detailed account. . . . This will certainly prove to be a valuable reference tool."---Jeremy Dibble, Gramophone"This is an impeccably and thoroughly researched biography, carefully analytical and elegantly presented. Kate Kennedy has left no stone unturned in her endeavours. It certainly makes for rewarding reading. Although Gurney has long dwelt on the shadowy periphery of musical life, this outstanding biography does much to redress the balance. It has to be one of the most heart-rending books I’ve ever read."---Stephen Greenbank, MusicWeb International"Written with enormous empathy, Kennedy’s account is heart-wrenching in places. A compelling work"---Elizabeth Fitzherbert, The Lady"Gurney deserved much better treatment. He deserved a much better society. His work began to give expression to his incipient sense of the need for social change. It’s to be hoped this thorough, sympathetic book will bring him the attention he was denied while he lived, and perhaps also prevent today’s or tomorrow’s Gurney suffering a similar fate."---Alan Dent, Penniless Press"This is a wonderful book that is an affectionate tribute to a truly great man."---Candia McKormack, Cotswold Life"The book deftly sheds light on how Gurney produced his much respected work." * Library Journal *"Kate Kennedy’s comprehensive biography of the early-20th-century British poet and composer Ivor Gurney, Dweller in Shadows, is an enormous feat of meticulously detailed scholarship. No stone has been left unturned and no aspect of his life has been left untouched (or at least not speculated upon) by Kennedy.. . . . In Dweller in Shadows Kennedy has created a fully realized portrayal of a complex historical figure’s life and reclaimed it for the good of historians and laypeople alike."---Walter Holland, Rain Taxi Review of Books"A stunning contribution to the fields of psychiatric historiography, musicology, literary studies, psychoanalytical scholarship, and many more disciplines, I learned a great deal from this beautifully constructed text, and I hope that Dr. Kennedy will continue to produce other such gripping biographies in years to come."---Brett Kahr, Confer"Authoritative and exhaustively researched"---Roger Ebbatson, Journal of the Friends of the Dymock Poets

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Book SynopsisFrom the first chapter through the last, readers eager to learn more about the connections between mathematics and music will find a comprehensive textbook designed to satisfy their natural curiosity.Trade ReviewOverall, From Music to Mathematics is a pleasing and well-written book that is accessible for everyone who wants to explore the connections between music and mathematics. Gareth Roberts does a great job of making numerous suggestions on how music can be used to illuminate mathematical concepts... From Music to Mathematics is very enjoyable to read - not only for students, but for anyone who loves music and mathematics. Musicae Scientiae Overall, I strongly recommend this as an excellent basis for teaching. MathSciNetTable of ContentsPrefaceAcknowledgmentsIntroduction1. Rhythm1.1. Musical Notation and a Geometric Property1.1.1. Duration1.1.2. Dots1.2. Time Signatures1.2.1. Musical examples1.2.2. Rhythmic repetition1.3. Polyrhythmic Music1.3.1. The least common multiple1.3.2. Musical examples1.4. A Connection with Sanskrit PoetryReferences for Chapter 12. Introduction to Music Theory2.1. Musical Notation2.1.1. The common clefs2.1.2. The piano keyboard2.2. Scales2.2.1. Chromatic scale2.2.2. Whole-tone scale2.2.3. Major scales2.2.4. Minor scales2.2.5. Why are there 12 major scales?2.3. Intervals and Chords2.3.1. Major and perfect intervals2.3.2. Minor intervals and the tritone2.3.3. Chords2.4. Tonality, Key Signatures, and the Circle of Fifths2.4.1. The critical tonic-dominant relationship2.4.2. Key signatures2.4.3. The circle of fifths2.4.4. Transposition2.4.5. The evolution of polyphonyReferences for Chapter 23. The Science of Sound3.1. How We Hear3.1.1. The magnificent ear-brain system3.2. Attributes of Sound3.2.1. Loudness and decibels3.2.2. Frequency3.3. Sine Waves3.3.1. The sine function3.3.2. Graphing sinusoids3.3.3. The harmonic oscillator3.4. Understanding Pitch3.4.1. Residue pitch3.4.2. A vibrating string3.4.3. The overtone series3.4.4. The starting transient3.4.5. Resonance and beats3.5. The Monochord LabReferences for Chapter 34. Tuning and Temperament4.1. The Pythagorean Scale4.1.1. Consonance and integer ratios4.1.2. The spiral of fifths4.1.3. The overtone series revisited4.2. Just Intonation4.2.1. Problems with just intonation4.2.2. Major versus minor4.3. Equal Temperament4.3.1. A conundrum and a compromise4.3.2. Rational and irrational numbers4.3.3. Cents4.4. Comparing the Three Systems4.5. Strähle's Guitar4.5.1. An ingenious construction4.5.2. Continued fractions4.5.3. On the accuracy of Strähle's method4.6. Alternative Tuning Systems4.6.1. The significance of log2(3/2)4.6.2. Meantone scales4.6.3. Other equally tempered scalesReferences for Chapter 45. Musical Group Theory5.1. Symmetry in Music5.1.1. Symmetric transformations5.1.2. Inversions5.1.3. Other examples5.2. The Bartók Controversy5.2.1. The Fibonacci numbers and nature5.2.2. The golden ratio5.2.3. Music for Strings, Percussion and Celesta5.3. Group Theory5.3.1. Some examples of groups5.3.2. Multiplication tables5.3.3. Symmetries of the square5.3.4. The musical subgroup of D4References for Chapter 56. Change Ringing6.1. Basic Theory, Practice, and Examples6.1.1. Nomenclature6.1.2. Rules of an extent6.1.3. Three bells6.1.4. The number of permissible moves6.1.5. Example6.1.6. Example6.2. Group Theory Revisited6.2.1. The symmetric group Sn6.2.2. The dihedral group revisited6.2.3. Ringing the cosets6.2.4. ExampleReferences for Chapter 67. Twelve-Tone Music7.1. Schoenberg's Twelve-Tone Method of Composition7.1.1. Notation and terminology7.1.2. The tone row matrix7.2. Schoenberg's Suite für Klavier, Op. 257.3. Tone Row Invariance7.3.1. Using numbers instead of pitches7.3.2. Further analysis7.3.3. Tritone symmetry7.3.4. The number of distinct tone rows7.3.5. Twelve-tone music and group theoryReferences for Chapter 78. Mathematical Modern Music8.1. Sir Peter Maxwell Davies8.1.1. Magic squares8.1.2. Some examples8.1.3. The magic constant8.1.4. A Mirror of Whitening Light8.2. Steve Reich8.2.1. Clapping Music8.2.2. Phase shifts8.3. Xenakis8.3.1. A Greek architect8.3.2. Metastasis and the Philips Pavilion8.3.3. Pithoprakta8.4. Final Project8.4. References for Chapter 8CreditsIndex

