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Book SynopsisTrade ReviewThe section on the ‘academization of hip-hop’ – what the book’s title describes as ‘hip-hop within the academy’ – was promising as it is an area that is rarely well covered compared to the more common emphasis on the convergences of youth, politics and hip-hop. . . .Snell and Söderman are appropriately attuned to the ways in which public education is increasingly inflected by the demands and agendas of the neoliberal state. * Popular Music *Music educators will not be the only ones who benefit from this rounded, wide-ranging and yet focused study on the background, uses, meanings, and educational potential of hip-hop. This very readable account has the rare gift of being both entertaining and scholarly. It gives much food for thought as well as practical advice for teachers, and it represents a much-needed addition to the literature on both hip-hop and music education. -- Lucy Green, Professor of Music Education, UCL Institute of Education, London UKSnell and Söderman’s book is a welcome and timely text that draws attention to hip-hop beyond its most visible, commodified forms in popular culture and that challenges the bases of assumptions made surrounding hip-hop scholarship. The authors approach their subject matter with humility, and in doing so, provide a thought-provoking and valuable collection of essays that will surely appeal to scholars in a range of fields, including popular music studies, ethnomusicology, applied ethnomusicology, music education, and music teacher education. -- Gareth Dylan Smith, Institute of Contemporary Music PerformanceA block party of a book—Snell and Söderman mix and remix educational orthodoxies into a whole new sound. -- Randall Everett Allsup, Teachers College Columbia UniversityTable of ContentsContents Acknowledgments Part 1 Ethnographic Hip-Hop Studies 1 Introduction 2 Young Hip-Hop Musicians Talk About Their Learning and Creative Strategies 3 Towards a Swedish Professional Hip-Hop Identity 4 The Musical Personhood of Three Canadian Turntablists: Implications for Transformative Collaborative Practice in Music Education 5 First Nations Hip-Hop Artists’ Identity and Voice Part 2 Academization of Hip-Hop 6 Introduction to Part 2 7 The Formation of a Scientific Field: Hip-Hop Academicus 8 What is at Stake? How Hip-Hop is Legitimized and Discussed Within University 9 Turntablism: A Vehicle for Connecting Community and School Music Making and Learning Part 3 Educational and Artistic Implications of Hip-Hop 10 Introduction to Part 3 11 Jean Grae and Toni Blackman: An Educational and Aesthetical Conversation with two Female Emcees 12 Folkbildning through Hip-Hop: A Presentation of two Rappers and one Swedish Hip-Hop Organization 13 How Critical Pedagogy and Democratic Theory can inform Teaching Music, and especially, Teaching Hip-Hop 14 The Informal Learning Practices of Hip-Hop Musicians 15 Outroduction: Implications for Music and Music Education Glossary of Terms Bibliography Index About the Authors

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Book SynopsisThe story of one musician's journey to discover how music can be used as a political tool.Trade Review'Fascinating ... A deeply intelligent look at music and society and in particular pop's tempestuous relationship with commerce. Thought provoking, readable and clever stuff' -- Mark Radcliffe, BBC Radio 2 and 6 Music'A thrilling trip through the dark corners and secret gardens of the music world! Dave Randall leaves no stone unturned and has produced a work of rare insight' -- Maxi Jazz, lead vocalist for Faithless'What an imaginative idea, what a terrific, exciting book, weaving together the strands of music, politics and worldwide struggles' -- Yasmin Alibhai-Brown'This engaging, hugely readable book should be compulsory reading for anyone interested in the state of the world - and in the essential, life-affirming role music can play in changing it for the better' -- Tom Robinson, BBC 6 Music'Logical and informed, synthesising the historical and the theoretical with a spirit of warmth and accessibility. We need more left wing writing like this. I give only a fraction of a shit about music, and I can't put this down' -- Season Butler'A wide-ranging and punchy book' -- Dan Hancox, The National'Very readable and highly enjoyable' -- Socialist Review5 Stars! -- Songlines'Ceaselessly fascinating and incredibly well researched, with a narrative voice that's simultaneously highly educated and humbly inviting' -- Pop Matters'An outstanding book on many different levels' -- International Socialism JournalTable of ContentsSeries Preface Acknowledgements 1. Roots 2. Culture 3. Partying for Your Right to Fight 4. Getting Political 5. Unity Lost 6. A Short Musical History of Neoliberalism 7. Star Gazing 8. Their Music 9. My Turn I0. Music of the Arab Revolutions 11. Rebel Music Manifesto 12. Conclusion Notes Index

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Book SynopsisIn this innovative book, Stacy Holman Jones presents torch singing as a much more complicated phenomenon than the familiar trope of a woman lamenting her victimhood. With an ethnographer''s eye, she observes the bluesy torch singers, asking if they are possibly performing critiques of the very lyrics they sing. From this perspective, we see the singer giving expression not not only to desire but also to an incipient determination to resist and change. Holman Jones also reveals points of contact in the opposition between spectators and performers, emotion and intellect, and love and power. Instead of interpreting the expression of love as a woman''s violent mistakeas willing deception and passive fateHolman Jones allows us to hear an active search for hope.Trade ReviewThis is a powerful, richly nuanced, evocative work; a stunning and brilliantly innovative pedagogical intervention. It provides ground zero—the starting place for the next generation of performance scholars who study desire, intimacy, the stories we tell ourselves about who we are, torch singers, love's wounds, healing and hearing new musical sounds, lyrics for torching, new ways of writing and breathing our selves into being. -- Norman K. Denzin, University of Illinois at Urbana-ChampaignTorch Singing is as lyrical and inviting as the songs that Stacy Holman Jones takes as her subject. The text itself is like a torch song, calling out for a response from the reader/listener. Moving among autobiography, critical ethnography, musicaland performance analysis, and music history (especially of the blues and Tin Pan Alley), this book is self-conscious and self-reflexive politically, intellectually, and methodologically. Holman Jones is deeply conversant with feminist theory, critical ethnography, performance theory, and the history of popular music, and her writing calls up the singers and songs with acuity and evocative detail. Holman Jones also performs herself in the text and foregrounds the process of research and scholarship, the affective, desirous nature of fandom, and the political exigencies of feminism to re-examine this music and these singers. This is a fascinating study of the history of torch songs and divas, including Sarah Vaughan, Billie Holiday, Lena Horne, Barbra Streisand, and k.d. lang, as well as many other singers whom the author saw perform and often interviewed. Torch Singing documents and celebrates the form of ?singers of suffering? as a resistant, pleasurable, political, feminist performance practice. A -- Stacy Wolf, Associate Professor, Performance as Public Practice Program, Department of Theatre and Dance, University of Texas at Austin, anThis book is a virtuoso performance of the desiring self shaped by the contexts and lyrics of others—some real, some hauntingly remembered, and some fully imagined—through a voice every bit as soulful, ironic, sexy, and full of longing as the torch singers she brings to life. Greil Marcus says somewhere that the only books about music worth reading are those that make the experience of listening to the music better. Stacy Holman Jones does that in this remarkably sensuous little volume, so full of deep personal knowledge of women who are called to torch singing and called by it, so rich in historical and critical resources, and ultimately so deliciously feverish to the ear. -- H.L. (Bud) Goodall, Professor and Head of the Hugh Downs School of Communication at Arizona State UniversityTorch Singing is as lyrical and inviting as the songs that Stacy Holman Jones takes as her subject. The text itself is like a torch song, calling out for a response from the reader/listener. Moving among autobiography, critical ethnography, musical and performance analysis, and music history (especially of the blues and Tin Pan Alley), this book is self-conscious and self-reflexive politically, intellectually, and methodologically. Holman Jones is deeply conversant with feminist theory, critical ethnography, performance theory, and the history of popular music, and her writing calls up the singers and songs with acuity and evocative detail. Holman Jones also performs herself in the text and foregrounds the process of research and scholarship, the affective, desirous nature of fandom, and the political exigencies of feminism to re-examine this music and these singers. This is a fascinating study of the history of torch songs and divas, including Sarah Vaughan, Billie Holiday, Lena Horne, Barbra Streisand, and k.d. lang, as well as many other singers whom the author saw perform and often interviewed. Torch Singing documents and celebrates the form of “singers of suffering” as a resistant, pleasurable, political, feminist performance practice. A beautiful, engaging song of a book. -- Stacy Wolf, Associate Professor, Performance as Public Practice Program, Department of Theatre and Dance, University of Texas at Austin, andTable of Contents1 Interpreter of Lies 2 The Scene of Desire 3 Sing Me a Torch Song 4 The Way You Haunt my Dreams 5 Hearing Voices 6 Love's Wounds 7 Hopeful Openness 8 Circular Breathing 9 Music for Torching

