Musicians, singers, bands and groups Books

Book SynopsisIn Crossing Bar Lines: The Politics and Practices of Black Musical Space James Gordon Williams reframes the nature and purpose of jazz improvisation to illuminate the cultural work being done by five creative musicians between 2005 and 2019. The political thought of five African American improvisers--trumpeters Terence Blanchard and Ambrose Akinmusire, drummers Billy Higgins and Terri Lyne Carrington, and pianist Andrew Hill--is documented through insightful, multilayered case studies that make explicit how these musicians articulate their positionality in broader society. Informed by Black feminist thought, these case studies unite around the theory of Black musical space that comes from the lived experiences of African Americans as they improvise through daily life. The central argument builds upon the idea of space-making and the geographic imagination in Black Geographies theory. Williams considers how these musicians interface with contemporary social movements like Black Live

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Book SynopsisFeatures twenty-one conversations with musicians who have had at least fifty years of professional experience. Appealing to casual fans and jazz aficionados alike, these interviews have been carefully, but minimally edited by Peter Zimmerman for sense and clarity, without changing any of the musicians' actual words.

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Book SynopsisQuyn Vn Minh is one of the most preeminent jazz musicians in Vietnam. Considered a pioneer in the country, Minh is often publicly recognised as the ‘godfather of Vietnamese jazz’. This book tells the story of the music as it intertwined with Minh's own narrative.

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Book SynopsisQuyn Vn Minh is one of the most preeminent jazz musicians in Vietnam. Considered a pioneer in the country, Minh is often publicly recognised as the ‘godfather of Vietnamese jazz’. This book tells the story of the music as it intertwined with Minh's own narrative.

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Book SynopsisTells the story of Louis Armstrong, Dave Brubeck, and Iola Brubeck and the stand they took against segregation by writing and performing a jazz musical titled The Real Ambassadors. First conceived in 1956, the musical's journey to the stage tracks extraordinary twists and turns across the backdrop of the civil rights movement.

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Book SynopsisRufus Thomas may not be a household name, but he is widely regarded as the patriarch of Memphis R&B, and his music influenced three generations. Matthew Ruddick reveals the amazing life and career of Thomas, and examines the social fabric of the city of Memphis, analyzing the factors behind the array of talent that appeared in the late 1950s.

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Book SynopsisFocuses on the white, female artists of the 1950s, a time that predated the chart-topping girl groups of the early 1960s. These popular performers, many of whom graduated out of the big bands of the 1940s, impacted popular music in a huge way.Trade ReviewAuthors have long neglected the fabulous females of the fifties, but Steve Bergsman makes up for that neglect with this fascinating, fact-filled book. All I Want Is Loving You fills a major gap in pop music history and Bergsman is the author who should fill it." - Peter Benjaminson, author of The Story of Motown, Mary Wells: The Tumultuous Life of Motown's First Superstar

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Book SynopsisWilliam Levi Dawson (1899-1990) overcame adversity and Jim Crow racism to become a composer, choral arranger, conductor, and professor of music. Mark Hugh Malone tells the fascinating tale of Dawson’s early life, quest for education, rise to success at the Tuskegee Institute, achievement of notoriety as a composer, and retirement years.

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Book SynopsisWhy did the Stalin era, a period characterized by bureaucratic control and the reign of Socialist Realism in the arts, witness such an extraordinary upsurge of musical creativity and the prominence of musicians in the cultural elite? This is one of the questions that Kiril Tomoff seeks to answer in Creative Union, the first book about any of the professional unions that dominated Soviet cultural life at the time. Drawing on hitherto untapped archives, he shows how the Union of Soviet Composers established control over the music profession and negotiated the relationship between composers and the Communist Party leadership. Central to Tomoff''s argument is the institutional authority and prestige that the musical profession accrued and deployed within Soviet society, enabling musicians to withstand the postwar disciplinary campaigns that were so crippling in other artistic and literary spheres.Most accounts of Soviet musical life focus on famous individuals or the campaTrade ReviewTomoff deftly challenges the mythology of the martyred Soviet artist. His thoroughly researched study explores not only the institutional structures and bureaucratic processes of the Composers' Union but also the personal and professional networks within it that protected members and preserved artistic values. Tomoff ably balances high politics and personal relationships to show how Soviet composers successfully negotiated shifting ideological terrain.... This study provides a much-needed corrective to the traditional interpretation of Stalinist musical life and makes an important contribution to Russian cultural and political history. It will fascinate all those interested in the complex relationship between music, society, and the wielders of political power. * Russian Review *Impressive.... Tomoff has given us both detail and a broad new way of thinking about the mechanisms of Soviet ideological control. It undermines many of the broad, standardized approaches to Soviet culture and provides a nuanced appreciation of the opportunities and constraints that shaped Soviet music during the years when Stalin was alive. It is a text that should be read by anyone interested in the cultural dynamics of the Soviet Union. * European History Quarterly *Tomoff's book is precisely the kind that historians of Soviet musical culture most need right now: a repository of solid documented facts, interpreted with a light touch that strives only to outline general observations from the evidence he presents.... It is invaluable to have such a wealth of concrete detail at one's fingertips at long last. * Music and Letters *Tomoff's most significant achievement is to have taken full advantage of newly opened archives: the argument in each of his ten chapters is backed up by exhaustive documentation from previously unpublished sources.... [A] considerable contribution to the field of Soviet cultural history.... Musicologists and historians have much cause to be grateful to the author for the assiduous way in which he has compiled the detailed case study presented here. * The Journal of Modern History *This excellent book fills an important void in the diverse and growing body of literature on Stalinist culture.... Based on diligent, exhaustive archival research in Moscow, this study also develops a sophisticated conceptual apparatus.... Remarkably well researched, with every minute detail of the composers' everyday life and work duly clarified and placed in its proper context.... An excellent and innovative book that explains many intricate facts related to the functioning of Stalinist culture. It will be read widely by historians of the Soviet Union and historians of music. * Ab Imperio *A level-headed yet provocative examination of the creation, structure, and workings of the Composers' Union in the USSR at the end of the Stalin period. Tomoff provides the most detailed discussion thus far of the official organization that allowed Soviet composers and musicologists to practice their trades, and the sobriety with which he evaluates his rich archival materials is much appreciated.... A valuable contribution to our understanding of musical production in the USSR; it will undoubtedly help foster productive debate about the politics and practices of the Composers' Union and Soviet music in general. * The American Historical Review *A fascinating read. * American Journal of Sociology *One of the finest books written on Soviet music life. This work will be of interest not only to specialists on Soviet musical life but also to those who want to gain an insight into the relationship between artists and organs of state and into how an elite was created and perpetuated during the Stalin period. Creative Union is therefore a book that successfully challenges long-held preconceptions about Soviet musical life in the period 1939-1953. * Slavic Review *Kiril Tomoff's Creative Union represents a milestone in the literature on the musical life of the Stalin-era Soviet Union by addressing for the first time the need for a comprehensive study of the Soviet Composers' Union. An excellent and most welcome study of an institution that stood as one of the cornerstones of Soviet musical life. Many a scholar will benefit from Tomoff's excellent work, particularly those interested in broad issues of music and politics, as well as those concerned with more specific issues of Stalinist culture and the enormous impact of World War II on Soviet cultural life. * Notes: Quarterly Journal of the Music Library Association *Tomoff's detailed interpretation moves brilliantly beyond the heroic narrative and disaggregates the idea of a unified 'state' to tell the story of Soviet music production in a much broader and complicated context. In analyzing the evolving relationship between artistic production and political power in the USSR, Tomoff provides a fresh and convincing account of the intricate workings of the post-war Stalinist system. * Social History *

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Book SynopsisThroughout the 1990s, Prince feuded with his record label, Warner Bros., over his rights as an independent recording artist—and made some of the most brilliant music of his career. During that time, Jim Walsh covered Prince for the St. Paul Pioneer Press and wrote about him passionately, thoughtfully, exhaustively. Here, in real time, is that coverage: a clip-by-clip look back at Prince in the ‘90s. Walsh’s newly unearthed interviews, essays, columns, and reviews make Gold Experience an essential slice of history for fans, scholars, and latecomers to the Minneapolis-born musical genius Prince Rogers Nelson (June 7, 1958–April 21, 2016).Join Walsh at the 1994 NBA All-Star game after party and release bash for the single “The Most Beautiful Girl in the World.” Accompany him to the after-hours clubs Erotic City, Glam Slam, and, of course, Paisley Park. Meet Prince’s wife and bandmate Mayte (and while you’re at it, take in the wedding and reception). Enjoy a two-hour sit-down interview with Prince. Explore Prince’s veganism, talk to fans in line for a Target Center show, preview the “Jam of the Year” concert and check in at the after party. The passions and influences, from Mozart to funk godfather Larry Graham; the gigs and the Paisley Park garage sale; Walsh’s open letter to the artist and his reflections on religion and spirituality. This is Prince as few have seen him, reported as only Jim Walsh can: a portrait of the artist from a dizzying array of angles, captured in living color for all time. Trade Review"Jim Walsh was front and center for one of the most prolific and controversial eras in Prince’s career, and Gold Experience offers an intimate, real-time account of this critical chapter in the evolution of a generation's greatest musician."—Alan Light, music journalist and author of Let’s Go Crazy: Prince and the Making of Purple Rain"A revealing look at Prince and his relentless quest for self-realization and truth during his most fascinating and misunderstood era."—Kevin Cole, Chief Content Officer, Host of the Afternoon Show KEXP"During a controversial era of Prince’s career that left most in the industry cynically scratching their heads and rolling their eyes, Jim Walsh kept a steady hand and a wide-open heart, covering the purple beat with passion, curiosity, and something sorely lacking in most newspaper reports: love. Walsh’s words don’t just sing and dance, they do the splits. It’s easy to envision Prince himself cracking a smile and leaping up to sing along."—Andrea Swensson, host at 89.3 The Current and author of Got to Be Something Here: The Origins of Minneapolis Sound"There was a time when Prince asked Jim, ‘Why are you my only friend in the media?’ You can feel his answer in this collection: Here is the most important artist in Minnesota's history, regularly playing in the middle of the night for 300 people or less, and here's the only reporter open hearted enough—everybody else was referring to TAFKAP as ‘Symbolina’ or worse—to serve as the Boswell of Paisley Park."—Steve Marsh, senior writer, Mpls.St.Paul Magazine"[Gold Experience] is wonderful reading for Prince fans and for those who like solid non-fiction writing and who appreciate the music scene."—Looking for a Good Book"Walsh showcases Prince as a complex musician and individual. As with Prince’s music, this title commands multiple readings and analysis."—Library Journal"Vividly capturing the hope and heartbreak of this waning musical epoch, Walsh’s Gold Experience paints a poignant portrait of the artist formerly known as Prince."—Star Tribune"Gold Experience is full of fascinating details about life with Prince (or, rather, the Artist Then-Formerly Known as Prince) in the '90s."—The Current"Walsh covers the Artist (sometimes known only as a symbol) with a music critic’s expertise and a fan’s unbridled enthusiasm."—Crave Online"Gold Experience is presented in a real-time fashion, bringing the reader back to the ‘90s."—Minnesota Spokesman-Recorder