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Book Synopsis In 1996, Patterson Hood recruited friends and fellow musicians in Athens, Georgia, to form his dream band: a group with no set lineup that specialized in rowdy rock and roll. The Drive-By Truckers, as they named themselves, grew into one of the best and most consequential rock bands of the twenty-first century, a great live act whose songs deliver the truth and nuance rarely bestowed on Southerners, so often reduced to stereotypes. Where the Devil Don't Stay tells the band's unlikely story not chronologically but geographically. Seeing the Truckers' albums as roadmaps through a landscape that is half-real, half-imagined, their fellow Southerner Stephen Deusner travels to the places the band's members have lived in and written about. Tracking the band from Muscle Shoals, Alabama, to Richmond, Virginia, to the author's hometown in McNairy County, Tennessee, Deusner explores the Truckers' complex relationship to the South and the issues of class, race, history, and reTrade ReviewThe most brilliant decision veteran music journalist Stephen Deusner made for this book...was to structure his portrait of the band geographically, from Muscle Shoals to Memphis to Athens to Deusner’s home region, McNairy County, Tennessee...[Where the Devil Don't Stay] offers as much cultural criticism and post-civil-rights Southern history as straightforward autobiography...Where the Devil Don’t Stay approaches its subject with the same context and care as the band it portrays. * Rolling Stone, "Best Music Books of 2021" *[Where the Devil Don't Stay] takes the complex work of a revered band in historical and social perspective…If you've enjoyed the band's music and want to dive deeper into their changing world, you'll enjoy this nuanced appreciation. * The Current *Deusner’s must-read book follows the quintessential roots rockers as they travel through the South and the ethos that has helped define the band’s musical identity and evolution within it. Deusner...tells a story with verve and wit, and drawing on new interviews with band members past and present, he brings to vivid life the powerful ways music can shape a landscape. * No Depression *[Where the Devil Don't Stay] is a book Deusner was born to write...Deusner distills the Truckers’ 25 year-plus history and then some into 296 pages. * AL.com *[A] clever and engaging book…Deusner tours the South with the band as fully-engaged interviewees, visiting key Truckers destinations and tackling everything from Lynyrd Skynyrd to Confederate statues as he goes. * MOJO Magazine *[An] inventive biography…Rather than a straight-ahead chronological bio, Deusner takes the reader right to the places in the South that played key roles in the band and it's development...[Fans] will appreciate Deusner's history of the band, especially the early years, and the background on many of their songs. * Houston Press *[An] excellent new book. * Inside Hook *Where the Devil Don't Stay is a masterwork in the musical biography genre...For the diehards, this book will feel like the first time you heard Decoration Day or Southern Rock Opera. For anyone who loves a good yarn and good music, Where the Devil Don’t Stay is an essential read. * The Marinade with Jason Earle *This is a book that you should read if you have any interest either in the Drive-By Truckers or in the current state of America. * Americana UK *[Where the Devil Don't Stay] is filled with wonder and wander...It’s a book worthy of the band’s catalogue, as essential in its way as such classic DBT albums as Southern Rock Opera, Decoration Day, and American Band. * Chapter 16 *Deusner explains how [Patterson] Hood and his main Trucker foil Mike Cooley have battled to redefine rock beyond the Mason-Dixon line over the course of three decades together…Deusner's lively narrative tracks the Drive-By Truckers' evolution, picking through wrecked marriages, redneck audiences and the band's role in the making of Jason Isbell to show how the Truckers overcame a hasty choice of band name to fly the flag for a more nuanced take on good Southern manners. * Uncut *Deusner’s book is essential reading not only for fans of the Truckers but for anyone wanting to discover more about these quintessential roots rockers. * No Depression, "Best Music Books of 2021" *It’s about time somebody wrote a book about the Drive-By Truckers, and what a book it is...[Where the Devil Don't Stay is] a literary, thought-provoking analysis of the dynamics behind the band’s artistry and its complicated relationship with the South. * Atlanta Journal-Constitution *[Where the Devil Don't Stay] shows the depth of research [Deusner] took as he includes a discography, bibliography and an index of the places and names that extravagantly lace the story…Deusner gives the band a sense of place. * Athens Banner-Herald *This may be the most interesting book about the South that I've read this year. * Reckon South *Stephen Deusner’s place-rooted history of this restless Americana band helps bring the South into focus. * The Current, "Best Music Books of 2021" *The best Southern rock band of its generation also gets the treatment it was long overdue in Stephen Deusner’s terrific book about the Drive-By Truckers. Deusner’s book is both a biography of the band – and talented songwriters Patterson Hood, Mike Cooley and one-time Trucker, Jason Isbell – but it is also something of a musical atlas, richly mining the history of Southern spaces like Muscle Shoals, Memphis, Athens and Richmond to reveal more about the 'Southern Thing.' * Reckon South, "25 of the best books to come out of the South in 2021" *[Where the Devil Don't Stay] is the book-length study Drive-By Truckers fans have been waiting for...This book is as complex, moving, thrilling, and funny as one of DBT's marathon sets. * New Books in Performing Arts *As brilliant and unflinching as its subject, you'll never look at the South, and southern rock the same way again. Highly recommended. * The Big Takeover *Table of ContentsIntroduction The Shoals Memphis, Tennessee Athens, Georgia Birmingham, Alabama Outside Gillsburg, Mississippi Back to the Shoals Richmond, Virginia McNairy County, Tennessee Out West Acknowledgments Selected Discography Selected Bibliography Index