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

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

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

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Book Synopsis

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Book SynopsisMusicians are often loath to discuss their craft for fear of destroying its improvisational essence, rendering jazz among the most ephemeral and least transparent of the performing arts. This work coaxes out an understanding of the men and women themselves, the context of their work, and how jazz from horn blare to drum riffs created conceptually.Trade Review"THE JAZZ EAR will be a permanent part of learning how to listen inside the musicians playing." - Nat Hentoff, Jazz Times. "A small treasure. Ratcliff takes his curious, catholic ear to 15 artists and tangos with them on their own physical and psychic turf." - Time Out New York"

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Book SynopsisUnlike most jazz arranging books, which focus on the rudiments of arranging (transposition, ranges, notation, and so forth), this book deals with the real substance of arranging for small jazz ensembles, in addition to the rudiments. Rinzler devotes a chapter to each of the following arranging elements: intros, endings, accents/breaks/dynamics, time and tempo changes, style changes, form, rhythm section procedure, harmony and orchestration. Over a hundred musical examples demonstrate arranging techniques that apply to 147 jazz standards and modern compositions.Trade Review...an excellent addition to the literature on jazz instruction. * Notes: Quarterly Journal of the Music Library Association *...detailed but concise...this thoroughly researched and clearly written book will be accessible to students and public library patrons with some technical background. * CHOICE *Table of ContentsPart 1 Preface Chapter 2 I. BEGINNINGS (INTROS) Part 3 Turnarounds Part 4 Material from the Head Part 5 New Material Part 6 Pick-up Notes Part 7 Free Time Part 8 Vamps Part 9 Pyramids Part 10 No Intro Chapter 11 II. ENDINGS Part 12 Tags Part 13 Similar Endings and Intros Part 14 linking Several Ednings Part 15 Cliche Endings Part 16 Fermatas Part 17 Staccato Vamps Part 18 New material Part 19 Ritard Chapter 20 III. ACCENTS, BREAKS, DYNAMICS Part 21 Accents Part 22 Breaks Part 23 Dynamics Chapter 24 IV. STYLE CHANGES Part 25 Style Changes within a Chorus Part 26 Style Changes between Choruses Part 27 Style Changes for an Entire Tune Part 28 Free Jazz Chapter 29 V. TIME AND TEMPO CHANGES Part 30 Definitions Part 31 Tempo Changes Part 32 Time/Feel Changes Part 33 Meter Changes Part 34 Playing Behind and Ahead of the Beat Chapter 35 VI. FORM CHANGES Part 36 Standard Forms Part 37 Standard Jazz Arrangement Part 38 Changing in the Chorus Structure Part 39 Number of Heads Part 40 Solos Part 41 Changing the Melody Part 42 Fours Chapter 43 VII. RHYTHM SECTION PROCEDURE Part 44 Different Procedure in Head Part 45 Dropping Instruments Out Part 46 Deviations From Standard Patterns Chapter 47 VIII. JAZZ HARMONY Part 48 Chord Symbols Part 49 Relationships between Chords and Scales Part 50 Notating Extensions and Substitute Chords Part 51 Chord Progressions and Substitute Chords Part 52 Common Progressions and Substitute Chords Part 53 Reharmonizing the Given Chord Progression Chapter 54 IX. HARMONIZATION AND ORCHESTRATION Part 55 One-part Writing Part 56 Two-part Writing Part 57 Three-part Writing Part 58 Spacings and Inversions Part 59 Combinations of Instruments Part 60 Limited Harmonization Part 61 Counterpoint and Backgrounds Part 62 New Melodies Part 63 Appendix A. Notation Part 64 Appendix B. Instrumentation Part 65 Appendix C. The Rhythm Section Part 66 Appendix D. Annotated Arrangement Part 67 Glossary Part 68 Bibliography Part 69 Discography Part 70 Index of Tunes Part 71 General Index

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Book SynopsisThis volume contains parallel texts and translations of all Bach''s church and secular cantatas that have come down to us complete. They have been translated into an accurate and readable English style that does not attempt to render the rhythm and rhyme scheme of the original German texts but allows the reader to appreciate the beauty and atmosphere of the poetry set by Bach. The volume also includes a short glossary of geographical and mythological names, a list of dedicatees of the secular cantatas, a list of the poets with their dates, and an introduction to the cantatas by Martin Neary, former organist of Winchester Cathedral and Westminster Abbey. This corrected and revised printing incorporates a number of corrections to the text and a new alphabetical index of the cantatas by title.Table of ContentsChapter 1 Preface Chapter 2 Introduction Chapter 3 The Complete Church and Secular Cantatas Chapter 4 Glossary Chapter 5 Dedicatees of Bach's Secular Cantatas Chapter 6 The Poets Chapter 7 The Cantatas in Alphabetical Order

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Book SynopsisLutoslawski on Music is the first collection of writings by the Polish twentieth-century composer Witold Lutoslawski. It includes texts about his own compositions and techniques as well as writings on various aspects of twentieth-century musical culture.Trade ReviewThe production and editorial work are uniformly excellent....Very highly recommended. * CAML Review *Table of ContentsPart 1 Preface Part 2 Introduction: Witold Lutoslawski's Life and Music Chapter 3 1. On Beauty, Musical Form, Compositional Technique, and Perception Chapter 4 2. On His Own Works Chapter 5 3. On Composers and Musicians Chapter 6 4. Miscellaneous Items on Contemporary Music in Poland and Abroad Chapter 7 5. Occasional Speeches Chapter 8 6. Notebook of Ideas, 1959–1984 Part 9 Select Bibliography Part 10 Name and Title Index Part 11 About the Editor