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Book SynopsisThe raw material and interviews behind Anthony Scaduto’s iconic biography of Bob Dylan draw an intimate and multifaceted portrait of the singer-songwriter who defined his era When Anthony Scaduto’s Bob Dylan: An Intimate Biography was first published in 1971, the Nobel Prize–winning songwriter, at thirty, had already released some of the most iconic albums of the 1960s, including Highway 61 Revisited and Blonde on Blonde. Scaduto’s book was one of the first to take an investigative journalist’s approach to its subject and set the standard for rock music biography. The Dylan Tapes, compiled from thirty-six hours of interviews, is a behind-the-scenes look at the making of Scaduto’s landmark book—and a close-up encounter with pivotal figures in Dylan’s life. These reel-to-reel tapes, found in a box in Scaduto’s basement, are a never-bootlegged trove of archival material about Dylan, drawn from conversations with those closest to him during the early years of his career.In the era of ten-second takes, these interviews offer uncommon depth and immediacy as we listen to friends and lovers recall the Dylan they knew as he created his professional persona and perfected his craft—from folk music, protest songs, and electric rock through the traumatic impact of a motorcycle crash to his later, more self-reflecting songwriting. Echo Helstrom, Dylan’s “Girl from the North Country,” is here, as are Suze Rotolo, who graced the cover of the Freewheelin’ album, and Joan Baez, remembering her relationship “to Bobby.” We hear from Mike Porco, who gave Dylan his first gig in New York City; Sid and Bob Gleason, who introduced him to his hero Woody Guthrie; folk artists from Greenwich Village, like Phil Ochs and Ramblin’ Jack Eliot; John Hammond Sr., who gave him his first record contract; plus a host of musicians, activists, folk historians, and archivists—and, of course, Dylan himself.From these reflections and frank conversations, many published here for the first time, a complex, finely observed picture emerges of one of the best known yet most enigmatic musicians of our time.Trade Review "Tony Scaduto was my teacher. As a young reporter I was awed by his ability to find new angles others had missed. To enlighten and move within the confines of the newspaper style. Later, I saw how he applied obsessive concern with accuracy, meticulous research, and the revelatory probings of a brief interview to fashion what remains the definitive biography. (And Dylan's favorite.) Anyone interested in journalism should read the book and the tapes together to get an insight into the methods of a master."—Heywood Gould "Anthony Scaduto’s seminal biography on Dylan was the first one I read. I’ll never forget coming across the line, ‘He created a new identity every step of the way in order to create identity.’ For me it was a eureka moment, this idea of Dylan creating and recreating identity, and of identity itself as something mutable and ever-changing, that would lead to the concept for my film biography, I’m Not There."—Todd Haynes "Scaduto’s Bob Dylan is considered one of the best biographies of the iconic singer/songwriter. These insightful interviews are like pieces to a puzzle that the author ably wove together. For Dylan fans, it’s like revisiting an old friend."—Kirkus Reviews "The Dylan Tapes is a behind-the-scenes view of one of modern music’s true legends- and of one of the first long-form pieces of music journalism. "—Foreword "The life and music of the now 80-year-old Bob Dylan has been analyzed, dissected, dug into, debated, argued about and postulated on perhaps more than any other musical artist. But what The Dylan Tapes has that most of them don’t are the raw and then-relatively recent thoughts and memories of those where there, and early on in the journey."—Houston Press "This how-the-sausage-is-made collection has some illuminating comments from Joan Baez, Ramblin’ Jack Elliott and the elusive bard himself that will intrigue Dylanologists."—StarTribune "Written in a Q&A format, the book provides a behind-the-scenes look at the making of Scaduto's landmark book, as well as close-up encounters with a couple dozen key figures in Dylan's life."—Minnesota Alumni "The raw material and interviews behind Anthony Scaduto’s iconic biography of Bob Dylan draw an intimate and multifaceted portrait of the singer-songwriter who defined his era. "—KTNF AM Table of ContentsContentsIntroduction: Anthony Scaduto’s Basement Tapes -- Stephanie TrudeauGirl from the North Country -- Echo Helstrom, Martha HelstromFree Wheelin’ Dinkytown -- Gretel Hoffman, David Whitaker, Spider John KoernerBlowin’ in the Wind -- Mike Porco, Dave Van Ronk, Terri ThalHey, Hey Woody Guthrie -- Sid and Bob GleasonMr. Tambourine Man -- The Clancy Brothers (Pat and Tom Clancy), Phil Ochs, Ramblin’ Jack ElliottBoots of Spanish Leather -- Suze Rotolo, Carla Rotolo, Peter KarmenPositively 4th Street -- Miki Isaakson, John Hammond, Sr.Bringing It All Back Home -- Carolyn Hester, Eric Von Schmidt and Barry KornfeldLike a Rolling Stone -- Izzy Young, Carl OgelsbyVisions of Johanna -- Joan BaezAnother Side of Bob Dylan -- Bob DylanAfterword: New Morning -- Stephanie TrudeauAcknowledgments

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Book SynopsisA tour diary of life on the road with one of Minnesota’s greatest bands—with nearly 100 never-before-seen photographs “Don’t bore us, get to the chorus” is Bill Sullivan’s motto, which will come as no surprise to anyone who opens Lemon Jail. A raucous tour diary of rock ’n’ roll in the 1980s, Sullivan’s book puts us in the van with the Replacements in the early years. Barreling down the highway to the next show through quiet nights and hightailing it out of scandalized college towns, Sullivan—the young and reckless roadie—is in the middle of the joy and chaos, trying to get the band on stage and the crowd off it and knowing when to jump in and cover Alice Cooper. Lemon Jail shows what it’s like to keep the band on the road and the wheels on the van—and when to just close your eyes and hit the gas. That first van, dubbed the Lemon Jail by Bill, takes the now legendary Replacements from a south Minneapolis basement to dive bars and iconic rock clubs to college parties and eventually an international stage. It’s not a straight shot or a smooth ride, and there’s never a dull moment, whether Bob Stinson is setting a record for the quickest ejection from CBGB in NYC or hiding White Castle sliders around a hotel room or whether Paul Westerberg is sneaking gear out of a hostile venue or saving Bill’s life at a brothel in New Jersey. With growing fame (and new vans) come tours with REM and X (what happens when the audience isn’t allowed to stand?), Tom Petty and the Heartbreakers and the Violent Femmes (against their will), and Saturday Night Live, where the band’s televised antics earn the edict You’ll never play on NBC again. Fast forward: You’ll never play Washington, D.C., again. Or Moorhead.Hiding in fans’ backyards while the police search the streets and pelted with canned goods at a Kent State food drive, the Replacements hit rough patches along with sweet spots, and Lemon Jail reveals the grit and glory both onstage and off, all told in the irrepressible, full-throttle style that makes Bill Sullivan an irresistible guide on this once-in-a-lifetime road trip with a band on the make.Trade Review"As a guy who has had the privilege of being regaled by Billy's rock ’n’ roll tales for years, I can attest to the authenticity of his stories. They may not all be accurate, but they are all true, which is more important. He is a real link to our punk rock legends of lore. Any fan of the Replacements or any of the ’80s left-of-dial bands will greatly appreciate this book."—Conor Oberst"Reading Lemon Jail makes me think back to when Spoon would play Bill’s club in the early 2000s: he’d lay the welcome mat out for us from the moment we got to town, and we’d always drive off with an extra case of Tecate and a bit of weed. No one else in the touring world gave us that kinda treatment. This book is tour story after tour story from one of the most genuine originals in the game. Bill Sullivan is the spirit of rock and roll road life."—Britt Daniel"For fans who love the Replacements, this book is your only opportunity to go back in time and be a fly on the van wall. Bill Sullivan’s clever sarcasm, humble anti-rock star attitude, and complete access allow him to tell the band’s behind-the-scenes story perfectly."—Janet Weiss"Bill Sullivan captures the spirit and chaos of the earliest and best years of the band accurately due to the fact that he lived it right alongside us. A true kindred spirit, a fifth member if you will, who from the git-go, got what we were about to the point where it would not have been the same journey without him. Billy had our backs and represented much-needed comic relief on many occasions. Lemon Jail should come with a warning: ‘Don't Try This At Home.’ It's a quick read and, in my opinion, the most successful book to capture the essence of our destructive, drunken outcast brigade in all its successes and foibles. Bill’s ever-present comic sense, woven throughout the book, paints authentically the circus world that it was. I laughed aloud many times!"—Chris Mars"As every obsessive fan knows, there's been one essential voice missing from the recent wave of biographies, oral histories, and documentaries celebrating the storied and notorious legacy of the Replacements. This, then, is seriously great news, 'Mats​ droolers: Bill Sullivan has finally broken his omerta, and though no book could possibly contain Sullivan's legendary and seemingly bottomless trove of yarns—or quite capture his unparalleled ability to tell a story in person—Lemon Jail is a riotous, channel-surfing rip through his rubber-legged years with the band, and will more than tide us over until somebody gives the man the full-fledged biography his life deserves."—Brad Zellar, author of House of Coates"Bill Sullivan was right there alongside the band, right in the thick of it, discussing specific shows, tours, and a million anecdotes. In addition to his words, Sullivan snapped hundreds of Polaroids which are sprinkled throughout the book."—Daggerzine"Although brief in size, the book gives us another view of the turbulent madness that was the beloved ‘Mats. Tales of road-induced boredom, which with The Replacements always led to property destruction and dizzying hangovers, are of course recounted; but beyond the goofs lived people who for a brief moment created essential, meaningful art—which is why we continue to read about it, to try and recapture those moments."—The Big Takeover"Lemon Jail is a must-read for any Replacements’ fans; it’s deeply personal and a fun ride."—NeuFutur"Lemon Jail is at its best in moments that perfectly convey the state of pre-internet underground music in America, where house parties, college radio, and photocopied fanzines could propel a small hometown band into legend."—Pitchfork"Old tour passes, disk camera photographs, notes and scraps of paper with art from drummer-turned-artist Chris Mars are just a few of the things Sullivan collected on the road. The book is filled with these physical memories, which provide context and insight to the premier “college rock” band of the 1980s."—Columbia Missourian"Sullivan’s entertaining book, published by University of Minnesota Press, is a glorified tour diary full of sex, drugs, rock ’n’ roll, more drugs, and a story about Replacements guitarist Bob Stinson defecating in an ice bucket and sending it down a hotel’s dumbwaiter."—Boston GlobeTable of ContentsContents Get Out of the Basement Into the Lemon Jail Love It to Death

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Book SynopsisEagle Minds - a selection from the correspondence between the Canadian composer and scholar Istvan Anhalt and his American counterpart George Rochberg - is a splendid chronicle and a penetrating analysis of the swerving socio-cultural movements of a volatile half-century as observed by two highly gifted individuals. Beginning in 1961 and spanning forty-four years, their conversation embraces not only music but other forms of contemporary art, as well as politics, philosophy, religion, and mysticism. The letters chronicle the deepening of their friendship over the years, and the openness, honesty, and genuine warmth between them provide the reader with an intimate look at their personalities. A fascinating intellectual tension emerges between the two men as they record their individual responses to musical modernism, to changing political and social realities, and to their Jewish heritage and sense of place, one as a son of Ukrainian immigrants to the United States, the other as a refugee from war-torn Hungary. Allowing us a privileged glimpse into the private lives and thoughts of these fascinating men, Eagle Minds is a valuable tool for scholars interested in North American composers in the late twentieth century and essential reading for anyone interested in the cultural and social history of that era.