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Book SynopsisIgor Levit ranks among the greatest pianists of his generation, described by The New York Times as ‘one of the essential artists of our time’. But his influence reaches far beyond music: he uses his public platform to speak out against racism, antisemitism and all forms of intolerance and prejudice. Convinced of the duty of the musician to remain an engaged citizen, he is recognized and admired for his willingness to take a stand on some of the great issues of our day, even though it has come at considerable personal cost. When the pandemic broke out and Levit was unable to give live concerts, he switched his piano recitals from concert halls to his living room and gained a huge international following. This book opens a window onto Levit’s life during the 2019–2020 concert season, charting the transition from his whirlwind life of back-to-back live concerts in packed concert halls to the eerie stillness of lockdown and the innovative series of house concerts livestreamed over Twitter. A year in which Levit spoke out against hate and received death threats in response. A year in which he found his voice and found himself – as an artist and as a person.Trade ReviewSelected as one of Richard Fairman’s Best Classical Music Books of 2022 in the Financial Times"Igor Levit is like no other pianist."Alex Ross, The New Yorker"House Concert captures that risky spirit of serendipity, seriousness and joy that defines Igor Levit's music making."Fiona Maddocks, The Observer"absorbing and highly readable… House Concert explores what it is to be a professional musician in the 21st century, and charts Levit’s career from an unknown young pianist to an internationally-acclaimed performer who plays to sold-out houses around the world."Interlude"Few musicians are as bold as (Igor Levit) has been in using the concert platform to speak about issues beyond music. In House Concert he is clear about why he felt compelled to do so, careful to reiterate precisely what he has said – and how he has been misreported – and honest in his admission of missteps. Most compellingly, he and Zinnecker relate his political development to his performing career. For the pianist, and his amanuensis, there is no separating the impulse to play… from the compulsion to call-out bigotry and xenophobia."VoxCarnyx"This absorbing and highly readable book is neither diary nor straightforward artist biography… It not only showcases the remarkable achievements of a charismatic classical musician, it also reveals their anxieties and doubts, strengths and weaknesses, and offers an important snapshot of the difficulties faced by professional musicians in a highly competitive industry riven with convention, power structures and tradition."The Cross-Eyed Pianist"Igor Levit is an original and valuable musician. He follows no leaders, leads no followers, and it is refreshingly impossible to predict what will interest him next."Wall Street Journal"a revealing look into the mind of a thoughtful, searching, driven artist navigating a world in which the old rules of performance have lost their validity. Like a Levit musical performance, this book lingers long after the last note is sounded."Library Journal"revealing,… thought-provoking, unquestionably interesting"Gramophone

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Book SynopsisDUB, The Sound of Surpriseis a detailed chronicle and fascinating guide to the captivating history of Jamaican dub music, the first of its kind. This archetype of the remix style grew out of reggae in the late 1960s and early 1970s. The book presents over 200 illustrations and some rare album covers, and describes the origins and development of a unique technique created in Jamaican recording studios which would change the world of music production forever. Author Helmut Philipps has visited the places dub happened, and met its pioneers, inventors, and key figures.