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Book SynopsisTrade ReviewNorth's work provides a fascinating history on the orchestra.... Highly recommended for all academic and public libraries, and is a must purchase for devotees of the Boston Symphony Orchestra. * American Reference Books Annual *This is a distinguished, immensely useful piece of discographical work. We already have James H. North to thank for the New York Philharmonic discography and this book improves on that excellent effort in many ways. * Classical Record Collections, Summer 2009 *Whatever you want or need to know about the discography's sources of information, its organization, or the variety of media on which the recordings have been issued, you will find here... There is an immense amount to be learned from North's work, and much fun to be had simply perusing it. * ARSC Journal, (Association For Recorded Sound Collections) *For those aspiring researchers seeking to tackle these and other orchestral lacunae, North's format and approach are well worth poaching… there is an immense amount to be learning from North's work, and much fun to be had simply perusing it. May the author be challenged to undertake at least one more - or maybe even more! * ARSC Journal, Fall 2009 *A marvelously complete discography of the orchestra....The highly readable comments on the recording...make browsing such a pleasure. * Fanfare Magazine, February 2009 *This is a distinguished, immensely useful piece of discographical work. We already have James H. North to thank for the New York Philharmonic discography and this book improves on that excellent effort in many ways. * Classical Record Collections, Summer 2009 *As author James H. North points out in his impressively detailed introduction, this book actually consists of two discographies: the first being the authorized (mostly commercial) recordings of the Boston Symphony Orchestra (BSO), and the other consisting of recordings of the Boston Symphony Chamber Players….Users will enjoy perusing the accompanying comments, which are often anecdotes or details that afford a fascinating glimpse into the recording….In addition to being potentially useful for libraries, researchers, and students, this volume may also be enjoyable for fans of the BSO and anyone fascinated with historical audio collections. * Music Reference Services Quarterly *

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Book SynopsisThis is a completely revised and expanded second edition of The Broadway Song Companion, the first complete guide and access point to the vast literature of the Broadway musical for the solo performer. Designed with the working actor in mind, the volume lists every song from over 300 Broadway shows, including at least 90 more than the first edition. Organized by show, each song is annotated with the name of the character(s) who sing(s) the song, the vocal range, and a style category, such as uptempo, narrative ballad, swing ballad, moderate character piece, etc. Several indexes are supplied, organizing the songs by voice type (soprano, baritone, etc.) and song style, vocal arrangement (duets, trios, chorus, etc.), and composer and lyricist, allowing increased access to the repertoire. For instance, a soprano looking for a ballad to sing will find every song in that category in the index. All solos, duets, and trios are indexed in this manner, with quartets and larger ensembles listed by voice type. Furthermore, the instant breakdowns (how many lead characters, who sings what song, and the range requirements of each character) will be a valuable resource to directors and producers.Trade ReviewThis unique approach to the musical theatre's song repertoire will help solo performers and ensembles assemble programs suitable for their vocal talents and expressive of their interests. * Rettig On Reference *DeVenney is the perfect resource person to answer that perennial question, what should I sing for my audition? This volume is an absolute necessity for all college and high school musical theater collections. Essential. * CHOICE, January 2010 *As valuable as the annotated entries are six indexes. ... For music theater performers and their instructors this book is a boon, both for repertoire selection and role preparation. ... An affordable addition to the reference section of a studio library. * Journal of Singing, January/February 2010 *This book will be a welcome addition to a teacher's studio library. Musical theatre repertoire is a staple for many high school students, and in order to keep up with their passion, teachers must become savvy with the repertoire. I recently experienced this learning curve for musical theatre repertoire in my own teaching. How nice it would have been to have this book in my library during the learning process! * Classical Singer Magazine, May 2010 *A veritable casting bible for producers and directors of musicals on the one hand and an invaluable source for any individual voice to find all the songs in his or her range from the Broadway canon ... very well structured ... this is one reference book that no one interested in musical theatre should be without! * Amateur Stage *

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Book SynopsisTeachers the world over are discovering the importance and benefits of incorporating popular culture into the music classroom. The cultural prevalence and the students' familiarity with recorded music, videos, games, and other increasingly accessible multimedia materials help enliven course content and foster interactive learning and participation. Pop-Culture Pedagogy in the Music Classroom: Teaching Tools from American Idol to YouTube provides ideas and techniques for teaching music classes using elements of popular culture that resonate with students' everyday lives. From popular songs and genres to covers, mixes, and mashups; from video games such as Dance Dance Revolution and Guitar Hero to television shows like American Idol, this exciting collection offers pedagogical models for incorporating pop culture and its associated technologies into a wide variety of music courses. Biamonte has collected well-rounded essays that consider a variety of applications. After an introductionTrade ReviewAs the cover implies, the essays in this collection address pop music from the 1930s to today, with a heavy emphasis on the roles of technology and the media....While the collection is directed more toward music theory than music history, it provides a wealth of ideas for making history classes more interactive, relevant, and engaging for today’s students....Those already committed to integrating pop culture into the classroom will find plenty of encouragement in this book. * Journal of Music History Pedagogy *A dizzying array of technology is now available to assist teachers and students in accessing music. While recorded versions of many genres of music have been readily available for generations, tools such as YouTube.com, Pandora.com, and Grooveshark.com have made a variety of recordings available for free. Additionally, a variety of computer programs and games allow students to mix, analyze, and play with music as never before. In editing Pop-Culture Pedagogy in the Classroom, Biamonte (McGill Univ., Canada) has assembled a timely collection of essays that assist classroom practitioners and those interested in music education. The book deals with pertinent issues such as building listening skills through sound-mixing techniques, integrating aural skills and formal analysis through popular music, and using American Idol to introduce music criticism. The chapters mix explanations of some of the key concepts related to various learning objectives for students with practical ideas and techniques related to how to teach these in the classroom using aspects of popular technology with which students are familiar. A strong complement to Thomas Rudolph's Teaching Music with Technology (2004). Summing Up: Recommended. General readers; upper-division undergraduate students and above. * CHOICE *

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Book SynopsisTrade ReviewOffering a philosophical framework, Grateful Dead and the Art of Rock Improvisation provides an aesthetic appreciation of the musical stylings of this legendary band. A seminal work of outstanding and original scholarship, Grateful Dead and the Art of Rock Improvisation is written in a form and format that will make it easily accessible to non-specialist general readers and fans of the Grateful Dead. Grateful Dead and the Art of Rock Improvisation is a highly recommended addition to academic library Popular Culture and 20th Century American Music reference collections and supplemental reading lists. * Midwest Book Review *David Malvinni’s Grateful Dead and the Art of Rock Improvisation is . . . a necessary addition to the growing secondary literature on the music of the Grateful Dead. * Notes: Quarterly Journal of the Music Library Association *As the first scholarly monograph on the music of the Grateful Dead, David Malvinni’s Grateful Dead and the Art of Rock Improvisation is a significant addition to popular music scholarship. Although numerous edited volumes of essays focused on the band have been published in the two decades since the band’s demise after the death of lead guitarist Jerry Garcia, this is the first by a single author to focus entirely on a musicological assessment. And since it has often been the sociological aspects of the Grateful Dead phenomenon that have received the most attention, especially the audience, the colorful fans known as Deadheads, it is a refreshing change for a scholar to focus entirely on what should be of primary importance for a musical ensemble: its music. * Critical Studies in Improvisation *