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Book SynopsisChet Atkins called Lenny Breau (1941-1984) ""the greatest guitarist who ever walked the face of the earth."" Breau's astonishing virtuosity influenced countless performers, but unfortunately it came at the expense of his personal relationships. Ron Forbes-Roberts analyzes Breau and his recordings to reveal an enormously gifted man and the inner workings of his music.Trade Review"Forbes-Roberts walks the line between adulation and research, music nerd and general interest reporter, with aplomb, and most importantly delivers a very readable account of a personality most readers should find endearing (if heart-breaking)." - Boston Phoenix "[A] thorough and fascinating biography, which includes a discography and analysis of Breau's recordings." - Toronto Globe and Mail "Forbes-Roberts does a credible job of depicting the variables that fostered Breau's total devotion to his instrument and subsequent descent into heroin addiction. Where Forbes-Roberts does his best work, though, is in his technical explanations of Breau's unique guitar system and his comprehensive critical analyses of the artist's recording sessions." - All About Jazz"

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Book SynopsisTexas singer/songwriter Vince Bell's story begins in the 1970s. Following the likes of Townes Van Zandt and Guy Clark, Bell and his contemporaries Lyle Lovett, Nanci Griffith, and Lucinda Williams were on the rise. In December of 1982, Bell was on his way home from the studio (where he and hired guns Stevie Ray Vaughan and Eric Johnson had just recorded three of Bell's songs) when a drunk driver broadsided him at 65 mph. Thrown over 60 feet from his car, Bell suffered multiple lacerations to his liver, embedded glass, broken ribs, a mangled right forearm, and a severe traumatic brain injury. Not only was his debut album waylaid for a dozen years, life as he'd known it would never be the same. In detailing his recovery from the accident and his round-about climb back on stage, Bell shines a light in those dark corners of the music business that, for the lone musician whose success is measured not by the Top 40 but by nightly victories, usually fall outside of the spotlight. Bell's prose is not unlike his lyrics: spare, beautiful, evocative, and often sneak-up-on-you funny. His chronicle of his own life and near death on the road reveals what it means to live for one's art.

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Book SynopsisWilliam Vacchiano (1912–2005) was principal trumpet with the New York Philharmonic from 1942 to 1973, and taught at Juilliard, the Manhattan School of Music, the Mannes College of Music, Queens College, and Columbia Teachers College. While at the Philharmonic, Vacchiano performed under the batons of Arturo Toscanini, Bruno Walter, Dimitri Mitropoulos, and Leonard Bernstein and played in the world premieres of almost 200 pieces by such composers as Vaughan Williams, Copland, and Barber. Vacchiano was important not only for his performances, but also for his teaching.His students have held the principal chairs of many major orchestras and areprominent teachers themselves, and they have enriched non-classical music as well. Two of his better known students are Miles Davis and Wynton Marsalis. Last Stop, Carnegie Hall features an overview of the life of this very private artist, based on several personal interviews conducted by Brian A. Shook and Vacchiano's notes for his own unpublished memoir. Shook also interviewed many of his students and colleagues and includes a chapter containing their recollections. Other important topics include analyses of Vacchiano's pedagogical methods and his interpretations of important trumpet pieces, his 'rules of orchestral performance,' and his equipment. A discography, a bibliography of Vacchiano's own works, and lists of his students and the conductors and players with whom he performed round out this richly illustrated examination of one of the most influential trumpet players and teachersof the twentieth century.

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Book SynopsisA lavishly illustrated collection of forty-two profiles of Texas music pioneers, most underrated or overlooked, All Over the Map: True Heroes of Texas Music covers the musical landscape of a most musical state. The first edition was published in 2005 to wide acclaim. This second edition includes updated information, a bonus section of six behind-the-scenes heroes, and fifteen new portraits of Lefty Frizzell, Janis Joplin, and others, spanning such diverse styles as blues, country, hip-hop, conjunto, gospel, rock, and jazz.D.J. Stout and Pentagram designed the reborn edition, with photographer Scott Newton providing portraits. Michael Corcoran has been writing about Texas music for more than thirty years, for the Dallas Morning News and Austin American Statesman, as well as in such publications as Texas Monthly and Spin. These pieces are based on his personal interviews with their subjects as well as in-depth research. Expertly written with flair, the book is a musical waltz across Texas.Trade ReviewA compelling summary of the breadth and depth of Texas music and a fascinating survey of stories and personalities."" - Robert Hardy, author of A Deeper Blue: The Life and Music of Townes Van Zandt ""Corcoran is masterful at incorporating personal narrative into reportage in a way that is both engaging and informative."" - Cathy Brigham, co-editor of Handbook of Texas Music""Corcoran's book is the work of a rock and roll detective . . ."" - Peter Stothard, The Times of London""All Over the Map is indispensable for anyone interested in Texas music or Texas history."" - Eddie Wilson, founder of the Armadillo World Headquarters""All Over the Map tells the story of Texas music that needed to be told, as broad and deep, dark and quirky as the state itself. These are the compelling stories of the artists and individuals who created a musical cultural that defies the usual stereotypes."" - Terry Lickona, producer, Austin City Limits""[Corcoran] profiles 42 Texas acts from, well, all over the state: Janis Joplin and Gatemouth Brown in East Texas, Geto Boys and DJ Screw in Houston, Stevie Ray Vaughan, Butthole Surfers (from 1986) and Calvin Russell in Austin. It's sharp, informative stuff from a guy who well and truly loves this state."" - Austin American-Statesman

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Book SynopsisThe musical career of Alexander Tumanov extends from Stalinist and Soviet Russia through contemporary Canada, and as such provides an inspiring portrait of one person's devotion to his art under trying circumstances. Tumanov was a founding member of Moscow's Madrigal Ensemble of early music, which introduced Renaissance and Baroque music to the Soviet Union. The Ensemble enjoyed tremendous popularity in the 1960s and 1970s, despite occasional official disapproval by the Soviet bureaucracy. At times the compositions of the group's founder, Andrei Volkonsky, were banned. Volkonsky eventually emigrated to escape the oppressive conditions, followed soon after, in 1974, by Tumanov, and the Madrigal Ensemble continued in a changed form under new leaders. The story of the author's subsequent life and career in Canada provides a poignant point of contrast with his Soviet period — at the musical, academic, and political levels. This book is a valuable resource for those interested in the history of music and intellectual life in Russia, Ukraine, and the Soviet Union in the twentieth century and is the first published book on the Madrigal Ensemble.

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Book SynopsisThe New Yorker recently referred to Pat Metheny as 'possibly the most influential jazz guitarist of the past five decades.' A native of Lee's Summit, Missouri, just southeast of Kansas City, Metheny started playing in pizza parlors at age fourteen. By the time he graduated from high school he was the first-call guitarist for Kansas City jazz clubs, private clubs, and jazz festivals. Now 66, he attributes his early success to the local musical environment he was brought up in and the players and teachers who nurtured his talent and welcomed him into the jazz community. Metheny's twenty Grammys in ten categories speak to his versatility and popularity. Despite five decades of interviews, none have conveyed in detail his stories about his teenage years. Beneath Missouri Skies also reveals important details about jazz in Kansas City during the sixties and early seventies, often overlooked in histories of Kansas City jazz. Yet this time of cultural change was characterized by an outstanding level of musicianship. Author Carolyn Glenn Brewer shows how his keen sense of ensemble had its genesis in his school band under the guidance of a beloved band director. Drawn from news accounts, archival material, interviews, and remembrances, to which the author had unique access, Beneath Missouri Skies portrays a place and time from which Metheny still draws inspiration and strength.Trade ReviewBrewer presents a very detailed yet balanced view of Metheny's musical growth, and the KC area musicians that were part of that development. That approach gives the reader an insight into the overall KC jazz scene at the time." - Terry Perkins, reviewer for Downbeat magazine

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Book SynopsisAfter he died, Townes Van Zandt found the success that he sabotaged throughout his short life despite the release of sixteen brilliant albums. Since his death, numerous albums both by and in honor of him have been released and many critical articles published, in addition to several books (including Robert Hardy’s A Deeper Blue by UNT Press).For the Sake of the Song collects ten essays on Townes Van Zandt from a variety of approaches. Contributors examine his legacy; his use of the minor key; his reception in the Austin music scene; and an exploration of his relationship with Richard Dobson, with whom he toured as part of the Hemmer Ridge Mountain Boys. An introduction by editors Ann Norton Holbrook and Dan Beller- McKenna provides an overview of Van Zandt’s literary excellence and philosophical wisdom, rare among even the best songwriters.Trade ReviewA tour de force that mirrors Townes’s life and art in spanning the ‘high, low, and in between." - Jason Mellard, author of Progressive Country

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Book SynopsisRimsky-Korsakov’s Harmonic Theory is the first comprehensive study of his concept of harmony that also traces the history of tonal relationships. Larisa P. Jackson describes and examines Rimsky-Korsakov’s distinctive harmonic theory using his Practical Manual of Harmony as a basis, and places it in historical context of nineteenth-century music theory. She explores in great detail a concept of tonal relationships, fundamental to Rimsky-Korsakov’s view of harmony, and relates this to ideas by German theorists of the period and the Russian theoretical tradition.Jackson examines the concept of modulation and of the relationship of keys and presents a model of his tonal space/map extrapolated from his harmonic system. She identifies specific treatises that help to trace ties between German theoretical ideas and Rimsky-Korsakov’s work.Trade Review“This is a significant and interesting piece of research—it makes a noteworthy contribution to the history of music theory and to that of Russian music.”—Richard Taruskin, author of The Oxford History of Western Music and On Russian Music

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Book SynopsisAlthough in 2000 he became the first sideman inducted into the Rock & Roll Hall of Fame, “King Curtis” Ousley never lived to accept his award. Tragically, he was murdered outside his New York City home in 1971. At that moment, thirty-seven-year-old King Curtis was widely regarded as the greatest R & B saxophone player of all time. He also may have been the most prolific, having recorded with well over two hundred artists during an eighteen-year span. Soul Serenade is the definitive biography of one of the most influential musicians of the 50s, 60s, and early 70s. Timothy R. Hoover chronicles King Curtis’s meteoric rise from a humble Texas farm to the recording studios of Memphis, Muscle Shoals, and New York City as well as to some of the world’s greatest music stages, including the Apollo Theatre, Fillmore West, and Montreux Jazz Festival. Curtis’s “chicken-scratch” solos on the Coasters’ Yakety Yak changed the role of the saxophone in rock & roll forever. His band opened for the Beatles at their famous Shea Stadium concert in 1965. He also backed his “little sister” and close friend Aretha Franklin on nearly all of her tours and Atlantic Records productions from 1967 until his death. Soul Serenade is the result of more than twenty years of interviews and research. It is the most comprehensive exploration of Curtis’s complex personality: his contagious sense of humor and endearing southern elegance as well as his love for gambling and his sometimes aggressive temperament. Hoover explores Curtis’s vibrant relationships and music-making with the likes of Buddy Holly, Sam Cooke, Isaac Hayes, Jimi Hendrix, Aretha Franklin, Otis Redding, Sam Moore, Donny Hathaway, and Duane Allman, among many others.