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Book SynopsisTable of ContentsIntroduction 1 About This Book 1 Foolish Assumptions 2 Icons Used in This Book 2 Beyond the Book 3 Where to Go from Here 4 Part 1: Getting Started with Classical Music 5 Chapter 1: Prying Open the Classical Music Oyster 7 Discovering What Classical Music Really Is 8 Figuring Out What You Like 8 The Seven Habits of Highly Effective Composers 9 Their music is from the heart 9 They use a structure that you can feel 9 They’re creative and original 10 They express a relevant human emotion 10 They keep your attention with variety and pacing 11 Their music is easy to remember 11 They move you with their creations 12 Chapter 2: The Entire History of Music in 80 Pages 13 Understanding How Classical Music Got Started 13 Chanting All Day: The Middle Ages 14 Gregorian chant 14 A monk named Guido 15 Mass dismissed! 15 The First Composer-Saint 16 Born Again: The Renaissance 16 The madrigal takes off 16 Opera hits prime time 17 Getting Emotional: The Baroque Era 18 Renegade notes on wheels 18 Kings, churches, and other high rollers 19 Antonio Vivaldi 19 George Frideric Handel 21 Johann Sebastian Bach 24 Tightening the Corset: The Classical Style 26 Joseph Haydn 27 Wolfgang Amadeus Mozart 29 Joseph Boulogne, Chevalier de Saint-Georges 34 Ludwig van Beethoven: The man who changed everything 34 Schubert and his Lieder 39 Felix Mendelssohn 42 Fanny Mendelssohn 44 Falling in Love: Hopeless Romantics 45 Carl Maria von Weber 45 Hector Berlioz 46 Frédéric Chopin 49 Robert Schumann 51 Johannes Brahms 54 The superstars: Paganini and Liszt 56 Liszt follows Paganini’s lead 57 Richard Wagner 58 Strauss and Mahler 59 Saluting the Flag(s): Nationalism in Classical Music 63 Bedřich Smetana 64 Antonín Dvořák 65 Edvard Grieg 67 Jean Sibelius 68 Carl Nielsen 70 Glinka and the Mighty Fistful 71 Peter Tchaikovsky 73 Sergei Rachmaninoff 75 Listening to Music of the 20th Century and Beyond 77 Debussy and Ravel 78 Igor Stravinsky 80 Sergei Prokofiev 83 Dmitri Shostakovich 84 The Second Viennese School 86 The Americans 87 Chapter 3: Spotting a Sonata 95 Symphonies 95 First movement: brisk and lively 96 Second movement: slow and lyrical 97 Third movement: dancy 98 Finale: rollicking 98 Sonatas and Sonatinas 99 Concertos 100 Concerto structure 101 The cadenza 101 Dances and Suites 103 Serenades and Divertimentos 104 Themes and Variations 105 Fantasias and Rhapsodies 106 Tone Poems (Or Symphonic Poems) 107 Lieder (and Follower) 107 Leader of the Lieder 108 Song forms 108 Oratorios and Other Choral Works 109 Operas, Operettas, and Arias 110 Overtures and Preludes 110 Ballets and Ballerinas 111 String Quartets and Other Motley Assortments 112 Why Do You Need a Form, Anyway? 113 Part 2: Listen Up! 115 Chapter 4: Dave ’n’ Scott’s E-Z Concert Survival Guide™ 117 Preparing — or Not 117 Knowing When to Arrive at the Concert 118 Can I Wear a Loincloth to The Rite of Spring? 119 The Gourmet Guide to Pre-Concert Dining 119 Figuring Out Where to Sit — and How to Get the Best Ticket Deals 120 To Clap or Not to Clap: That’s the Question 122 Why nobody claps 122 More on the insane “no-clap” policy 123 Who to Bring and Who to Leave at Home with the Dog 125 Recognizing Which Concerts to Attend — or Avoid — on a Date 125 Peeking at the Concert Program 126 The typical concert format 127 The music itself 129 A different kind of program 130 Introducing the Concertmaster 132 Finding the pitch 133 Twisting and turning, pulling and pushing 133 Enter the Conductor 135 Understanding interpretation 135 Slicing up time 137 Reading the job description 138 Chapter 5: For Your Listening Pleasure 141 1 Handel: Water Music Suite No 2: Alla Hornpipe 142 2 Bach: Well-Tempered Clavier, Book 2: Prelude and Fugue in C Major 143 3 Mozart: Piano Concerto No 22 in E-Flat, Third Movement 145 4 Beethoven: Symphony No. 5, First Movement 149 Exposition 150 Development 151 Recapitulation 151 Coda 152 5 Brahms: Symphony No 4, Third Movement 153 6 Dvořák: Serenade for Strings, Fourth Movement 155 7 Tchaikovsky: Symphony No 6, Fourth Movement 156 8 Debussy: La Mer: Dialogue du Vent et de la Mer 158 9 Stravinsky: The Rite of Spring: Opening to the End of Jeu de Rapt 161 Introduction 161 Danses des adolescentes (Dances of the Adolescent Girls) 162 Jeu de rapt (Ritual of Abduction) 163 INTERMISSION: Backstage Tour 165 Living in the Orchestral Fishpond 165 What I Did for Love 166 Going through an Audition 167 An almost-true story 167 Rigged auditions 169 The list 169 The prescription 170 Playing the odds 170 An unexpected meeting 171 The return 171 Onstage 172 Behind the screen 172 The wait 174 The aftermath 175 The Life of an Orchestra Musician, or What’s Going on in the Practice Room? 175 Selling the Product 176 Understanding Contract Riders 179 The Strange and Perilous Relationship between an Orchestra and Its Conductor 180 Why an Orchestra Career Is Worth the Grief 182 Part 3: A Field Guide to the Orchestra 183 Chapter 6: Keyboards & Co 185 The Piano 185 Looking inside the piano 186 Naming the notes 186 Finding an octave 186 Playing the black keys 187 Looking inside the piano 188 Pressing down the pedals 188 Hearing the piano 190 The Harpsichord 191 Winning the Baroque gold medal 191 Hearing the harpsichord 192 The Organ 193 Pulling out the stops 194 Hearing the organ 194 The Synthesizer 195 Chapter 7: Strings Attached 197 The Violin 198 Drawing the bow 199 Tuning up 199 Playing the violin 200 Vibrating the string 201 The unbearable lightness of bowing 201 Plucking the strings 202 Hearing the violin 203 The Other String Instruments 204 The viola 204 The cello 206 The double bass 208 The harp 209 The guitar 212 Chapter 8: Gone with the Woodwinds 215 The Flute 216 Making music out of thin air 216 Hearing the flute 217 The Piccolo 218 The Oboe 219 Playing the oboe 221 Hearing the oboe 222 The English Horn 223 The Clarinet 223 Transposing instruments 223 Hearing the clarinet 225 The Saxophone 226 The Bassoon 227 Chapter 9: The Top (and Bottom) Brass 231 Making a Sound on a Brass Instrument 232 The French Horn 233 Hunting for notes: The natural horn 234 Adding valves: The modern, treacherous horn 234 Hearing the French horn 235 The Trumpet 236 Tonguing 237 Using mutes 237 Hearing the trumpet 237 The Trombone 238 Sliding around 239 Hearing the trombone 240 The Tuba 241 A gaggle of tubas 241 Hearing the tuba 242 Pet Peeves of the Brassily Inclined 242 Chapter 10: Percussion’s Greatest Hits 243 The Timpani 244 Drum roll, please! 246 Hearing the timpani 246 The Bass Drum 246 The Cymbals 247 The Snare Drum 247 The Xylophone 248 Other Xylo-like Instruments 250 More Neat Instruments Worth Banging 250 The triangle 250 The tambourine 252 The tam-tam and gong 253 The castanets 254 The whip 254 The cowbell 255 The ratchet 255 Part 4: Peeking Into the Composer’s Brain 257 Chapter 11: The Dreaded Music Theory Chapter 259 I’ve Got Rhythm: The Engine of Music 260 Dividing up time 260 Feeling the beat 261 Sight-reading for the first time 262 Making notes longer 263 Making notes shorter 264 Adding a dot 265 Taking the final exam 266 Understanding Pitch: Beethoven at 5,000 rpm 267 Performing an experiment for the betterment of mankind 268 12 pitches! 269 Notating pitches 270 Dave ’n’ Scott’s 99.9999% Key-Determining Method 278 Why we have keys 279 Making the Leap into Intervals 280 The major second 281 The major third 282 The fourth 282 The fifth 283 The major sixth 284 The major seventh 285 The octave 285 Telling the difference: major and minor intervals 286 The minor second 286 The minor third 287 The minor fifth (not!) — aka the tritone 288 The minor sixth 288 The minor seventh 289 Getting on the Scale 290 Constructing a Melody 292 Getting Two-Dimensional: Piece and Harmony 292 Major, minor, and insignificant chords 293 Friends and relations: harmonic progressions 294 Friends, Romans, chord progressions 295 Listening to the oldies 296 Put in Blender, Mix Well 297 Getting Your Music Theory Degree 298 Chapter 12: Once More, with Feeling: Tempo, Dynamics, and Orchestration 299 Meet the Dynamics Duo: Soft and Loud 300 Honey, I shrunk the LoudSoft™ 301 Wearing Italian hairpins 302 Getting into matters of sonic taste 303 Throwing Tempo Tantrums 303 Telling ’Bones from Heckelphones: Orchestration Made Easy 304 Playing with sound colors 304 Notating orchestrations 304 Who’s the orchestrator? 305 Part 5: the Part of Tens 307 Chapter 13: The Ten Most Common Misconceptions about Classical Music 309 Classical Music Is Boring 309 Classical Music Is for Snobs 310 All Modern Concert Music Is Hard to Listen to 310 They Don’t Write Classical Music Anymore 311 You Have to Dress Up to Go to the Symphony 311 If You Haven’t Heard of the Guest Artist, She Can’t Be Any Good 311 Professional Musicians Have It Easy 312 The Best Seats Are Down Front 313 Clapping between Movements Is Illegal, Immoral, and Fattening 313 Classical Music Can’t Change Your Life 314 Chapter 14: The Ten Best Musical Terms for Cocktail Parties 315 Atonal 316 Cadenza 316 Concerto 317 Counterpoint 317 Crescendo 317 Exposition 318 Intonation 318 Orchestration 318 Repertoire 318 Rubato 318 Tempo 319 Using Your New-Found Mastery 319 Chapter 15: Ten Great Classical Music Jokes 321 Master of Them All 321 The Heavenly Philharmonic 322 Brass Dates 322 The Late Maestro 323 Basses Take a Breather 323 Houseless Violist 324 Ludwig’s Grave 324 The Weeping Violist 324 Musicians’ Revenge 325 One Last Viola Joke 325 Chapter 16: Ten Ways to Get More Music in Your Life 327 Get Involved with Your Orchestra 327 Join a Classical Music Tour 328 Meet the Artists — Be a Groupie 328 Make Music Friends on the Internet 329 Join an Unlimited Music Service 330 Listen to Your Local Classical Station 330 Load Up on Your Own Recordings 331 Watch Classical Music Movies 332 Study Up on the Classics 333 Make Your Own Music 334 Part 6: the Appendixes 337 Appendix A: Listen to This! Starting a Classical Music Collection 339 List 1: Old Favorites 340 List 2: MILD on the Taste Meter 341 List 3: MEDIUM on the Taste Meter 342 List 4: MEDIUM HOT on the Taste Meter 343 List 5: HOT on the Taste Meter 344 Appendix B: Classical Music Timeline 345 Appendix C: Glossary 353 Index 359