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Book SynopsisSince the 1960s, the Grateful Dead have welcomed and participated in academic work on the band, encouraging scrutiny from a wide variety of disciplinary and theoretical perspectives, from anthropology to sociology. Interest in Dead studies is growing across the country and around the world, and UCSanta Cruz's Grateful Dead Archive continues to attract a high level of attention. In Reading the Grateful Dead: A Critical Survey, Nicholas G. Meriwether has assembled essays that examine the development of Grateful Dead studies. This volume features work from three generations of scholars, including a wide variety of perspectives on the band and its cultural significance. From insiders like lyricist John Perry Barlow and longtime band publicist and historian Dennis McNally to well-known Deadhead scholars such as Barry Barnes and Rebecca Adams, the contributors to this volume offer valuable insights into the Grateful Dead phenomenon. No other Dead book focuses on the growth and developmenTrade ReviewIn addition to the remarkable variety of contents and approaches represented in the main articles, the collection is framed by a handful of poems, anecdotes, and addenda to enhance the whole package. But it would underestimate this collection’s importance to think of it as a feast for Deadheads. This offering does more than show the intrinsic interest of the Dead as a musical phenomenon; these essays establish their significance as a watershed in the development of American counterculture, not as a mega-influence (in the manner of the Beatles), but as a microcosm of the many cultural threads that came together in the sixties and continue to weave their way through the very different decades that followed. * Dead Studies *Table of ContentsAcknowledgments “Halloween Costume Party” Bob Cooperman Introduction: “The Secret of This Tie That Binds”: The Interdisciplinary Discourse of Grateful Dead Studies Nicholas G. Meriwether PART 1: STUDYING THE DEAD 1. The Education of a Deadhead: A Letter from a Novelist Matthew Armstrong 2. The Grateful Dead in the Academy Dennis McNally 3. Thinking About the Dead: Amateur Anthropology, the Human Comedy, and Making Good Ancestors John Perry Barlow 4. “The Thousand Stories Have Come ’Round To One”: Studying the Grateful Dead Phenomenon Nicholas G. Meriwether 5. Mapping the Deadhead Social Science Trip Natalie Dollar PART 2: MUSIC AND LYRICS, MEDIUM AND MESSAGE 6. How the Grateful Dead Learned to Jam Michael Kaler 7. “Terrapin Station,” Postmodernism, and the Infinite Jon Ney 8. A Super-Metacantric Analysis of “Playing in the Band” Robert H. Trudeau 9. “And Closed My Eyes To See”: Buddhist Resonances in the Lyrics of the Grateful Dead Ryan Slesinger 10. The Dead Play Egypt, Thirty Years Later: Myth, Memory, and Marketing Nicholas Meriwether PART 3: THE DEADHEAD EXPERIENCE 11. Crowned Anarchy: Songs, Segues, and the Golden Road to Unlimited Devotion Joseph Holt 12. The Grateful Dead Religious Experience David Bryan 13. Shakedown Street: A Benjaminian Approach to the Grateful Dead James Revell Carr 14. What Are Deadheads? An Informal Survey Alex Kolker 15. Terrapin Station Demographics and “Deadication”: The Furthur Festival ’98 Data Rebecca G. Adams 16. Autobiographical Memories of Grateful Dead Concerts: Two Descriptive Approaches Mark E. Mattson PART 4: SOCIETY AND HISTORY, CONTEXTS AND CURRENTS 17. “And I Done Some Time”: Bobby Petersen and the Grateful Dead Christian Crumlish 18. Nomadic Musical Audiences: A Historical Precedent for the Grateful Dead Jacob A. Cohen 19. Deconstructing Deadheads Mark Tursi 20. The Psychedelic Experience, Contemporary Music, and the Grateful Dead: A 1969 Study Revisited Stanley Krippner 21. “Bound to Cover Just a Little More Ground”: A Heideggerian Reflection on the Grateful Dead Stanley Spector 22. Jerry Garcia and Leadership Styles in the Grateful Dead Phenomenon Barry Barnes ENCORE 22. Cold Roses: A Skeleton Key to the Grateful Dead in the Music of Ryan Adams Matthew C. Armstrong 23. Tapes and Memories: A Letter From a Latter-Day Fan Jacob A. Cohen 24. “One Last Wish” Jon Ney Index About the Contributors About the Editor

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Book SynopsisTitles in Dictionaries for the Modern Musician series offer both the novice and the advanced artist key information designed to convey the field of study and performance for a major instrument or instrument class, as well as the workings of musicians in areas from conducting to composing. Unlike other encyclopedic works, contributions to this series focus primarily on the knowledge required by the contemporary musical student or performer. Each dictionary covers topics from instrument parts to playing technique and major works to key figures. A must-have for any musician's personal library!Trumpeters today perform a vast repertoire of musical material spanning 500 years, much of it in a variety of styles and even on a number of related instruments. In A Dictionary for the Modern Trumpet Player, scholar and performer, Elisa Koehler has created a key reference work that addresses all of the instruments in the high brass family, providing ready answers to issues that trumpeters, conductorTrade ReviewThe latest title in Rowman & Littlefield's Dictionaries for the Modern Musician series is aimed at students, teachers, and performers, and all are well served by its comprehensive treatment of the subject. A thoroughly cross-indexed dictionary of terms forms the major part of this work, but its appendixes and bibliography are far from minor. These include a time line of trumpet history, a gallery of valve diagrams, and a list of excerpts suitable for orchestra and opera auditions. The bibliography is extensive and includes biographies and autobiographies, historic sources, websites, and more. This very specialized source should be added to the repertoire of academic library collections serving music students as well as public library collections serving amateur and professional musicians. * Booklist *Professional trumpeter Koehler offers loving fanfare about her chosen instrument, with entries on its key role in military matters (as in reveille) and various permutations (as bugle, cornet, etc.), as well as developmental milestones, most prominent/notable players (Louis Armstrong, et al), and more. Appendixes include illustrations of various valve mechanisms. VERDICT A terrific read for musicians and fans alike. * Library Journal *This latest volume in the publisher's ‘Dictionaries for the Modern Musician’ series is a most welcome addition to the trumpet player's shelf. Aimed at the contemporary performer, the dictionary contains a wealth of historical information, covering biographies of important performers, composers, teachers, and makers; technical aspects of playing the trumpet (e.g., multiple tonguing); musical issues and markings, including foreign terms; and mechanical aspects of trumpet construction. Koehler treats her topic broadly, covering such closely related topics as the cornet, historical precursor instruments from centuries past, and composers only tangentially associated with trumpet literature. The illustrations—all original for this book—are quite useful, particularly those in the second appendix, which illustrate the various kinds of valve blocks that have been used over the centuries. . . .[T]he documentation is quite good. Summing Up: Recommended. All academic levels; general readers; professional musicians and music teachers. * CHOICE *Elisa Koehler new book demonstrates her wonderful ability to convey and explain a wide range of information, some of it rather complex, to both informed and novice readerships. As the book is a dictionary, each of the hundreds of entries is limited in size, but Koehler has nevertheless managed to assemble a wide range of trumpet-related topics including famous players, composers, instruments, organological issues, performance practice, compositions, as well as key concepts and historical events. Drawing on the famous line, 'poetry is what poets write,' Elisa Koehler has constructed her dictionary to embrace the totality of the trumpet family as anything that the modern trumpet player plays. Rather than restricting the topic, as some taxonomic endeavors do, she has broadened it. * Historic Brass Society Journal *One strength of this volume is the introduction of historical subjects such as performance practice, baroque versus natural trumpets and the use of vent holes without going into unnecessary and frequently confusing levels of detail. The inclusion of performers and composers from the former Soviet Union, many of whom are relatively unknown in the West, is also an asset. . . .A Dictionary for the Modern Trumpet Player will prove useful to undergraduate students who will encounter a host of unfamiliar terms during their studies. * s *The many line drawings are very clear and accurate, nicely augmenting the text. Cross-references in bold type add much to the usefulness of definitions and historical accounts. The author’s depth of knowledge and experience with historical trumpet performance contribute to this volume. . . .The ‘Introduction’ is short, but packs in enough information for the novice reader to gain a good understanding of the history of the trumpet for more than the last 200 years. Students should read the introduction before using this dictionary to learn about certain terms. . . .I can conclude that this dictionary is a valuable tool to have on hand for the trumpet student or anyone else with interest. * American Musical Instrument Society *This dictionary is an excellent blend of first-rate scholarship and readability. The history of the trumpet extends back centuries, and trumpet-like instruments are found in almost every culture and made from almost any material. Many of these instruments (e.g., the shofar, the abe.n) are given some notice, often with a very useful line drawing. Indeed, the text is liberally sprinkled with more than sixty line drawings (rather than photographs, which perhaps would have increased the cost) and music examples that helpfully illustrate terms or instruments discussed in the text, all rendered especially for this book…. Koehler’s text is a good indicator of the breadth of knowledge required to be a successful musician today…. Koehler’s Dictionary is a very welcome addition to the bookshelves of all trumpet players. * Notes: Quarterly Journal of the Music Library Association *Table of ContentsIntroduction List of Illustrations The Dictionary Appendix 1: Timeline of Trumpet History Appendix 2: Gallery of Valve Diagrams Appendix 3: Mute Classifications Appendix 4: Orchestra and Opera Audition Excerpts For Further Reading