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Book SynopsisSelected as one of the Best Jazz Books of the Year (2021) by The New York City Jazz Record The New Yorker recently referred to Pat Metheny as “possibly the most influential jazz guitarist of the past five decades.” A native of Lee’s Summit, Missouri, just southeast of Kansas City, Metheny started playing in pizza parlors at age fourteen. By the time he graduated from high school he was the first-call guitarist for Kansas City jazz clubs, private clubs, and jazz festivals. Now 66, he attributes his early success to the local musical environment he was brought up in and the players and teachers who nurtured his talent and welcomed him into the jazz community.Metheny's twenty Grammys in ten categories speak to his versatility and popularity. Despite five decades of interviews, none have conveyed in detail his stories about his teenage years. Beneath Missouri Skies also reveals important details about jazz in Kansas City during the sixties and early seventies, often overlooked in histories of Kansas City jazz. Yet this time of cultural change was characterized by an outstanding level of musicianship.Author Carolyn Glenn Brewer shows how his keen sense of ensemble had its genesis in his school band under the guidance of a beloved band director. Drawn from news accounts, archival material, interviews, and remembrances, to which the author had unique access, Beneath Missouri Skies portrays a place and time from which Metheny still draws inspiration and strength.

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Book SynopsisGrammy Award–winning pianist, bandleader, and composer Cedar Walton (1934–2013) is a major figure in jazz, associated with a variety of styles from bebop to funk and famous for composing several standards. Born and raised in Dallas, Walton studied music in Denver, where he jammed with musicians such as Charlie Parker and John Coltrane. In 1955, Walton moved to New York, immediately gaining recognition from notable musicians and nightclub proprietors. When Walton returned to the U.S. after serving abroad in the Army, he joined Benny Golson and Art Farmer’s Jazztet. Later, he became both pianist and arranger for Art Blakey’s Jazz Messengers. Next, he worked as part of Prestige Records’s house rhythm section, recording with numerous greats and releasing his own albums. One hallmark of Walton’s impact is his numerous long-term collaborations with giants such as trombonist Curtis Fuller and drummer Billy Higgins. By the end of his career, Walton’s discography, as both band member and bandleader, included many dozens of vaunted recordings with some of the most notable jazz musicians of the 1960s through the first decade of the twenty-first century. Ben Markley conducted more than seventy-five interviews with friends and family members, musicians who played with or were otherwise influenced by Walton, and industry figures such as club owners. Musicians interviewed include such stars as Jimmy Heath, Benny Golson, and Ron Carter. Walton’s wife Martha shared her extensive archives of photos, ephemera such as fliers and tour itineraries, and letters.

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Book SynopsisJimi Hendrix called Earl Hooker ""the master of the wah-wah pedal."" Buddy Guy slept with one of Hooker's slides beneath his pillow hoping to tap some of the elder bluesman's power. And B. B. King has said repeatedly that, for his money, Hooker was the best guitar player he ever met. Tragically, Earl Hooker died of tuberculosis in 1970 when he was on the verge of international success just as the Blues Revival of the late sixties and early seventies was reaching full volume.Second cousin to now-famous bluesman John Lee Hooker, Earl Hooker was born in Mississippi in 1929, and reared in black South Side Chicago where his parents settled in 1930. From the late 1940s on, he was recognized as the most creative electric blues guitarist of his generation. He was a ""musician's musician,"" defining the art of blues slide guitar and playing in sessions and shows with blues greats Muddy Waters, Junior Wells, and B. B. King. A favorite of black club and neighborhood bar audiences in the Midwest, and a seasoned entertainer in the rural states of the Deep South, Hooker spent over twenty-five years of his short existence burning up U.S. highways, making brilliant appearances wherever he played.Until the last year of his life, Hooker had only a few singles on obscure labels to show for all the hard work. The situation changed in his last few months when his following expanded dramatically. Droves of young whites were seeking American blues tunes and causing a blues album boom. When he died, his star's rise was extinguished. Known primarily as a guitarist rather than a vocalist, Hooker did not leave a songbook for his biographer to mine. Only his peers remained to praise his talent and pass on his legend. ""Earl Hooker's life may tell us a lot about the blues,"" biographer Sebastian Danchin says, ""but it also tells us a great deal about his milieu. This book documents the culture of the ghetto through the example of a central character, someone who is to be regarded as a catalyst of the characteristic traits of his community."" Like the tales of so many other unheralded talents among bluesmen, Earl Hooker, Blues Master, Hooker's life story, has all the elements of a great blues song--late nights, long roads, poverty, trouble, and a soul-felt pining for what could have been.

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Book SynopsisWho on the planet doesn't know that Elvis Presley gave electrifying performances and enthralled millions? Who doesn't know that he was the King of Rock 'n' Roll? But who knows that the King himself lived in the thrall of one dominant person?This was Gladys Smith Presley, his protective, indulgent, beloved mother.Elvis and Gladys, one of the best researched and most acclaimed books on Elvis's early life, reconstructs the extraordinary role Gladys played in her son's formative years. Uncovering facts not seen by other biographers, Elvis and Gladys reconstructs for the first time the history of the mother and son's devoted relationship and reveals new information about Elvis--his Cherokee ancestry, his boyhood obsession with comic books, and his early compulsion to rescue his family from poverty.Coming to life in the compelling narrative is the poignant story of a unique boy and the maternal tie that bound him. It is at once an intimate psychological portrait of a tragic relationship and a mesmerizing tale of the early years of an international idol.""For once, a legend is presented to us by the mind and heart of a literate, careful biographer who cares,"" wrote Liz Smith in the New York Daily News when Elvis and Gladys was originally published in 1985. This is the book, Smith says, ""for any Elvis lover who wants to know more about what made Presley the man he was and the mama's boy he became.""The Boston Globe called this thoughtful, informative biography of one of popular music's most enduring stars ""nothing less than the best Elvis book yet.""

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Book SynopsisThe previously unpublished autobiography and additional essays by the orchestrator-composer of some of America's most important musical theatre productions. The remarkable career of composer-orchestrator Robert Russell Bennett [1894-1981] encompassed a wide variety of both "legitimate" and popular music-making in Hollywood, on Broadway, and for television. Bennett is principally responsible for what is known worldwide as the "Broadway sound" and for greatly elevating the status of the theater orchestrator. He worked alongside Jerome Kern, Cole Porter, George Gershwin, Irving Berlin, Richard Rodgers, and Frederick Loewe on much of the Broadway canon, eventually providing orchestrations for all or part of more than 300 musicals between 1920 and 1975. This work is the first publication of Bennett's autobiography, which was written in thelate 1970s. It also includes eight of his most important essays on the art of orchestration. George J. Ferencz is Professor of Music at the University of Wisconsin at Whitewater.Table of ContentsThe Bennett Family Tree Growing Up in Freeman To New York, 1916 To Paris, 1926 Rodgers and Hart in London To Hollywood, 1930 Hollywood Beckons Again Russell Bennett's Notebooks and Other Adventures in Network Radio Victory at Sea The Sound of Music Remembrances "The Bohemians" Eight Selected Essays by Robert Russell Bennett

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Book SynopsisThe first English translation of the correspondence between two composers and friends. Désiré-Emile Inghelbrecht was a conductor and composer. His friendship with Claude Debussy began in 1911 (although they had met previously), and he soon became one of the Master's closest friends. This book is the first publication, in the original French and in English translation, of the correspondence between these two musicians. Beginning rather formally in 1912, with the salutation "Mon cher Inghelbrecht," the correspondence soon became much moreintimate, with Debussy addressing Inghelbrecht as "Mon cher ami" or "Cher Inghel." Although Debussy had a reputation for being cold and distant and for avoiding strangers, this was just his way of maintaining his privacy. This aloofness enabled him to express in private the warmth he felt toward those few close friends whose intimacy he needed and cherished. Inghelbrecht was in the forefront of this group. Their friendship was based not only on a mutual respect for each other's talents as artists and musicians, but also on the sharing of intimate secrets and warm feelings. Inghelbrecht's wife would later write that her husband retained the mark Debussy left on him. "For him, he was a beacon, a guide. And he had the deep joy of being able, up until his last days, to bring to life with passion, with all his talent-the works of a man who had been for a few years his friend." Margaret G. Cobb, the"doyenne of Debussy scholars," brings to life these two talented men. She enriches Richard Miller's idiomatic translation of the letters with copious notes and wonderful illustrations to illuminate a great musical friendship. Margaret G. Cobb is also the author of The Poetic Debussy, available from the University of Rochester Press. In 2002 she was awarded the title of Officier de l'Ordre des Arts et des Lettres by the French Government'sMinistère de la Culture et de la Communication.Trade ReviewA wonderful book, one that will be welcomed by everyone interested in French modernist music. The richness of the lives that unfold from the pages of these letters is engrossing, and the translation is superb. Margaret Cobb's meticulous work on Debussy has long been deeply admired by her devotees, and this book adds so much to our understanding of an enigmatic composer and of one of his close collaborators. -- -- Carolyn Abbate (Princeton University), author of Voices: Opera and Musical Narrative in the Nineteenth Century .The friendship recounted in this book is one that echoes in the legendary Debussy recordings of the 1950s and 1960s conducted by D. E. Inghelbrecht. Among the many endearing glimpses here of two strong artistic personalities is their shared love of Musorgsky and Chabrier, and a telling blend of wit with uncompromising artistic aims. This is a book to put an extra spring into our playing of Debussy. -- -- Roy Howat, pianist, author of Debussy in Perspective: A Musical Analysis , and Editorial Board member of the Oeuvres Complètes de Claude Debussy .Elegant and easily accessible. . . . By 1914 [the composer-conductor Inghelbrecht] had become the recipient of some of Debussy's wonderful revelations, such as the Jacques-Émile Blanche portrait showing him like 'a cream cheese that has had too many late nights' [p. 47]. . . . Beautifully produced and illustrated, and should be owned by all who love Debussy. -- Robert Orledge * MUSIC AND LETTERS *Table of ContentsList of Letters List of Illustrations Preface Acknowledgments D.E. Inghelbrecht: A Biography Letters from Debussy to Inghelbrecht Appendix A: Letter from Inghelbrecht to Debussy Appendix B: Letters from Inghelbrecht to d'Annunzio Appendix C: Letters from Chouchou Debussy to Inghelbrecht Biographies Bibliography Discography Index