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Book SynopsisCountless great songs are based on riffscatchy guitar phrases that repeat until they're seared into your brain foreveror snappy chord sequences as memorable as any melody. Riffs get people excited, whether they are musicians or listeners. Advertising agencies use riffs on television, internet videos, and cinema trailers. Riffs sell concert tickets, guitars, and downloads. Youtube is full of guitarists playing riffs.This book now in its third and updated edition digs deep into the world of the guitar riff, identifying 30 distinct types and illustrating them with reference to 150 examples: from Howlin Wolf to Black Rebel Motorcycle Club, Chuck Berry to Limp Bizkit, the Kinks to the Strokes, Black Sabbath to the White Stripes, Coldplay and Kings of Leon. The book includes 56 tracks of audio, illustrating all types of riffs covered, plus notation and TAB for 40 original example riffs composed by the author. In the book you can trace the connections between riff types and the scales, modes, or chords from which they're drawn learn the guitar tips and arranging techniques to get the best from your riffs read an exclusive interview with Led Zeppelin and Them Crooked Vultures bassist John Paul Jones, a multi-instrumentalist, writer, and arranger with 50 years experience in riff-based music.

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Book SynopsisPresents the memories and insights of a great musician-a master of the guitar whose performances and exuberant, caring nature have brought joy to many around the world.

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Book SynopsisAn oral history of British rock band The Jam in the words of 300 fans

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Book SynopsisThis fascinating collection of photographs and stories traces the ways in which The Beatles' home town has changed over the past 50 years.

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Book SynopsisJazz harmony, as taught at the Berklee College of Music is based on the so called Chord Scale Theory. This methodfurther developedis now available as a comprehensive textbook. Emerged from practice and designed for practical use, it provides theoretical knowledge necessary for improvisation, composing, and arranging.

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Book SynopsisFrom Cradle to Stage shares stories and exclusive photos featuring mothers of rock icons, the icons themselves, and their Behind the Music-style relationshipsWhile the Grohl family had always been musical-the family sang together on long car trips, harmonizing to Motown and David Bowie, Virginia Grohl never expected her son to become a musician, let alone a rock star. But when she saw him perform in front of thousands of screaming fans for the first time, she knew that stardom was meant to be for her son. And as Virginia watched her son''s star rise, she often wondered about the other mothers who raised children who became rock stars. Were they as surprised as she was about their children''s fame? Did they worry about their children''s livelihood and well-being in an industry fraught with drugs and other dangers? Did they encourage their children''s passions despite the odds against success, or attempt to dissuade them from their grandiose dreams? Do they reminTrade ReviewInsightful * Daily Telegraph Music Books of the Year *

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Book SynopsisAcoustic Justice engages issues of recognition and misrecognition by mobilizing an acoustic framework. From the vibrational intensities of common life to the rhythm of bodies in movement, and drawing from his ongoing work on sound and agency, Brandon LaBelle positions acoustics, and the broader experience of listening, as a dynamic means for fostering responsiveness, understanding, dispute, and the work of reorientation. As such, acoustic justice emerges as a compelling platform for engaging struggles over the right to speak and to be heard that extends toward a broader materialist and planetary view. This entails critically addressing questions of space, borders, community, and the acoustic norms defining capacities of listening, leading to what LaBelle terms poetic ecologies of resonance. Acoustic Justice works at issues of recognition and resistance, place and displacement, by moving across a range of pertinent references and topics, from social practices and sound artTrade ReviewThis is yet another delightful read on sonic agency by Brandon LaBelle, highlighting this time what is at stake when we think of social and political transformation as an acoustic question. In Acoustic Justice, LaBelle takes the readers through thrilling discussions on ‘hearing differently,’ on ‘generous infrastructure’ and ‘relating otherwise’ – all of them involved in reconfiguring our capacity to act politically. LaBelle's unique approach offers insight into the temporal and situational realms of sound and listening that are fleeting yet necessary for any process of reimagining political possibilities. In the world today, marked by intense structural feelings of uncertainty and fragility, his theorizing of an impersonal, distributed, and collaborative political agency is not just refreshing but indeed very much needed. This book resonates across various fields of social sciences and humanities and is an essential reading for those interested in political theory, sound studies, resistance, and affect theory. * Ana Hofman, Senior Research Fellow, Research Centre of Slovenian Academy of Sciences and Arts, Slovenia *Brandon LaBelle’s Acoustic Justice makes important contributions to the scholarship on sound, politics and the public sphere. Exploring how listening as a form of attentiveness functions in an arena of sonic agency, LaBelle deftly illustrates how an acoustic justice exercises a democratic collective action. This is a non-state form of democracy with the capacity to bring into being an extrajudicial civic body, one with greater capacity for what he calls ‘hearing differently.’ Hearing differently accounts for differences in what is or can be heard as a result of silences, gaps, deafnesses, or absences. Offering up acoustics as a metric for both material and social relations, LaBelle dynamically reads the encounter between the organic and built environments as a ‘distribution of the heard’ invigorating our understanding of the polis as a social acoustic phenomenon. * Roshanak Kheshti, Associate Professor of Ethnic Studies, University of California, San Diego, USA *Labelle is such a playful and expansive thinker. Acoustic Justice draws so much together across art, philosophy, activism, and beyond to sound an urgent intervention in the politics of attention: a commitment both to hearing differently and to hearing difference. This is an account of acoustics unbound from the audible and an account of justice just 'to the side of law,' that migrates in and out of the legal system and insists on the need for a fair hearing 'in the space of the ordinary.' * James E K Parker, author of Acoustic Jurisprudence: Listening to the Trial of Simon Bikindi (2015) *Table of Contents1. Holding, Healing, Attending: Towards Collaborative Living 2. Acoustic Performativity: Practices of Composition 3. Poetic Ecologies: Resonance, Imagination, Repair 4. Skin-Work: Queer Acoustics, Borderspaces, Economies of Desire 5. Deaf Attention: Peripheral Visions, Spatial Meanings, Sensory Politics 6. Acoustic Support