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Book SynopsisTrade ReviewMontagu focuses here on horns' and trumpets' histories, construction and design, and performance issues. Drawing from his extensive experience as a performer and as a curator of Oxford's Bate Collection of Musical Instruments, he incorporates the works of numerous other performers, historians, and organologists of the past hundred years or so. This narrative functions at once as a catalog of horns and trumpets in Montagu's collection, a documentary on the purposes and functions of these instruments, and a personal account of the author's experiences in collecting and playing instruments. Montagu defines the differences and similarities between trumpets and horns in their diverse guises throughout the world. Arranging this volume historically and by materials used for constructing the instruments, Montagu covers the instruments' broad spectrum in a very personal, practical, and colloquial style. Multiple black-and-white photographs and illustrations support descriptions of the instruments and other items from the author's collection. . . .Summing Up: Recommended. Upper-division undergraduates and above. * CHOICE *Many books cover the instruments of the band and orchestra, but few cover the globe as Montagu does. He explains the overtone or harmonic series briefly, with an example in musical notation. Before the prelude is an important chapter on the 'Protocol of Measurements' (pp. xix-xx), which includes abbreviations, symbols, measurements (in millimeters, with the pitch standards employed). The author explains the structure and construction of brass instruments, and their derivation from various source materials, such as bark, cane, gourd, and metals—particularly brass. Usages of each instrument vary, both in musical and ritualistic terms. He presents over 150 detailed illustrations. Many of these are from Montagu’s personal collection, developed over a six-decade time span. He entered these into a ledger catalog, using Roman numerals for the volume, and Arabic numerals for the page. . . . . Montagu presents a very useful narrative that describes visually and in clear text, trumpets, horns, trombones, and world music instruments (e.g., didgeridoo, shell trumpets, side blown horns). * American Reference Books Annual *Fellow Jeremy Montagu, former curator of the Bate Collection of Musical Instruments and President of the Galpin Society, has written several books already on the histories, origins and development of musical instruments, but this book was written with the particular affection and insight that comes from the fact that Jeremy is a brass player himself, having studied French horn at London’s Guildhall School of Music. . . .The text is also packed with fascinating insights into the ways that composers have used these instruments to lend vibrant colour to their work. * SALON Online Newsletter *On the surface, Horns and Trumpets of the World is a detailed catalogue of Montagu's own extensive and important collection of musical instruments. It is that, but it is also much more. While Western musical instruments are represented, non-Western instruments are prominent in this study and it is that focus that makes this book so valuable. . . .Montagu traces the history of many of the instruments and instrument types and often includes fascinating descriptions of how these instruments are woven into the social and cultural fabric of the people who use them . . .In addition to the valuable information in this book, an added bonus is the author's charming conversational tone, manifested in the form of wonderful anecdotes about the acquisition of particular instruments in his collection. He offers insight into the thrill of amassing a large and important instrument collection as well as a detailed social and organological study of the instruments. * Historic Brass Society Journal *When such an expert invites one to take what is essentially a guided tour around his own extensive personal collection of horns and trumpets, one is not surprised to read an erudite but surprisingly readable account of a huge range of instruments (the title says it all!), including many that the average musician would never have heard of…. Throughout the book, there’s a wealth of technical detail; it goes without saying that protocols of scientific measurements and musical pitches appear at the outset. Physical descriptions and performance techniques receive equal attention throughout the text. The book is generously illustrated, again with a detailed list in the prefatory pages, and is equipped with all the usual bibliographic and other appendices: indices of instruments, of makers, of people and places and a general index to conclude the work…. [T]here is much to interest the more general music scholar and the opening chapters will be of considerable interest to ethnomusicologists, while detailed historical accounts of brass instrument manufacturers and retailers could be relevant to a very wide range of scholars concerned with the music trade or particular groups of performers. * s *Informed by a lifetime's experience playing and analyzing musical instruments, Jeremy Montagu's richly illustrated guide to horns and trumpets provides a panoramic survey of types from all over the world, drawn mostly from his own encyclopedic collection. Dozens of photographs help readers identify exotic examples and view familiar "brasses" afresh, while Montagu's insights to their construction and usage, couched in non-technical language, provide essential context for the instruments' physical descriptions, including measurements. Of special interest are personal anecdotes about how Montagu acquired and researched his holdings. An extensive bibliography and detailed indexes add to the book's usefulness. Horns and Trumpets of the World will be immediately valuable to collectors, curators, musicians and music-lovers, and everyone fascinated by this ancient, still evolving family of instruments. -- Laurence Libin, Editor in Chief, Grove Dictionary of Musical InstrumentsTable of ContentsList of Illustrations Acknowledgments Protocol of Measurements and Abbreviations Prelude Chapter 1: Seaweed, Bark, Cane, and Gourd, Chapter 2: Side-blown Horns Chapter 3: Shell Trumpets Chapter 4: Shorter End-blown Horns Chapter 5: Longer end-blown Trumpets Chapter 6: ‘Orchestral’ Trumpets and Slide Trombones Chapter 7: Orchestral Natural Horns Chapter 8: Valved Horns, Trumpets, and Trombones Chapter 9: Bugles and Cornets Chapter 10: Fingerhole Horns Chapter 11: Accessories Chapter 12: Playing Chapter 13: Bibliography Instrument Index Manufacturer Index Catalogue Numbers General Index