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Book SynopsisLetters I Never Mailed: Clues to a Life, by Alec Wilder, in a new, annotated edition with introduction and supplementary material by David Demsey, foreword by jazz pianist Marian McPartland, and photographs by Louis Ouzer. Letters I Never Mailed: Clues to a Life, by Alec Wilder, in a new, annotated edition with introduction and supplementary material by David Demsey, foreword by jazz pianist Marian McPartland, and photographs by Louis Ouzer. Alec Wilder is a rare example of a composer who established a reputation both as a prolific composer of concertos, sonatas, and operas, and as a popular songwriter [including the hit "I'll Be Around"]. He was fearsomely articulate and had a wide and varied circle of friends ranging from Graham Greene to Frank Sinatra and Stan Getz. Letters I Never Mailed, hailed at its first publication [in 1975, by Little, Brown], tells the story of Wilder's musical and personal life through unsent "letters" addressed to various friends. In it, he shares his insights -- and sometimes salty opinions -- on composing, musical life, and the tension between art and commercialism. Thisnew, scholarly edition leaves Wilder's original text intact but decodes the mysteries of the original through an annotated index that identifies the letters' addressees, a biographical essay by David Demsey, and photographs by renowned photographer and lifelong friend of Wilder, Louis Ouzer. David Demsey is Professor of Music and coordinator of jazz studies at William Paterson University and an active jazz and classical saxophonist. He is co-author of Alec Wilder: A Bio-Bibliography [Greenwood Press] and has contributed to The Oxford Companion to Jazz.Trade Review[This] is an excellent book that may well rekindle a broader interest in the composer, a Rochester icon. . . . The letters in Letters I Never Mailed were, of course, a literary device. Wilder hated writing about himself and used supposed correspondence as a way to discuss his life obliquely. For that reason, Demsey's introductory biography is helpful since it clarifies details that Wilder often left deliberately vague. The new edition includes one other welcome addition, the photos of Wilder's dearest friend, Lou Ouzer, the famed Eastman photographer. DEMOCRAT AND CHRONICLE, Dec. 2005 [John Pitcher] In Letters I Never Mailed: Clues to a Life, Alec Wilder wanted to reveal himself, but not entirely. And so he left unidentified the individuals to whom many of the letters were written. The detective work of David Demsey gives us a much better understanding of the enigma that was Alec Wilder. -- -- Marian McPartland, renowned jazz pianist, recording artist, and host for over 25 years of Marian McPartland's Piano Jazz (National Public Radio)Alec Wilder was one of the great composers of modern times. He wrote a suite for me with concert band. Nobody could play the last movement. When I asked him about all the difficult notes in my part, he said, 'That's what you would have played if you had improvised!' In this new edition, David Demsey has been responsible for allowing people to understand some of Alec's equally mysterious letters, helping readers to better know one of my favorite people. -- -- Jazz Trumpeter Clark TerryThis memoir is as odd, curmudgeonly, imaginative, funny, and charming as its author, who was one of the glorious eccentrics of American music. First published in 1975, five years before Wilder's death, it has now been annotated by David Demsey, who has managed to identify almost everyone addressed by Wilder. * WHOLENOTE *Table of ContentsForeword by Marian McPartland Preface to the Annotated Edition by David Demsey Introduction to the Annotated Edition: A Brief Wilder Biography by David Demsey Letters I Never Mailed Annotated Addressee List Selected Compositions by Alec Wilder Selected Discography Selected Bibliography

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Book SynopsisA new, deeply researched biography of the great French organist, who composed some of the best-loved works in the organ repertory -- and the masterful Requiem. Maurice Duruflé: The Man and His Music is a new biography of the great French organist and composer (1902-86), and the most comprehensive in any language. James E. Frazier traces Duruflé's musical training, his studies withTournemire and Vierne, and his career as an organist, church musician, composer, recitalist, Conservatoire professor, and orchestral musician. Frazier also examines the career and contributions of Duruflé's wife, the formidable organist Marie-Madeleine Duruflé-Chevalier. Duruflé brought the church's unique language of plainsong into a compelling liaison with the secular harmonies of the modern French school (as typified by Debussy, Ravel, and Dukas)in works for his own instrument and in his widely loved masterpiece, the Requiem Op. 9 for soloists, chorus, organ, and orchestra. Drawing on the accounts of those who knew Duruflé personally as well as on Frazier's own detailed research, Maurice Duruflé offers a broad sketch of this modest and elusive man, widely recognized today for having created some of the greatest works in the organ repertory -- and the masterful Requiem. James E. Frazier holds advanced degrees in philosophy, organ, theology, and sacred music from St. Alphonsus College, Mt. St. Alphonsus Seminary, Hartt School of Music, the Yale University Divinity School, and the Yale Institute of Sacred Music. He served Episcopal churches in Hartford, Connecticut, and St. Paul, Minnesota, as organist and director of music. For ten years he was director of music for the Archdiocese of St. Paul and Minneapolis.Trade ReviewA mine of information . . . a veritable tale of our times. -- Andrew Thomson * MUSICAL TIMES *Provides significant insight into Duruflé's works and the relatively secretive life he and his wife led. . . . Frazier's research is excellent. . . . An important contribution. -- Brian Doherty * CHOICE *Frazier's exploration of arabesque in architecture and music and his treatment of musical luminosity are memorably insightful and reveal a thoughtful understanding of Duruflé's work. . . . An interesting and well-constructed view of Duruflé's world, and a highly informative text as well. -- Steven Plank * CHOIR & ORGAN *A work of unprecedented scope and depth, . . . [Frazier's book] is a biography abundantly rich in detail; though it declines the tone of a hagiography, it is obviously a labor of love. . . . Frazier skillfully illuminates the contexts in which Duruflé's life unfolded . . . [and] Frazier's survey of Duruflé's compositions is particularly strong. . . . A special pleasure of the book is the chapter on [Duruflé's future wife, and a world-renowned organist,] Marie-Madeleine Chevalier . . . Frazier's book will no doubt stand as a defining work in Duruflé scholarship and nurture scholars of 20th-century French organ music for years to come. -- Lawrence Archbold * AMERICAN ORGANIST *One of the best musical biographies I have read for many years: sound in musical and, for the most part, in historical judgment . . . , sympathetic without being sycophantic, and most gracefully written. Duruflé deserves no less. -- Roger Nichols * GRAMOPHONE *[Frazier] sees Duruflé as a compelling figure, given over to the same foibles and doubts we all have. Frazier's ability to obtain primary sources lends credence to his observations. This is a superb work, one to be valued by music historians and organists alike. -- Donald Metz * AMERICAN RECORD GUIDE *This substantial study . . . although sympathetic . . . is not a work of hagiography. . . .[The author argues that] the somewhat short-lived revival of Gregorian chant in the French church . . . [during] Duruflé's composing life was a happy coincidence from which music was the main beneficiary [notably through the widely beloved Requiem]. . . . The very considerable value of this book lies in its personal evaluation of a man whose personality is likely to remain something of a mystery but whose music has already transcended his life. -- Bret Johnson * TEMPO *Table of ContentsDuruflé's Childhood and Early Education Life at the Cathedral Choir School Lessons with Charles Tournemire Lessons with Louis Vierne The Conservatoire Student Duruflé's Distinctions The Contested Successions at Notre-Dame and Sainte Clotilde Duruflé's Peforming Career The Orchestral Musician The Poulenc Organ Concerto Professor of Harmony at the Paris Conservatoire Marie-Madeleine Chevalier Overview of Duruflé's Compositions Duruflé's Compositions: Their Genesis and First Performance Duruflé's Role in the Plainsong Revival The Vichy Commissions The Requiem The Musical History of Saint Étienne-du-Mont The Organs at Saint Étienne-du-Mont Duruflé as Organist and Teacher Duruflé and Organ Design The Church in Transition The North American Tours The Man Duruflé

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Book SynopsisA celebration of Sinatra's enduring impact on American entertainment and cultural life. For nearly sixty years, Frank Sinatra [1915-98] triumphed in concert, in the recording studio, on television, and on the big screen, refashioning his image to suit the temper of the times. Sinatra did it "his way," remaining bothelusive and alluring, and appealing to men and women alike. This collection analyzes the qualities that ensured Sinatra's staying power: his impeccable musicality, his charisma, his tough-mindedness, and even his peccadilloes. The contributors to this volume evaluate Sinatra's impact on all areas of entertainment, and examine many of the cultural forces he influenced and was influenced by, including Bing Crosby, Elvis, the "Beats," the Beatles, and Rock 'n' Roll. What emerges is a portrait of an artist, entertainment icon, and legendary symbol of popular culture. This appreciation of the Sinatra phenomenon celebrates his enduring impact on American entertainment and cultural life. Contributors: Blaine Allan, Samuel L. Chell, David Finck, Joseph Fioravanti Jeanne Fuchs, Philip Furia, Roger Gilbert, Ruth Prigozy, Walter Raubicheck, Lisa Jo Sagolla, Ron Simon, Arnold Jay Smith, James F. Smith, Patric M. Verrone, David Wild Jeanne Fuchs is Professor Emerita of Comparative Literature and Languages at Hofstra University; Ruth Prigozy is Professor of English at Hofstra University.Trade ReviewThe breadth of topics, discussed with concision, makes this book surprisingly brisk reading for those wanting to revisit quickly a number of aspects of Sinatra's career. * RONSLATE.COM, March 11, 2008 *A long-awaited collection of essays gathered from a famed 1998 conference at Hofstra University . . . probes various aspects of Sinatra's influence in his long career. . . . David Finck and Samuel L. Chell dissect Sinatra's vocal artistry in two succinct and exceptionally precise pieces in this collection. -- Benjamin Schwarz * ATLANTIC MONTHLY, June/July 2007 *It is doubtful that there will be another book dedicated so heavily to the nuts and bolts of what went into being Frank Sinatra.! -- Robert W. Rice * SING OUT! March 2008 *A kaleidoscopic view of a multi-faceted man, this compendium benefits greatly from its various viewpoints and offers fresh insight into the Sinatra legend. -- -- Michael FeinsteinFrom musical phrasing to comic strips, this compact but wide-ranging book marks a new stage in an emerging field that must now be called 'Sinatra Studies.' The variety of perspectives and topics has something to offer everyone who listens to, watches, and thinks about American popular culture. -- -- Jeffrey Magee, Associate Professor of Musicology, University of Illinois, Urbana-ChampaignTable of ContentsThe Musical Skills of Frank Sinatra - David Finck Frank Sinatra's Artistry and the Question of Phrasing - Kathryn Crosby Hanging on a String of Dreams: Delirium and Discontent in Sinatra's Love Songs - Joseph Fioravanti Jazzin' Sinatra: Three "Understated" Arrangers: George Siravo, Johnny Mandel, and Quincy Jones - Arnold Jay Smith They Can't Take That Away from Me: Frank Sinatra and His Curious but Close Relationship with the Rock and Roll GenerationGeneration - David Wild Dick Haymes: Sinatra Stand-In or the Real Thing? - Ruth Prigozy Singing in the Moment: Sinatra and the Culture of the Fifties - Roger Gilbert Frank Sinatra Meets the Beats - Blaine Allan Sinatra in (Lyrical) Drag - Philip Furia Sinatra Meets Television: A Search for Identity in Fifties America - Ronald C. Simon Frank Sinatra and Elvis Presley: The Taming of Teen Idols and The Timex Show - James F. Smith Frank Sinatra: Dancer - Jeanne Fuchs Dancing to Sinatra: The Partnership of Music and Movement in Twyla Tharp's Sinatra Suite - Lisa Jo Sagolla From Sam Spade to Tony Rome: Bogart's Influence on Sinatra's Film Career - Walter Raubicheck Sinatra Satire: Fifty Years of Punch Lines - Patric M. Verrone