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Book SynopsisSinging and Teaching Singing: A Holistic Approach to Classical Voice, Fourth Edition continues to be a beloved resource for singers and their teachers, speech-language pathologists, and laryngologists and an adopted text for instructors and students in voice, singing, and performing arts courses. Janice L. Chapman is able to draw on her experiences as a singer with some of the world's leading opera companies to present a teaching technique specifically focusing on voice in the areas of classical and opera singing. Interspersed with the concepts and components of Chapman's methods are vignettes from her life and career, animated by her conversational and vibrant style to guide (and entertain) the reader through the book in a step-by-step fashion. The philosophy of teaching presented combines three main facets: Holistic, Physiological, and Incremental. The Holistic segment emphasizes that the act of singing involves the whole person (i.e., body, mind, spirit, emotion, and voice); the Physiological segment stresses anatomy, muscular function, and effects of muscular interactions so that students and teachers alike can understand and visualize the functional workings of the torso, larynx, and the vocal tract and their impact on good singing practices; and the Incremental section shows that the act of singing and the teaching of singing can be broken down into manageable components that have a natural hierarchy that eventually interact and interlock. This teaching model provides a framework to master one element at a time, with the resulting effect of a complete and integrated mastery of technique. Chapman recommends this framework for rehabilitative work with the dysfunctional singer, for working with the developing singer, and for the ongoing development and maintenance of the technically able professional singer. New to the Fourth Edition: * New editor and co-author, Ron Morris, BSpThy (Hons); MMusStud (Voice), MSPAA, MASA (CC), PhD * The addition of completely new chapters on Laryngeal Registration, Vocal Acoustics and Acoustic Registration * Clarifications and exercises by Dr. Ron Morris on the use of the Accent Method breathing as a highly effective remedial and training technique * Expanded and updated information on Breathing and Support, Vocal Acoustics, Registers (Laryngeal and Acoustic), Teaching and Learning, Hearing and Singing, and Manual Therapy * Exercises have been significantly expanded and now are contained in a chapter of their own, which includes some information on lesson structure and practice * Significant updates reflect the current state of research and the latest advances in voice science and pedagogy have been referenced throughout * A new glossary has been added for ease of reading and clarification of pedagogical terms used in the text Key Features: * Case studies * Evidence- based and practical examples * Exercises * Contributions from some of the world's best-known voice professionals * Highly readable writing style suitable for teachers of singing and singers at all levels * A PluralPlus companion website with supplemental videos that demonstrate some of the exercises from the teaching modelTable of ContentsForeword to the First Edition Robert T. Sataloff, MD, DMA Preface to the Fourth Edition Janice L. Chapman & Ron Morris Acknowledgments Contributing Authors Introduction Janice L. Chapman 1 Pedagogical Philosophy Janice L. Chapman 2 Primal Sound Janice L. Chapman 3 Postural Alignment Janice L. Chapman 4 Breathing and Support Janice L. Chapman, Ron Morris, and James Platt 5 Phonation and the Speaking Voice Janice L. Chapman, Ron Morris, and James Platt 6 Laryngeal Registration Janice L. Chapman, Ron Morris, and James Platt 7 Resonance Janice L. Chapman, Ron Morris, and James Platt 8 Articulation Ron Morris and Janice L. Chapman 9 Applied Vocal Acoustics and Acoustic Registration James Platt and David M. Howard 10 The Exercises Janice L. Chapman, Ron Morris, and James Platt 11 Artistry and Performance Janice L. Chapman 12 Working with the Professional Singer Janice L. Chapman 13 Voice and the Brain Pamela Davis 14 Teaching and Learning with the Brain in Mind Marilyn McCarthy 15 Reflective Practice and the Capabilities Profile for Singing Teachers Marilyn McCarthy 16 Vocal and Respiratory Anatomy and Physiology John S. Rubin 17 Hearing and Singing Adrian Fourcin and David M. Howard 18 Manual Therapy in the Management of Voice Disorders and a Conversation with Janice Chapman Jacob Lieberman 19 From Performer to Pedagogue: A Multidisciplinary Route Janice L. Chapman Appendix: Priorities in Developing the Young Adult Classical Singer at Music College Janice L. Chapman Vocal Exercises Index Glossary of Terms Index

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

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Book SynopsisFrom his days as a club face alongside Philip Sallon, Marilyn and Steve Strange, through the years of global pop superstardom with Culture Club, his rebirth as a world-class DJ, as a leading light of musical theatre with the award-winning Taboo, a cutting edge photographer and a confrontational and acclaimed fashion designer, one of the many things you can say about George is: he''s never stood still.It''s been one hell of a trip. A decade and a half ago, George was coming to terms with the fall-out from serious drug addiction, the failure of his relationship with Jon Moss and the collapse of Culture Club.For lesser men this would have been the end but for George it became the start of a period of remarkable reinvention.Told with George''s trademark biting wit, brutal honesty and sparkling insight, this book reveals the whole story, reappraising his rise to stardom and all the madness that followed.He talks about his solo singing career, his initiation into thTrade Review"Well-endowed with a shafting wit, Straight communicates and expresses the energy of an intelligent anarchist holding an anti-bullshit device. " * The Guardian *"George is a first-class gossip with a stirringly viperish tongue. Straight never fails to entertain or provide food for thought." * The Daily Telegraph *"The best book I've read in a long while. I read it twice in one sitting - it made me howl with laughter and burst into tears." * Paul O'Grady *"Such a fun read." * Sydney Star Observer *