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Book SynopsisSearch the Internet for the 100 best songs or best albums. Dozens of lists will appear from aficionados to major music personalities. But what if you not only love listening to the blues or country music or jazz or rock, you love reading about it, too. How do you separate what matters from what doesn't among the hundredssometimes thousandsof books on the music you so love? In the Best Music Books series, readers finally have a quick-and-ready list of the most important works published on modern major music genres by leading experts. In 100 Books Every Blues Fan Should Own, Edward Komara, former Blues Archivist of the University of Mississippi, and his successor Greg Johnson select those histories, biographies, surveys, transcriptions and studies from the many hundreds of works that have been published about this vital American musical genre. Komara and Johnson provide a short description of the contents and the achievement of each title selected for their Blues 100. Entries includeTrade ReviewThis readable and informative book's premise is simple: coauthors Komara (Crane Librarian of Music, State Univ. of New York, Potsdam; former blues archivist, Univ. of Mississippi) and Johnson (blues curator, Univ. of Mississippi), both very knowledgeable blues fans, have assembled 100 titles that they feel could and should be read by those who want to know more about the scope of blues history in the United States. The examples range from scholarly works to popular, more readable books. The aim was to include titles still readily available through libraries or popular booksellers. The first entry covers Lawrence Cohn's Nothing But the Blues: The Music and the Musicians, a great place for anyone to start. Each entry lists price, availability, and layout and provides a description of the subjects covered. Most people will probably not read the book cover to cover, but it is quite browsable. The table of contents lists the subject matter and titles, so neophytes and experts alike can easily find a suitable book for further investigation. This is the sort of work that all libraries with blues collections should own. Highly recommended. * Library Journal *Written by the former (Komara) and current (Johnson) blues archivist of the University of Mississippi, this book provides a highly selective list of significant books covering the history of blues music. The authors provide the criteria for selecting the 100 books including the importance of a readable style. . . .All of the books are written in English (most foreign-language publications have been periodicals and most international writers have written in English) and treat African American blues and its associated culture, not white British and American blues. Books providing overviews are listed first then the ordering follows a historical timeline working from 1890 up through the early twenty-first century. . . .There is a 'playlist' at the end of the volume recommending a recording illustrative or pertaining to each book. There is also a list of reference works used to help select and compile the bibliography. The volume concludes with an index listing the artists, authors, and books titles listed throughout. Unique in its selectivity, anyone interested in exploring the blues through the printed word will find this source a pleasure to consult. * American Reference Books Annual *With an engaging text, Komara and Johnson have assembled a very utilitarian bibliography, and present estimated costs for the out-of-print books, various editions and publishers, hardcover or paperback. The authors compare several non-Blues 100 books as well. One also learns many of the names associated with the blues, and who is linked to whom. These qualities make 100 Books Every Blues Fan Should Own a valued purchase for serious blues lovers and librarians alike. * Notes: Quarterly Journal of the Music Library Association *It is a good read with a nice way of getting the facts across. * The Bristol Press *This is the 101st book every blues fan should own. * Blues Beat News *Komara and Johnson have combined their considerable experience and expertise to curate a list of books they deem essential to a thorough understanding of African American blues music and cultures. . . .The authors adopt a readable style for their entries: each is given a short title that summarizes the particular book's thesis, and they outline its contents in clear prose as well as provide critiques and context, bibliographic information, and purchasing advice. . . .100 Books Every Blues Fan Should Own is a worthy resource for all admirers of the genre. * Living Blues *The authors acknowledge...their ambition “to make 100 Books That Every Blues Fan Should Own the 101st that every blues fan should own." In this, the authors have succeeded. Their informative book is a welcome primer for any serious blues fan seeking to engage the scholarly literature of this musical genre. It would also be an invaluable resource for any instructor building a course about the blues. * Music Reference Services Quarterly *The re-discovery and ultimate academic invention of the blues occurred during the latter part of the larger American folk music revival (roughly between 1940 and '60). The authors note that prior to 1959 and the publication of The Country Blues (Reinhart/Da Capo) that blues discourse was largely an oral (and aural) tradition. Since 1959, this oral tradition has been canonically codified in books and periodicals devoted to the blues and blues scholarship in measures large enough to repave Highway 61 from Chicago to Clarkdale. The story of the blues is one that warrants the attention of all the writers who have contributed to its vast bibliography and of all the old and new readers wanting to discover her depth and beauty. But where to start? 100 Books Every Blues Fan Should Own offers a grand place to start. The two authors present a book, first with a brief (and often colorful) descriptor followed by a complete bibliographic citation and book prices for the editions in print. The citations are followed by critical essays about the book: why it is important, what are its strengths and shortcomings. Both authors' works is well balanced and fair minded and above all, informative. * All About Jazz *The Blues are all about the stories, and there are many stories out there about the women and men who create this music. Edward Komara, former Blues archivist of the University of Mississippi, and his successor Greg Johnson pulled together perhaps the definitive bibliography of books about the blues in their new release 100 Books Every Blues Fan Should Own. -- Steve Chavis, co-host of First Take with Lando & Chavis, KUVO (Denver)Table of ContentsFinding the Blues 100 Introduction Acknowledgments The Blues 100 The Playlist Appendix: The Books behind the Blues 100

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Book SynopsisNEW YORK TIMES BESTSELLER • A beautifully written, witty memoir that is also an immersive exploration of classical music—its power, its meanings, and what it can teach us about ourselves—from the MacArthur “Genius” Grant–winning pianistLONGLISTED FOR THE ANDREW CARNEGIE MEDAL • “Jeremy Denk has written a love letter to the music, and especially to the music teachers, in his life.”—Conrad Tao, pianist and composerONE OF THE BEST BOOKS OF THE YEAR: The New YorkerIn Every Good Boy Does Fine, renowned pianist Jeremy Denk traces an implausible journey. His life is already a little tough as a precocious, temperamental six-year-old piano prodigy in New Jersey, and then a family meltdown forces a move to New Mexico. There, Denk must please a new taskmaster, an embittered but devoted professor, while navigating junior high school. At sixteen he escapes to col

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Book SynopsisAlong with the Stooges, the Velvet Underground, and the New York Dolls, the MC5 are recognized in music circles as one of the bands that paved the way for punk rock. While the group did not reach the heights of national celebrity or financial success during their seven years together, their musical legacy has never been more celebratedwith recently reissued recordings and documentary footage, as well as an unlikely reunion tour. In MC5: Sonically Speaking, author Brett Callwood delves into the MC5's story from the band's beginnings in 1960s Detroit to its 1972 break-up, the post-MC5 fates of its members, and the eventual reunion that cemented its legacy. Callwood interviews the band's surviving members and close associates to create a compelling firsthand picture of the MC5's history and its music. He introduces readers to the band's original members, Rob Tyner, Wayne Kramer, Fred Sonic Smith, Michael Davis, and Dennis Thompson, and links the power of the MC5 phenomenon to its early d