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Book SynopsisCollection of critical and analytical scholarly essays on the music of Ravel by prominent scholars. Unmasking Ravel: New Perspectives on the Music fills a unique place in Ravel studies by combining critical interpretation and analytical focus. From the premiere of his works up to the present, Ravel has been associated with masks and the related notions of artifice and imposture. This has led scholars to perceive a lack of depth in his music and, consequently, to discourage investigation of his musical language. This volume balances and interweavesthese modes of inquiry. Part 1, "Orientations and Influences," illuminates the sometimes contradictory aesthetic, biographical, and literary strands comprising Ravel's artistry and our understanding of it. Part 2, "Analytical Case Studies," engages representative works from Ravel's major genres using a variety of methodologies, focusing on structural process and his complex relation to stylistic convention. Part 3, "Interdisciplinary Studies," integratesmusical analysis and art criticism, semiotics, and psychoanalysis in creating novel methodologies. Contributors include prominent scholars of Ravel's and fin-de-siècle music: Elliott Antokoletz, Gurminder Bhogal, Sigrun B. Heinzelmann, Volker Helbing, Steven Huebner, Peter Kaminsky, Barbara Kelly, David Korevaar, Daphne Leong, Michael Puri, and Lauri Suurpää. Peter Kaminsky is Professor of Music at the University of Connecticut, Storrs.Trade ReviewSuccessful . . . for the variety, depth and novelty of its analyses, but also for the way it quietly invites readers to imagine a very different place for Ravel in the canon than the one he currently occupies. Compelling and intricate analyses abound in Unmasking Ravel. -- Jessie Fillerup * JOURNAL OF THE ROYAL MUSICAL ASSOCIATION *Drawing on a wealth of primary sources, [Barbara Kelly] reveals how early tensions regarding Ravel's fame softened into mutual respect, especially from members of Les Six. . . . [Gurminder Bhogal extends] her ground-breaking research on the French arabesque [in] nuanced analyses. . . . Kaminsky and his colleagues are to be commended for moving us closer to understanding what makes [Ravel's] oeuvre so rich and alluring. FONTES ARTIS MUSICAE [Keith E. Clifton] Compelling new approaches to Ravel's music. Gives the reader insight into what makes Ravel's music the way it is -- its sources of influence and inspiration, its engagement with traditional norms, its setting of text, and its reception. [Helbing's chapter is] memorable. . . .[That by Leong and Korevaar is] illuminating. -- Claire Sher Ling Eng, Full review at http://mtosmt.org/issues/mto.12.18.1/mto.12.18.1.eng.php * MUSIC THEORY ONLINE *A collection of exceptional creativity and innovation. . . . Provides exceptional insight into the complexity of Ravel's unique formal approaches. . . . A potent reminder of the power of biography and criticism, with implications beyond Ravel scholarship. -- Timothy B. Cochran * MUSIC LIBRARY ASSOCIATION NOTES *A superb, unique contribution to Ravel scholarship. . . Provide[s] both in-depth analysis and critical interpretation. SUMMING UP: Highly recommended. Upper-division undergraduates through faculty and professionals. -- R. Pitts * CHOICE *This substantial and authoritative work contains state-of-the-art contributions in both the critical-historical and theoretical-analytical spheres. --Arnold Whittall, Professor Emeritus, King's College, London; author of Romantic Music: A Concise History from Schubert to Sibelius and coauthor of Music Analysis: In Theory and Practice. * . *Table of ContentsRavel's Poetics: Literary Currents, Classical Takes - Steven Huebner Re-presenting Ravel: Artificiality and the Aesthetic of Imposture - Barbara L. Kelly Adorno's Ravel - Michael J. Puri Ravel's Approach to Formal Process: Comparisons and Contexts - Peter Kaminsky Repetition as Musical Motion in Ravel's Piano Writing - Daphne N. Leong and David Korevaar Playing with Models: Sonata Form in Ravel's String Quartet and Piano Trio - Sigrun Heinzelmann Spiral and Self-Destruction in Ravel's "La valse" - Volker Helbing Diatonic Expansion and Chromatic Compression in Maurice Ravel's Sonate pour violonet violoncelle - Elliott Antokoletz Deception, Reality, and Changes of Perspective in Two Songs from Histoires Naturelles - Lauri Suurpää Not Just a Pretty Surface: Ornament and Metric Complexity in Ravel's Piano Music - Gurminder K. Bhogal The Child on the Couch; or, Toward a (Psycho)Analysis of L'enfant et les sortilèges - Peter Kaminsky

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Book SynopsisBrings to light the life and work of one of France's most distinguished musicians in the most complete biography in any language of Charles-Marie Widor. Widor: A Life beyond the Toccata brings to light the life and work of one of France's most distinguished musicians in the most complete biography in any language of Charles-Marie Widor. He is considered one of the greatestorganists of his time, a prolific composer in nearly every genre, professor of organ and composition at the Paris Conservatory, academician and administrator at the Institute of France, journalist, conductor, music editor, scholar, correspondent, inspired visionary, and man of deep culture. An appendix constitutes the most complete listing ever compiled of Widor's oeuvre. Each work is dated as accurately as possible and includes the publisher, platenumber, dedicatee, and relevant commentary. Another appendix lists Widor's complete published writings, other than the scores of press reviews he penned over several decades. Widor: A Life beyond the Toccata illuminates the life and work of one of France's most distinguished yet neglected musicians of the belle époque. JOHN R. NEAR is Professor Emeritus of Music, Principia College.Trade ReviewA book to treasure. -- John Henderson * CHURCH MUSIC QUARTERLY *Invaluable. . . . In Near's genial, well-paced narrative, a portrait of a highly erudite and humorous man emerges -- Widor's intimate recollections of such luminaries as Rossini, Anton Rubinstein and Liszt fizz with vitality. . . . A rich source of contemporary material and . . . a lively picture of Parisian musical life from the 1860s to 1937. . . . Beautifully produced and designed. -- Jeremy Nicholas * GRAMOPHONE *Excellent translation. . . . A fruitful resource for scholars and Francophiles alike. * CHOICE *Eminently readable [with] photographs not to be found in the published sources. . . . A treasure chest. . . . The final word on the life of a truly great man. . . . A standard of reference and essential reading for all devotees of the French Romantic school. -- Harold Fabrikant * ORGAN AUSTRALIA *John R. Near has honoured his subject by combining powerfully muscular English prose with research so staggeringly comprehensive as to be what fashionable circles would call 'a game-changer.' . . . New insights aplenty. . . . A pleasure to read and to own. -- R. J. Stove Complete review reprinted at http://www.rjstove.net/articles/Widor-Organ_Salisbury.pdf * THE ORGAN *The definitive work about the composer of one of the two most famous organ pieces in the world [the Toccata from Organ Symphony No. 5]. John Near struck pay dirt when he located a 103-page manuscript of an unpublished 'Souvenirs Autobiographiques' [that] allows Widor to speak for himself and allows his biographer many opportunities to elucidate those events. Absolutely indispensable! -- Rollin Smith * THE AMERICAN ORGANIST *John Near -- editor of the critical edition of Widor's ten organ symphonies -- is unquestionably the authority on the organist-composer. In this book he gives us an encyclopedic memoir, containing many new details about Widor's life and work. Without any doubt this biography will remain the definitive resource in the organ world and beyond. * . *Daniel Roth, Organiste-titulaire du grand orgue de l'Église Saint-Sulpice, Paris * . *The documentation is wonderfully rich -- would that we had something comparable for earlier composers. . . . A major achievement. . . . A wealth of revealing information. -- Peter Williams * TIMES LITERARY SUPPLEMENT *Detailed, richly documented account of Widor's long and fascinating life. . . Definitive. * MUSIC LIBRARY ASSOCIATION *Table of ContentsForeword by Kurt Lueders Preface Introduction: "Sunday Morning in a Paris Organ Loft," by T. Carl Whitmer Widor's Ancestry, Musical Education, and Heritage (1844-63) The First Creative Period (1864-79) The Years of Mastery (1880-94) The Twilight of Widor's Compositional Career (1895-1909) Mr. Widor, Member of the Institute of France (1910-37) Appendix One: Published Literary Works Appendix Two: List of Musical Works Appendix Three: A Cross-Section of Musicians during Widor's Life Appendix Four: Chronology

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Book SynopsisExamines the impact of contemporary ideas about the psyche and neglected yet crucial artistic influences on the psychological dimension of Wagner's operas, especially Die Feen, Der fliegende Holländer, Tannhäuser, Lohengrin, and the Ring. Wagner's Visions studies crucial influences on Wagner's dramatic style during the years before and just after the failed Dresden revolutionary uprising of 1849. Offering a detailed examination of Die Feen, Wagner's least-known complete opera, together with analysis of Der fliegende Holländer, Tannhäuser, Lohengrin, and the four Ring dramas, Katherine Syer explores the inner experiences of Wagner's protagonists. Sources ofparticular political significance include the fables of the eighteenth-century Venetian playwright Carlo Gozzi, the Iphigenia operas of Christoph Willibald Gluck, and the legacy of the martyr Theodor Körner, whose poetry became the lingua franca of the revolutionary movement to liberate and unify Germany. Syer's book offers fresh insights into the historical context that gave rise to Wagner's dramatic art, revealing how his distinct and powerful imagery is intimately bound up with the crises and instabilities of his era. Katherine R. Syer is associate professor of theatre and musicology at the University of Illinois at Urbana-Champaign.Trade ReviewAn insightful analysis of Wagner's operas, which displays a profound understanding of the deep structure of operas and is impressive in its ability to draw together a wide variety of different phenomena. Not least because of the extremely skillful handling of language that leads to vivid and concise descriptions of both artworks and their historical and cultural environments, it is an enjoyable read. * MUSIC & LETTERS *Seldom, if ever, has Wagner's music been written about in such a lyrically beautiful way, with such penetrating insights. * WAGNERSPECTRUM *Accomplished and absorbing. . . . One of the strongest recent contributions to Wagner studies. * MUSICAL TIMES *Just when you think that scholarship has covered every angle of Wagner's work, along comes an author with yet another way of looking at it. In this wide-ranging study . . . [a]n impressive aspect of Syer's analysis is the frequency and skill with which she peels off the textual layers of Wagner's creations -- the revised accounts, different prose sketches, libretto revisions, staging comments etc. [This, along with the emphasis on live performance,] ensures Wagner's Visions a place among the most significant Wagner books of the decade. * WAGNER JOURNAL *Well-written narrative. With her unique insight into the early works, Syer sheds new light on the complex psychological elements of their characters and the creative strategies that set the political tone for the later works. Recommended [for] upper-division undergraduates through faculty. * CHOICE *Syer's new study is a major contribution to the scholarship on the first half of Wagner's career; let us hope that a study of the second half is forthcoming. * WAGNER NOTES *[A]n outstanding book on Wagner's literary roots in fairy tale, German Hellenism, and German patriotic Romanticism. Syer also brings further illumination to the phenomenon of psychological drama in Wagner's stage works, showing how these three-pronged roots played a role in the formation of Wagner's dramatic -- even fantastical -- protopsychology. This excellent contribution places Syer firmly among the leading Wagner scholars of her generation. -- -- Bryan Gilliam, Duke UniversityTable of ContentsTo Be Born in Leipzig in 1813 Fairytale Madness: Wagner and Gozzi Senta the Somnambulist Opposing Worlds: Tannhäuser and Lohengrin Hunding's Horns, Wotan's Storms, Sieglinde's Nightmare Notes Bibliography Index