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Book SynopsisWriter, musicologist, archivist, singer, DJ, filmmaker, record, radio and TV producer, Alan Lomax was a man of many parts. Without him the history of popular music would have been very different. Armed with a tape-recorder and his own near-flawless good taste, Lomax spent years travelling the US, particularly the south, recording its heritage of music and song for posterity, bringing to light the talents of performers ranging from Jelly Roll Morton to Leadbelly and Muddy Waters, and crucially influencing generations of musicians from Pete Seeger to the Stones, from Woody Guthrie to Bob Dylan. His influence continues: recordings made by Lomax are the core of the sound-tracks of Oh Brother, Where art Thou? and Gangs of New York, and even featured, remixed, on Moby''s Play. John Szwed''s biography is the first ever of this remarkable and contradictory man (whom he both knew and worked with for ten years); through it Szwed will tell the storTrade ReviewA great book...hooray! * Peter Seeger *Superb * Mojo *Remarkable...excellent * Telegraph *Impressive - Szwed succeeds magnificently * FT *

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Book Synopsis''Extremely funny'' Sunday Telegraph _____________________________A poet is a rock star without the sex''n''drugs, or the rock''n''roll. But that never stopped Simon Armitage dreaming, and in Gig, he explores how music and the muse intertwine in work and in life. Crammed with stories, anecdotes, jokes, absurdities, the odd informal homily, pitfalls and pratfalls (not all the author''s own), Yorkshire life and death, Gig is about the dream and reality of what you are, and what you might have been._____________________________''One of our most entertaining authors'' Independent''Very, very funny'' GQ''Witty, terrific, stupendously funny'' Daily Telegraph Trade ReviewI read this book in one sitting. It moved me to tears, to shouts of laughter, and made me look at even the most mundane things in a different way * Sunday Times *Extremely funny, brilliant * Sunday Telegraph *Engaging, eccentric, hilarious, incredibly good company. A wonderwall of moments and memories . . . one of our most entertaining authors * Independent *Very, very funny . . . the kind of book you'll want to press on your friends * GQ *Witty, terrific, stupendously funny * Daily Telegraph *Warm, funny . . . wonderfully accurate and evocative . . . we close the book wanting more * Times Literary Supplement *Pitch perfect * Financial Times *Funny, perceptive, thought-provoking. Armitage has a poet's eye for the poignant detail and the bigger theme * Scotsman *

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Book SynopsisThe New Oxford Easy Anthem Book is an outstanding anthem collection, suitable for all church choirs and designed for use throughout the year. The emphasis is placed firmly on providing the highest quality, easy, and accessible anthem settings.Trade ReviewThis is a useful collection of anthems for any choir, and highly recommended. * Church Music Quarterly December 03 *It is indeed a great honour and privilege to review what I am certain will become a most sought-after choral resource. Church, school and other amateur choirs across the world can only benefit from the magnificent new anthology The New Oxford Easy Anthem Book . . . What results is a truly versatile, cosmopolitan and satisfying collection of inspired works which is bound to meet the wide-ranging tastes and needs of most church groups. Most of the vocal lines are uncomplicated with comfortable ranges that can be managed by most groups of average ability. * Music Teacher March 2003 *There is, however, much subtlety in the way this volume's material has been selected . . . Also, there is much that is altogether fresh, with 20 of the 63 items being new compositions or arrangements . . . At well over 200 pages, this represents very good value. * Matthew Greenall, The Singer, Dec 02 *Since many choirs have to fight tooth and nail for funds to buy music, purchasing a collection can be a very cost-effective way of 'kitting out' your choir. The New Oxford Easy Anthem Book will not provide something appropriate for every Sunday; however, there is enough in this collection to make it a very useful resource. If you haven't got the earlier edition, or your copies are in tatters, The New Oxford Easy Anthem Book will be a valuable resource for your parish choir. * Patrick Geary, Music and Liturgy Summer 2002 *At a time when there is so much bad music being produced for use in churches, I found it heartening to browse through an anthology of good quality material like this. Anyone starting up a church choir from scratch with novice singers, or trying to run an established choir with fluctuating or greatly reduced resources, should find it invaluable. * Clare Stevens, Choir and Organ, May/June 2002 *Table of ContentsAdvent Message ; And I saw a new heaven ; Ave Maria ; Ave verum corpus ; Ave verum corpus ; Ave verum corpus ; Be thou my vision ; Brother James' Air ; Cantate Domino ; Christ is our Cornerstone ; Christ the Lord is risen again ; Come, Holy Ghost ; Come, ye faithful ; Day by day ; Drop, drop slow tears ; Far away, what splendour comes this way ; Fear not, O land ; For all thy saints ; For the beauty of the earth ; God be in my head ; God be in my head ; God so loved the world ; Holy, holy, holy ; Holy Spirit, truth divine ; Hosanna to the Son of David ; How brightly beams the morning star! ; I give you a new commandment ; I will thank thee, O Lord ; If ye love me ; Jesu, joy of man's desiring ; Jesu, the very thought of thee ; Jesu, the very thought of thee ; Joy is come! ; King of all ages, throned on high ; Lead me, Lord ; Let us now praise famous men ; Litany to the Holy Spirit ; Lord, for thy tender mercy's sake ; Lord, I trust thee ; Love divine, all loves excelling ; Loving Shepherd of thy sheep ; My eyes for beauty pine ; O come, ye servants of the Lord ; O salutaris Hostia No. 3 ; O Saviour of the world ; O taste and see ; O Thou, whose all-redeeming might ; O vos omnes ; People, look East ; Praise ye the Lord ; Song of Mary ; Star of the East ; Teach me, O Lord ; The Lord goes up ; The peace of God ; There is no rose ; There's a wideness in God's mercy ; This joyful Eastertide ; Thou art God ; Thou knowest, Lord ; Thy perfect love ; Virgin-born, we bow before thee ; Wash me throughly

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Book Synopsisfor SSA double choir, piano, and flute obbligatoThis is a lyrical and compelling upper-voice setting of Joseph Mary Plunkett''s ''White waves on the water''. Chilcott expertly employs the double SSA forces, resulting in a colourful array of textures and vocal combinations, from unison to six parts. The voices are accompanied by a florid flute obbligato and a piano accompaniment.Trade ReviewWhite waves on the water is an upbeat, likeable setting and presents a good challenge for a choir of upper voices. This is harmonically easy on the ear, and the flute adds another dimension to the whole piece. * The Organ August 07 *The tonic minor take on the opening theme a little way in is a fun self-critique by Chilcott, in a piece that features an unapologetically cheesy chord structure. Some well-judged canonic writing for the second choir whips up a pleasing diatonic froth as a backdrop to the reprise, a fine musical portrait of rippling waves. * Thomas Lydon, Music Teacher, June 09 *

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Book SynopsisThirteen arrangements for unaccompanied SATB of folk-songs from the British IslesTable of ContentsYarmouth Fair ; The oak and the ash ; Faithful Johnny ; The keel row ; The three ravens ; Brigg Fair ; I love my love ; Swansea Town ; Strawberry Fair ; The sailor and young Nancy ; Ca' the yowes ; The turtle dove ; Afton Water

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Book Synopsisfor SATB unaccompaniedAn alternative to the Benedicite in Lent.