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Book SynopsisJohann Sebastian Bach's the "St Matthew Passion" stands as a singular expression of religious sensibility. Highlighting the inspiration Bach drew from opera, this book illuminates the hybrid forms that comprise the work, thereby clarifying many of the composer's dramatic strategies.Trade Review'I must admit to delighting in the 129 pages of this extremly readable book ... I thoroughly recommend anybody to whom the St. Matthew Passion is a problem to spend £9.99 on this beautifully common sense book.' Musical Opinion, March 2009"Bach's St Matthew Passion is the ultimate depiction of the torture and (attempted) murder of Jesus Christ: the most beautiful, the most harrowing and the most innovative." -Damian Thompson, The Telegraph, April 2009"Victor Lederer's 132-page guide, the first in Continuum's Magnum Opus series, not only puts the music in historical and theological context; it also draws your attention to crucial but easy-to-miss details in the score." -Damian Thompson, The Telegraph, April 2009"One of this book's many virtues is that it unfolds at roughly the same pace as the St Matthew Passion itself." -Damian Thompson, The Telegraph, April 2009"a user-friendly resource for the keen novice, it is also nuanced enough for the more knowledgeable reader." "The book has the added interest of concluding with discussion of the work's performance history and the merits of various recordings. Written in clean , clear prose, this is recommended reading for anyone interested in delving into this great work" Classical Music, 11 April 2009 -- Ruth Garner

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Book SynopsisTraces the interactions and mutual influences of art and music. This book presents a narrative of late-Modern/Postmodern artistic practice, connecting familiar events, figures and works to less-familiar precedents and antecedents from within their own fields and from across the aisle.Trade Review"...some useful arguments. And sound art certainly need arguments." The Wire, February 2010"Kim-Cohen's book develops a number of significant arguments concerning sound's status in the art world."SpringerinReviewed in Year's Work in Critical and Cultural TheoryTable of Contentsi. Introduction; ii. Noise and Its Opposite; iii. Sectarianism in the Sensorium; iv. Settling the Score; v. The Technological Ontological; vi. Rock and Roll Aesthetics; vii. The Blink of an Ear; viii. Postscript: A Tentative Definition of Sound Art.

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Book SynopsisHow do we listen for the voice of God within the soundscapes of our lives and how do we find our own voice? How too do we find our own voice? Sensitive to the cadences of modern life, the author reflects on this through the prism of Scripture and tradition.Trade Review"A persistent and perceptive commentary." The Catholic Herald, December 2009."Winkett's theological reflections are complex and sophisticated...She is informative and wise...Each chapter bears a second and third read." The Sign, February 2010."Our Sound is Our Wound is a remarkable book... so full of insights that it is almost over­flow­ing with ideas." Church Times, January 2010."The sounds of the modern city match, [Winkett] thinks, the dominant modern feeling of anxiety and fear- principally fear of death. In opposition, she presents the liberating forces of justice and beauty." Christopher Howse, The Daily Telegraph, February 2010."Lively, stimulating and challenging" Jane Hedges, The Times, February 2010."Lucy Winkett has an easy, anecdotal style which is both allusive and informative, allowing the reader to set off on their own reflective journeys." The Good Bookstall. Read the full review at http://www.thegoodbookstall.org.uk/review/9780826439215/lucy-winkett/our-sound-is-our-wound/Mention on BBC websitehttp://news.bbc.co.uk/1/hi/magazine/8714177.stm‘This profoundly rich book skilfully weaves interpretations of scripture into Winkett's reflections on the theme of sound and listening, and her own personal stories.' -- The Anglican Messenger (Perth)‘A thoughtful, evocative book that was well chosen as the Archbishop of Canterbury's Lenten book for 2010... This is a book to be enjoyed.' -- Theological Book ReviewFeatured in the Top Ten Books chosen by Sarum Bookshop -- thegoodbookstall.org.ukAttended Hay Festival 2011Table of ContentsForeword by the Archbishop of Canterbury Prelude. Chapter One: The Sound of Scripture; Chapter Two: The Sound of Lament; Chapter Three: The Sound of Liberation; Chapter Four: The Sound of Resurrection; Chapter Five: The Sound of the Angels; Chapter Six: Our Sound is Our Wound; Epilogue: a 'sound' story.

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Book SynopsisPart of "The Continuum Aesthetics" series, this book offers a different exploration of the key concepts and arguments in musical aesthetics. It looks at: the experience of listening; rhythm and musical movement; what modernism has meant for musical aesthetics; the relation of music to other 'sound arts'; improvisation and composition; and more.Trade Review'A gifted philosopher, music critic and jazz performer, Andy Hamilton has produced a book which leaves neither the philosophy nor the music out. He guides us deftly through the aesthetics of Kant and Adorno without neglecting the reality of music as sound and rhythm, improvisation and composition, showing in an unusually open-minded, lively way - and in philosophical depth - how aesthetic experience is universal and human.' Professor John Skorupski, St Andrews University, UK'An innovative, cross-disciplinary contribution to the philosophy of music, weaving Adorno's Critical Theory with Analytic aesthetics.' Professor Max Paddison, Durham University, UK.'With a fine eye for argument, for teasing out and testing key assumptions within the philosophy of music, Andy Hamilton's Aesthetics And Music charts a knife-edge course between scholarship, clear and penetrating thinking, and above all sound intuitions.' Stephen Robinson, The Wire, December 2007'Aesthetics and Music is a rich and interesting study. Hamilton's approach is innovative ... [the book] should be recommended to anyone interested in the philosophy of music.' Stephen Davies, University of Auckland, Analysis'A deeply informed author thinking hard about the musical matters which he considers - with justification - to be the most important... a lively and stimulating contribution to a number of debates.' M.W. Rowe, British Journal of Aesthetics'Hamilton has read widely, listened hard and had his own practical engagement with music as a jazz pianist, and there is much to be learned from his argument ... The range of Hamilton's interests, and his familiarity with modern, postmodern, and post-postmodern culture, help to support an argument that is far more interesting in its detail than can be conveyed in a short review. There is a freshness in his approach, and a pleasing disregard for pedantic controversies, that will surely attract new readers to a subject that has not always been as well served by its practitioners as it is served by Hamilton.' Roger Scruton, MIND"The value of Aesthetics and Music lies in its producing the groundwork needed to present modern jazz as music worthy of Analytic philosophical treatment." Reviewed by Andrew McGettigan in Radical Philosophy, July 2008"Andy Hamilton's Aesthetics and Music is an unusual concoction: one part history of the aesthetics of music, one part review of recent work in the Analytic philosophy of music, and one part original contribution to musical aesthetics...Hamilton's respect for and sincere interest in improvised music, experimentalism, and sound-art is model for future writers on the philosophy of music." - Brian Kane, Current Musicology, No. 85, Spring 2008Reviewed in Dagens Nyheter, Sweden - Jan 2008'Hamilton's is a distinctive philosophical voice, and Aesthetics and Music is a lively and stimulating contribution to a number of important debates.' - British Journal of AestheticsTable of Contents1. Aesthetics and music in ancient Greece; 2. The concept of music; 3. The aesthetic of form, the aesthetic of expression, and "Absolute Music": Aesthetics of music in the late 18th and 19th centuries 4. The sound of music; 5. Rhythm and time; 6. Adorno and modernism: Music as autonomous and "social fact" 7. Improvisation and composition.