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Book SynopsisFirst English-language study of Anton Heiller (1923-1979), one of the twentieth-century's most influential organists Anton Heiller is one of the twentieth century's most renowned and influential organists. Born in 1923, Heiller was trained in Vienna and rose to prominence quickly, giving his first solo recital at the age of twenty-two. Before concentrating on the organ exclusively, he was a successful conductor of the symphonic repertoire, and, from 1945 until his untimely death in 1979, he was professor of organ at the University of Music and Performing Arts in Vienna.His interpretations of Bach, which included registration and articulation, as well as a consideration of the theological underpinnings, would change the way Bach is played. Anton Heiller: Organist, Composer, Conductorprovides an assessment of Heiller's works and teaching, while also examining his complex personality, one torn between strong religious devotion and the world of artistry. The narrative also offers a unique view of the organ worldin the decades after World War II, featuring the important organs, builders, and organists across North America and Europe. Peter Planyavsky was Anton Heiller's successor as an organ professor in Vienna, and organist of St. Stephan's Cathedral in Vienna from 1969 through 2004. He is also a prolific composer, improviser, and conductor. Christa Rumsey, a former student of Heiller's, translated the book from the original German.Trade ReviewHistory has already recognized Anton Heiller as a significant figure in 20th-century music, probably the most influential organist of his time. . . .Through his genius and personal charisma, he achieved what others could not: he brought the organ into the mainstream of music where it belongs. Planyavsky's biography delivers this message, while giving a complete picture of Heiller's life and work. . . . Belongs in the personal library of any serious organist. Through this book a great organist continues to interest and also to teach later generations of organists. A comparison . . . demonstrates not only an accurate but sensitive treatment of the original [German text]. * THE AMERICAN ORGANIST *The biographical chapters make . . . fascinating reading . . . [No chapter] is more gripping than the chapter devoted to 'Haarlem and the Rest of Europe.' . . . Christa Rumsey has done a sterling service for English-speaking readers by her elegant translation of an important book. -- Bruce Steele * ORGAN AUSTRALIA *A remarkable book [about] one of the greats of the mid-twentieth century. Packed with facts and stories. Christa Rumsey's excellent, flowing translation [is] a pleasure to read. * SYDNEY ORGAN JOURNAL *The text flows effortlessly. . . . The story is vibrant and gives extremely good insight into life between World War II and 1979 in Austria and life in Vienna in particular. Of interest to any interested in organ music and, in particular, developments in the early to mid-twentieth century. * ORGAN MUSIC SOCIETY OF ADELAIDE NEWSLETTER *Peter Planyavsky's book accomplishes a difficult task: that of doing justice to the life of a monumental musician. Planyavsky, himself an organist of international prominence, avoids the pitfall of presenting Heiller as primarily an organist, instead presenting a compelling picture of Heiller as the complete musician, giving ample room to a discussion of his career as a conductor as well as to a discussion of his many compositions. The result is a comprehensive and engaging account of a person who was a dominant figure in European musical culture for several decades of the twentieth century and whose influence was felt far beyond the circle of the Viennese musical scene. -- -- William Porter, Eastman School of Music (University of Rochester)Table of ContentsVery Early, Very Fast, Very Steep Beginning in the Golden West: Tyrol, Vorarlberg, Switzerland Haarlem and the Rest of Europe Heiller and America Short Midday, Long Sunset All the Registers of a Soul Compositions before ca. 1956 Compositions after ca. 1956 What He Thought, How He Played Appendix: Organ Specifications Chronology Notes List of Compositions Discography Bibliography Index of Names Index of Subjects

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Book SynopsisThis collection of letters to and from the eminent harpsichordist, scholar, and early-music pioneer Ralph Kirkpatrick provides a portrait of the musician from the beginning of his career in Paris in the 1930s to its end in the early 1980s. This collection of letters to and from the eminent harpsichordist, scholar, and early-music pioneer Ralph Kirkpatrick provides a portrait of the musician from the beginning of his career in Paris in the 1930s to its end in the early 1980s, offering new insights into his work and scholarship. The volume contains letters from Europe to his family as well as correspondence with harpsichord makers, performers, and composers, including Nadia Boulanger, Alexander Schneider, John Kirkpatrick, Elliott Carter, Henry Cowell, John Challis, Kenneth Gilbert, Serge Koussevitzky, and Vincent Persichetti. In addition, two former students of Kirkpatrick, the guitarist Eliot Fisk and the harpsichordist Mark Kroll, write about their experiences studying with Kirkpatrick in a foreword and an afterword. The volume also includes a bibliography of publications by and about the musician, as well as a discography. MeredithKirkpatrick is a librarian and bibliographer at Boston University and is the niece of Ralph Kirkpatrick.Trade ReviewFascinating, behind-the-scenes details. Provides much biographical insight. The photographs . . . are an excellent addition. Kirkpatrick's letters reveal a richness of detail that, while history from today's vantage point, shows the vibrancy of the musical world he inhabited less than a century ago. * MLA NOTES *Offers fascinating insights into the life and work of a highly significant figure. The book, excellently edited and organised by Kirkpatrick's niece Meredith . . . is beautifully produced, containing many photographs of Kirkpatrick throughout his career, as well as others with whom he worked. . . . One of the most invigorating aspects of his letters is their directness; he pulls no punches...The range of subjects covered is vast, and the exchanges give every impression of being frank and honest. Kirkpatrick himself always wrote courteously, but stated his views trenchantly. . . . This book goes a long way to reaffirming Kirkpatrick's seminal role in our present-day understanding of early keyboard music. . . . A significant publication that should be read by everyone with an interest in early keyboard music especially. . . . [The letters to harpsichord builder John Challis] are full of interesting insights and repay careful study. -- John Kitchen * EARLY MUSIC PERFORMER *Engrossing picture of a brilliant and passionate man working to establish a place for what he loved, against many handicaps, in a world that was barely ready. The correspondents include musical and artistic luminaries of the age, such as Nadia Boulanger, Serge Koussevitzky, Roger Sessions, Elliott Carter, [and] Thornton Wilder. * EARLY MUSIC AMERICA *Goes a long way toward fleshing out our knowledge about one of the most prominent and respected figures in the 20th-century American harpsichord revival. Important correspondence with American composers Roger Sessions, Elliott Carter, Otto Luening, Quincy Porter, Vincent Persichetti, Henry Cowell, and Mel Powell, as well as Europeans Frank Martin and Bengt Hambraeus. Carefully selected and annotated. -- Larry Palmer * DIAPASON *Scrupulously edited. Sympathetic yet honest appraisals by Mark Kroll and guitarist Eliot Fisk bookend a fascinating document that chronicles not just a life lived through scholarship and performance, but also a revolution that was profoundly indebted to Kirkpatrick in how we experience the music of the past. Letters to family . . . prove the most vivid. * BBC MUSIC MAGAZINE *Table of ContentsForeword: "The Glowing of Such Fire" -- A Tribute to Ralph Kirkpatrick - Eliot Fisk Acknowledgments Introduction Selected Letters to Family Nadia Boulanger Alexander Mackay-Smith Wanda Landowska John Challis Serge Koussevitzky Oliver Strunk Roger Sessions Harold Spivacke Steinway & Sons New York Times Elizabeth Sprague Coolidge John Kirkpatrick Alexander Schneider Otto Luening Donald Boalch John Hamilton Thornton Wilder Lincoln Kirstein Arthur Mendel Edward Steuremann Frank Martin Olin Downes Albert Fuller Elliott Carter Quincy Porter Vincent Persichetti Henry Cowell Mel Powell Bengt Hambraeus Alec Hodson Paul Fromm Wolfgang Zuckermann Kenneth Gilbert Mr. and Mrs. George Young Colin Tilney Oliver Daniel Eliot Fisk Wilton Dillon William Dowd Meredith Kirkpatrick Afterword: Lessons with Kirkpatrick - Mark Kroll Appendix A: Publications by and about Ralph Kirkpatrick Appendix B: Ralph Kirkpatrick Discography Index

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Book SynopsisRevealing unpublished interviews with John Cage and some of his closest colleagues, including Virgil Thomson, Karlheinz Stockhausen, Pauline Oliveros, Merce Cunningham, and David Tudor. John Cage, one of America's most renowned composers from the 1940s until his death in 1992, was also a much-admired writer and artist, and a uniquely attractive personality able to present his ideas engagingly wherever he went. In CageTalk: Dialogues with and about John Cage, Peter Dickinson showcases a collection of vividly revealing and unpublished interviews given by Cage in the late 1980s for a BBC Radio 3 documentary. For this paperback edition, Dickinson presents a new preface noting developments in Cage criticism since the book's publication in 2006, updated comments from several of the original interviewees, and a new interview with Christian Wolff. CageTalk also features earlier BBC interviews with Cage, including ones by renowned literary critic Frank Kermode and art critic David Sylvester. In addition, there are discussions of Cage with Bonnie Bird, Earle Brown, Merce Cunningham,Minna Lederman, Otto Luening, Jackson Mac Low, Peadar Mercier, Pauline Oliveros, John Rockwell, Kurt Schwertsik, Karlheinz Stockhausen, Virgil Thomson, David Tudor, LaMonte Young, and Paul Zukovsky. Most of these interviews weregiven to Peter Dickinson but there are others in which with Rebecca Boyle, Anthony Cheevers, Michael Oliver, and Roger Smalley were the interviewers. Peter Dickinson, British composer and pianist, is Emeritus Professor,University of Keele and University of London, and has written or edited several books about twentieth-century music, including Copland Connotations [Boydell Press, 2002] and The Music of Lennox Berkeley [Boydell Press, 2003].Trade ReviewForeWord Magazine selected this title as one of its top music books from University Presses for 2006. * . *Ideal introduction to Cage. * TIMES LITERARY SUPPLEMENT *The first-hand accounts related by Cage's colleagues offer new insights and a palpable vibrancy. . . . A sense of intimacy and richness of anecdotal detail. . . . Merit[s] study by all with an interest in the composer. -- Charles Madsen * BULLETIN OF THE SOCIETY FOR AMERICAN MUSIC *We hear Cage in his own words, in conversations conducted between 1966 and 1988, and put in the context of interviews with close colleagues such as pianist David Tudor, choreographer Merce Cunningham and fellow composers including Earle Brown and Virgil Thomson. . . . Dickinson's approach to collecting these interviews is methodical and fastidious. . . . [His] introductory chapter is . . . cogent. -- Philip Clark * GRAMOPHONE *This book is no eulogy compendium. Instead, the interviewees simply give us what we would all prefer to have, which is a diverse set of instructive, good-humoured accounts of their dealings with the book's subject. . . . Informative and entertaining -- often amusing: Stockhausen's thinly-veiled tetchiness makes for a diverting subtext, while Virgil Thomson refers to Cage's former wife Xenia as 'the Eskimo.' Technically, too, this book is a success, with its comprehensive references, its proper indexing and, joy of joys, footnotes . . . on the page you're actually on. A valuable and enjoyable read which I unreservedly recommend. Five stars (out of five). -- Roger Thomas * BBC MUSIC MAGAZINE *A lively compilation of dialogues with and about Cage . . . [opening with Dickinson's] useful introductory overview.. . . [Cage's] influence burns brighter than ever. -- Fiona Maddocks * THE SPECTATOR *Essential reading for anyone interested in the music of our time. * WHOLENOTE *Cage's engaging manner radiates from these pages. . . . CageTalk is excellent, leaving one with feelings of affection toward its subject. -- John Robert Brown * CLASSICAL MUSIC *A real treasure house of fascinating exchanges. . . . An entertaining perspective on [Cage's] inventive and imaginative world of sound, visual imagery and movement. -- Patrick Standford * MUSIC AND VISION DAILY *Recommended to all music libraries, [and] specialists concerned with...[Cage's] enduring work. -- Brett Boutwell * JOURNAL OF THE SOCIETY FOR AMERICAN MUSIC *Table of ContentsIntroduction by Peter Dickinson John Cage Merce Cunningham Bonnie Bird David Tudor Jackson Mac Low Minna Lederman Virgil Thomson Otto Luening Karlheinz Stockhausen Earle Brown Kurt Schwertsik La Monte Young John Rockwell Pauline Oliveros Paul Zukofsky Cage with David Sylvester and Roger Smalley Cage with Frank Kermode Cage with Michael Oliver About Musicircus, Cage with Peter Dickinson Introducing Roaratorio, Cage, Cunningham, and Peadar Mercier with Peter Dickinson Europeras and After, Cage with Anthony Cheevers