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Book Synopsis62 very short, progressive exercises

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Book SynopsisTable of ContentsTrumpet Voluntary ; The Prince of Denmark's March ; A Trumpet Minuet ; Trumpet Tune, called the Cebell ; March from the 'Occasional Oratorio' ; March from 'Scipio' ; Minuet and Trio from 'Music for the Royal Fireworks' ; Sonata from Trumpet and Strings (1st movt.) ; Trumpet Tune ; Trumpet Tune, called the Cebell ; Trumpet Tune from 'The Indian Queen' ; Trumpet Air ; Trumpet Voluntary

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Book SynopsisA practical and resourceful first tutor with a wide selection of well-known tunes, familiar to even the youngest beginner. Accompaniments for the early pieces are included.

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Book Synopsisfor SSAATTBB unaccompaniedThe music is based on the tune 'Cranham' by Gustav Holst, words are by Christina Rossetti.

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Book SynopsisSchool music teachers and college music teacher educators need resources for working with trans and gender expansive (TGE) students in school music programs. TGE youth are becoming more visible in schools across the U.S., and many teachers, administrators, and communities simply do not have adequate information to appropriately support these students. Honoring Trans and Gender-Expansive Students in Music Education combines new stories from TGE youth and their music teachers with researched-based practical suggestions from the authors to help teachers honor and empower TGE students to succeed in school music classrooms.Trade ReviewThis book should be on the shelf of every teacher and counselor working with K through graduate school. Garrett and Palkki have done a brilliant job providing up-to-date coverage of subjects that are difficult for some teachers to address. This book covers these issues with sundry documenting stories, that perhaps familiar to some are extremely helpful to the uninitiated as well as others looking to be informed in addressing important issues paramount to many students—a most welcomed addition. * Clifford K. Madsen, Robert O. Lawton Distinguished Professor of Music, Florida State University *Garrett and Palkki's compelling and comprehensive book humanizes and personalizes the lived experiences of trans and gender-expansive persons. This book is a brilliant and welcome addition to the music education profession. Teachers in all stages of their career will leave research-based discussions, powerful stories of TGE persons, and practical recommendations with enhanced awareness and fresh perspective, as well as empowered to make change for the better in the music classroom. * Bridget Sweet, Associate Professor of Music Education, University of Illinois at Urbana-Champaign *This book is integral to any music library that serves current or future music educators. * Alexa Marie Frederick, Undergraduate Music Education Student, Texas Tech University, Lubbock, Texas, USA *Honoring Trans and Gender-Expansive Students in Music Education is a valuable resource for all educators. The practical ideas on valuing trans and gender-expansive students in the music classroom are integral for educators because more students are now comfortable with identities outside of cisgender and heteronormative identities...This book is integral to any music library that serves current or future music educators. * Alexa Marie Frederick, Music Reference Services Quarterly *Table of ContentsAcknowledgements Introduction: Teaching People to Learn though the Art of Music Part I Context 1. Starting a Conversation About Trans and Gender Expansive Youth 2. Understanding School Climate for Trans and Gender Expansive Persons 3. Safe People Creating Safe Spaces 4. Honoring Gender Diversity in Music Classrooms 5. Empowering TGE Students with Inclusive Policies 6. Working with Transgender Singers in Choral Classrooms 7. From Our Collaborators Appendix A: Glossary Appendix B: Suggested Resources Appendix C: TGE-Affirmative Policy Appendix D: Vocal Exercises References Index

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Book SynopsisThrough provisional, idiosyncratic, and non-normative listening practices, Queer Ear: Remaking Music Theory counters music theory''s continuing tendencies towards rationality, unity, unilinearity, teleology, and logical certainty. In this volume, editor Gavin S.K. Lee brings together a diverse group of music theorists who issue queer challenges to both music theory and musicology and show that queerness is integral to music-theoretical practice. These investigations of the queer ear and queer soundings, while drawing upon a broad range of approaches, are united by the repurposing of hard music-theoretical apparatuses, as well as soft apparatuses like narratology and cultural theory, for queer ends. Such repurposings contribute to the search for general principles--or a theory--of queering that counters mainstream music theory''s proclivities, instead encouraging everyone to experiment with queer ways of listening.Through the lenses of queer temporality, queer narratology, and queer music analysis, the essays examine a wide variety of artists and composers, including Sun Ra, Cowell, Czernowin, Henze, Schubert, and Schumann; theories ranging from Schenker to queer shame, disability studies, and posthumanism; and authors such as Edward Cone and Edward Prime-Stevenson. Together, they rethink the field''s major tenets, examine hidden histories, and view listening practices from the perspective of non-normative subjectivities. Ultimately, Queer Ear works to queer the field of music theory while paying heed to the ways in which music theory intersects with diverse, embodied LGBTQ lives.Trade ReviewThe first monograph on queer music theory, and a much-needed contribution to the field. The essays in Queer Ear challenge us to recognize the importance of gender, sexuality, and race in analysis, while breaking down the traditional divide between music theory and musicology. * Patricia Hall, Professor of Music, University of Michigan *Table of ContentsIntroduction: Queer Ear Gavin S.k. Lee 1 Queer and Critical Race Theory, Figuring Out Music Theory Gavin S.K. Lee, Philip Ewell, and Robert Hatten Queer Music Analysis 2 Music Analysis; Queer Academy James Currie 3 Queering Schubert's "Der Atlas": Reflections on Positionality and Close Reading David Bretherton 4 The Expression of Queerness in Hans Werner Henze's Music Federica Marsico 5 Multiplicities, Truth, Ethics: a queering analysis of Chaya Czernowin's Anea Crystal Judith Lochhead Queer Temporality 6 Sun Ra's Fletcher Henderson Chris Stover 7 The Chronographic Fallacy of Unilinear Music Theory, Or, Un(Re)productive Temporality in Dichterliebe Gavin S.K. Lee 8 Queering Musical Chrononormativity: Percussion Works of the West Coast Group Bill Solomon Queer Narratology 9 Queer Sexuality and Musical Narrative Fred Everett Maus 10 "Legendary In-Reading": Musical Meaning, Analysis, and Biography in Edward Prime-Stevenson's Music Criticism and Sexology Kristin Franseen 11 Animating Musical Agency Vivian Luong Index

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