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

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Book SynopsisAn exploration of avant-garde music and operatic form in Weimar GermanyWeimar Germany -- the age of Bauhaus and Brecht -- was a time of significant activity in all areas of the artistic avant-garde. Musicologist Susan Cook explores this intriguing period in a look at Zeitoper (topical opera)and its primary exponents, Ernst Krenek, Kurt Weill and Paul Hindemith. Zeitoper has proved to be of importance as an experimental form that broadened the definition of modern opera and musical theatre, incorporating elements previously thought unsuitable. Celebrating modern life in its libretti, its scores borrowed heavily from American dance music and jazz. Opera for a New Republic is the first book to provide a broad historical,cultural and artistic context for the development of this operatic genre. Through it we learn that Zeitoper, although short-lived, has proved to be a vital component in the development of twentieth-century operatic style. Susan Cook is Professor of Musicology at the University of Wisconsin.

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Book SynopsisComparative studies of medieval chant traditions in western Europe, Byzantium and the Slavic nations illuminate music, literacy and culture.Gregorian chant was the dominant liturgical music of the medieval period, from the time it was adopted by Charlemagne's court in the eighth century; but for centuries afterwards it competed with other musical traditions, local repertories from the great centres of Rome, Milan, Ravenna, Benevento, Toledo, Constantinople, Jerusalem, and Kievan Rus, and comparative study of these chant traditions can tell us much about music, liturgy, literacy and culture a thousand years ago. This is the first book-length work to look at the issues in a global, comprehensive way, in the manner of the work of Kenneth Levy, the leading exponent of comparative chant studies. It covers the four most fruitful approaches for investigators: the creation and transmission of chant texts, based on the psalms and other sources, and their assemblage into liturgical books; the analysis and comparison of musical modes and scales; the usesof neumatic notation for writing down melodies, and the differences wrought by developmental changes and notational reforms over the centuries; and the use of case studies, in which the many variations in a specific text or melodyare traced over time and geographical distance. The book is therefore of profound importance for historians of medieval music or religion - Western, Byzantine, or Slavonic - and for anyone interested in issues of orality and writing in the transmission of culture.PETER JEFFERY is Professor of Music History, Princeton University. Contributors: JAMES W. McKINNON, MARGOT FASSLER, MICHEL HUGLO, NICOLAS SCHIDLOVSKY, KEITH FALCONER, PETER JEFFERY, DAVID G.HUGHES, SYSSE GUDRUN ENGBERG, CHARLES M. ATKINSON, MILOS VELIMIROVIC, JORGEN RAASTED+, RUTH STEINER, DIMITRIJE STEFANOVIC, ALEJANDRO PLANCHART.Table of ContentsLiturgical Psalmody in the Sermons of St Augustine: An Introduction - James W McKinnon The First Marian Feast in Constantinople and Jerusalem: Chant Texts, Readings, and Homiletic Literature - Margot Fassler The Cantatorium, From Charlemagne to the Fourteenth Century - Michel Huglo A New Folio for MS Chilandari 307, with Some Observations on the Contents of the Slavic Lenten Sticherarion and Pentekostarion - Nicolas Schidlovsky The Modes Before the Modes: Antiphon and Differentia in Western Chant - Keith Falconer The Earliest Oktoechoi: The Influence of Jerusalem and Palestine in the Beginnings of Modal Ordering - Peter Jeffery Guido's 'Tritus': An Aspect of Chant Style - David G Hughes Early Ekphonetic Notation in the Manuscript Scheide 2 at Princeton University - The Other Modus: On the Theory and Practice of Intervals in the Eleventh and Twelfth Centuries - Charles M Atkinson Russian Musical Azbuki: A Turning Point in the History of Slavic Chant - Milos Velimirovic Kontakion Melodies in Oral and Written Tradition - Jorgen Raasted On the Verses of the Offertory Elegerunt - Ruth Steiner The Trisagion in Some Byzantine and Slavonic Stichera - Dimitrije Stefanovic Proses in the Manuscripts of Roman Chant, and their Alleluias - Alejandro Planchart

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Book SynopsisArticles on masterpieces of European religious music, from the middle ages to Stravinsky and Tavener.The late Wilfrid Mellers, who occupies a special place among music critics, described himself as a non-believer; but his preference for music that "displays a sense of the numinous" (in his words) will strike a chord with many wholisten to religious music nowadays, and who share his view that music that confronts first and last things is likely to offer more than music that evades them. The essays form five groups, which together offer a survey of religious music from around the first millennium to the beginning of the second, in the context of the difficult issues of what religious music is, and, for good measure, what is religion? The parts are: The Ages of Christian Faith; The Re-birth of a Re-birth: From Renaissance to High Baroque; From Enlightenment to Doubt; From "the Death of God" to "the Unanswered Question"; and The Ancient Law and the Modern Mind. Musical discussion, with copious examples, is conducted throughout the book in a context that is also religious - and indeed philosophical, social, and political, with the open-endedness that such an approach demands in the presentation of ideas aboutmusic's most fundamental nature and purposes. COMPOSERS: Hildegard of Bingen; Perotin; Machaut; Dunstable, Dufay; William Corniyshes father and son; Tallis; Byrd; Monteverdi; Schutz; J.S. Bach; Couperin; Handel; Haydn;Mozart; Beethoven; Schubert; Bruckner; Berlioz, Faure; Verdi, Brahms; Elgar, Delius; Holst, Vaughan Williams, Howells; Britten; Janacek; Messiaen, Poulenc; Rachmaninov; Stravinsky; Part, Tavener, Gorecki, Macmillan, Finnissy; Copland.Trade ReviewIf his opinions are often provocative, his writings also stir one into reflection on even well-known works... Plenty to stimulate and even inspire. * GRAMOPHONE *Celestial Music? does fill a niche and fulfill a need. * AMERICAN GRAMOPHONE *Table of ContentsWhat is religious music? Part 1 The ages of Christian faith. Part 2 The rebirth of a rebirth - from Renaissance to High Baroque. Part 3 From Enlightenment to doubt. Part 4 From "the death of God" to "the unanswered question". Part 5 The ancient law and the modern mind.

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Book SynopsisHow-to book for the MySpace generation on running an indie label from the ground up.

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Book SynopsisROCK ODYSSEY-CHRONICLE OF 60

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Book SynopsisROCK HARDWARE 40 YRS OF ROCK INSTRUMENTATION

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Book SynopsisSWING: THE ESSENTIAL LISTENING COMPANION THIRD EAR GREAT MUSICIAN

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