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Book SynopsisThis book reveals Czech composer Bedrich Smetana as a dynamic figure whose mythology has been rewritten time and again to suit shifting political perspectives. Interpretations of Czech composer Bedrich Smetana and his music have shifted as frequently as the political contexts in which they were written. This book examines not just Smetana, but also the scholar-politicians who have imagined and reimagined him and his works since the nineteenth century. During the 1870s, Smetana helped found a powerful nationalist organization called the Umelecká beseda ("Artistic Society," or UB), whose members produced the earliest scholarship on the composer as part of their calls for political action. Within the increasingly radicalized discourses of the twentieth century, individuals including future Minister of Culture and Education Zdenek Nejedlý attacked the UB for not being nationalistic enough, producing their own revisionist histories of Smetana and his works. Kelly St. Pierre investigates Smetana as both nationalist composer and national symbol, revealing the composer'slegacy as a dynamic figure whose mythology has been rewritten time and time again to suit changing political perspectives. Kelly St. Pierre is assistant professor of musicology at Wichita State University.Trade ReviewAn important book [that] investigates the creation of a collection of 'Smetana myths,' and the manner in which the composer's career and its reception were molded by a complex set of forces. Some of the most fascinating aspects of St. Pierre's book involve the sections dealing with the attempt on the part of various interlocutors to ascribe 'meaning' to specific moments of instrumental music. -- Michael Beckerman * SLAVIC REVIEW *St. Pierre brings together a wide range of published sources, such as articles and edited correspondence in translation (mostly her own). Particularly intriguing is [her] perspective on music history (and its making) as media history. The monograph's structure and appearance are impeccable, and its name index will serve as an essential companion for every future study on Smetana. * MUSIC LIBRARY ASSOCIATION NOTES *St. Pierre's book will need to be consulted by anyone interested in the subject. It is lucidly constructed and well written, and has been well served by Rochester Press [sic] in its editing of her prose . . . [and] is especially valuable in the lively details it gives of the Umelecká beseda and its members. * SLAVONIC AND EAST EUROPEAN REVIEW *A sorely needed and welcome foray not only into scholarship on the Czech composer Bedrich Smetana, but also into questions of composer biography and the role of propaganda in Central European nationalist movements...a valuable resource for scholars of European history and Czech music. * EUROPEAN HISTORY QUARTERLY *Kelly St. Pierre's concentrated and highly researched new study . . . closely examines the complex and politically controversial genesis of [Czech composer Smetana's] music, and its huge eventual significance in establishing a strong and clear national identity for that small if fiercely patriotic country contained within the 19th-century Austro-Hungarian Empire. St. Pierre has done well to cut a path through the forests of obscurantism generated by these ever-changing political perspectives, leading to a clearer picture of Smetana and his actual achievements. MUSICAL TIMES * MUSICAL TIMES *A significant work of scholarship, Kelly St. Pierre's Bedrich Smetana: Myth, Music, and Propaganda fills an obvious and important gap in the literature of musical politics in Prague from the last quarter of the nineteenth century to the end of the First Republic. With an excellent and thorough consideration of both Czech and English sources, including the most recent publications, this book will be indispensable for scholars and enthusiasts of Czech music, as well as scholars, students, and devotees of late nineteenth-century European cultural and intellectual history. -- -- Derek Katz, author of Janácek beyond the BordersTable of ContentsIntroduction Smetana Advocacy and Czech Nation-Building Smetana, Czechness, and the New German School Smetana, Czechness, and Wagner Smetana as a Proven Genius Writing the Smetana Myth: Historiography and Czechness Conclusion Notes Bibliography Index

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Book SynopsisExamines the remarkable career of leading soprano castrato Venanzio Rauzzini (1746-1810), the first castrato to make Britain his home. Venanzio Rauzzini (1746-1810), the celebrated Italian castrato, is best known for his performance in Mozart's Lucio Silla in 1772, with which Mozart was so pleased that he composed for the singer the famous motet Exsultate Jubilate. In 1774, Rauzzini moved to London where he performed three seasons of serious operas at the King's Theatre. From 1777 until his death in 1810, he was the director of the concert series in Bath, a series that matched the prestige of any that were given in London. In addition, he composed prolifically, writing music for eleven operas. This book is a study of Rauzzini's remarkable yet often overlooked career in Britain. Paul Rice chronicles Rauzzini's performances at the King's Theatre and examines his leadership of the Bath subscription concerts from 1780-1810, recovering much of the repertory. Rice shows in detail how Rauzzini responded musically to the social and political conditions of his adopted country, and analyzes the castrato's reception, as well as compositional choices, shedding new light on changing musical tastes in late eighteenth-century Britain. Paul F. Rice is Professor of Musicology at the School of Music, Memorial University of Newfoundland.Trade Review[Venanzio Rauzzini] was an intrepid survivor in a world that held Italians, and particularly Italian castrati, as highly suspect. Paul Rice has brought together a great deal of biographical detail about Rauzzini's life. He has made it possible for us easily to flesh-out the headline facts that are presented in the Grove and Oxford articles and the work of other authors. [Musical] extracts and analyses...give us an impression of Rauzzini's own evolving vocal abilities and those of his singers. The author seems to have left no stone unturned in seeking out his subject. -- Andrew Pink * BRIO *The scope of [Rauzzini's] influence enables Rice to...use Rauzzini's career as a focal point in a broader examination of social and cultural life in Brain, and specifically London and Bath. [Rice] attempts to glean information about the character of his sound, not only from contemporary descriptions but also from the music written for him by Mozart and Sacchini. Rice manages his materials admirably, and there is much here to interest scholars of eighteenth-century music, particularly those interested in concert culture and the practicalities of singers' lives. An engaging portrait of a man who left a considerable legacy across many areas of musical life. -- Chloe Valenti * AD PARNASSUM *Fascinating insights concerning Rauzzini's compositional techniques and the characteristics of the arias he wrote for himself. The musical analysis undertaken in the book, illustrated with a large number of music examples, reveals Rauzzini's accomplished compositional style for the different technical demands of domestic music-making. . . Broaden[s] the common picture of the virtuoso opera singer and demonstrate[s] his expertise in different fields and his acceptance at the heart of Britain's social and cultural life. -- Ingeborg Zechner * MUSIC & LETTERS *Rauzzini is unique among castratos for having spent more than half his life in England. Rice is the first to tackle in detail the whole of Rauzzini's professional life across the 36 years the singer spent in England. The programmes for these concerts give a fascinating picture of changing tastes. Rauzzini was a canny director, endeavouring to engage the best soloists. Rice provides a generous quantity of music examples that demonstrate Rauzzini's mastery of the galant style. A rich resource. -- Patricia Howard * MUSICAL TIMES *Table of ContentsPreface Rauzzini's European Career A Debut Season at the King's Theatre, 1774-75 Two Further Seasons at the King's Theatre, 1775-77 Concerts and Composing, 1774-81 A Continuing Relationship with the King's Theatre A Life in Bath The Bath Concerts Final Curtain Appendix A: Concert Programs, 1786-1810 Appendix B: Operatic Roles Performed by Venanzio Rauzzini Notes Bibliography Index

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Book SynopsisUp-close and personal views, by the renowned music critic and orchestra administrator, of musical luminaries from Alfred Brendel to Jessye Norman and beyond. Star Turns and Cameo Appearances is the entertaining and insightful memoir by veteran music critic Bernard Jacobson. Its pages are populated by eminent composers ranging from Hans Werner Henze to Andrzej Panufnik and by renowned performers, including Georg Solti, Daniel Barenboim, Sviatoslav Richter, and Jessye Norman. As a music critic and orchestra administrator, Jacobson has had the opportunity to observe these outstanding musicians andmany of their colleagues at close quarters. Assisting Riccardo Muti at the Philadelphia Orchestra for eight years, he saw sides of that maestro not visible to the music-loving public. Throughout Star Turns and Cameo Performances, Jacobson adds his own sensitive and sympathetic view to public perceptions of musical luminaries of yesterday and today, helping to explain and illuminate their artistry. Bernard Jacobson has worked in the music field for over fifty years, including stints as recording executive, music critic of the Chicago Daily News, artistic director and adviser for international orchestras in Holland, and visiting professor at Roosevelt University's Chicago Musical College. He has also performed and recorded as narrator of concert works and opera.Trade ReviewWill appeal to many different music professionals as well as a number of music-lovers. Without exception, Jacobson's remarks show knowledge and heart beautifully combined, the writing eloquent and perceptive. Star Turns and Cameo Appearances offers an intimate and rewarding look at one of the most distinguished music professionals of the 20th century and, perhaps more important, one for whom new music and the classics generally held equal value. -- Rob Haskins * ARSC JOURNAL *I have admired and continue to admire the great musical culture of Bernard Jacobson, whom I have known since my time in Philadelphia in the 1980s. His deep understanding of the world of the arts and his wit and elegant writing make Star Turns particularly interesting and charming. -- -- Riccardo Muti, conductor, music director, Chicago Symphony Orchestra[This] remarkable memoir is a musical journey from the perspective of a writer, music critic, music publisher, and a man who has been intimately involved with the classical music world. His extraordinary life's work, knowledge, and integrity have been a great inspiration to me, and this beautifully written memoir now affords others a window into his lifelong devotion to and love of music on the deepest level. -- -- Gerard Schwarz, conductor and composerAn extraordinarily vivid and intriguing glimpse of the humans inside the classical music giants, of the last fifty years -- an invaluable and rare account from a man who's heard it all. -- -- Roxanna Panufnik, composerBernard Jacobson has been one of the most illuminating writers about classical music over the past decades, a critical intelligence to reckon with -- the sort of critic (all too rare) with whom performers can engage in fruitful dialogue. His memoirs of a life in music are fascinating stuff. -- -- Ian Bostridge, tenorA fascinating tour through the classical music world from the 1960s to today. Jacobson has worked with and has stories to tell about most of the major and minor figures of music in England and America of the last fifty years. His analysis of Riccardo Muti as a man, a conductor, and a leader is worth the whole book. It's an involving book, and I feel privileged to have read it. -- -- Speight Jenkins, general director, 1983-2014, Seattle OperaTable of ContentsPreface Acknowledgments "Till Ready," to 1960 Inside the Record Industry, 1960-64 Freelance in London and New York, 1964-67 Chicago Years, 1967-73 Exchanging Criticizing for Supporting, 1973-76 The Pastoral Dream, 1976-79 Inside Music Publishing, 1979-84 Philadelphia, First Installment, 1984-91 Back to Holland, 1992-95 Philadelphia, Second Installment, 1996-2005 West Coast Years, 2005-14 Philadelphia, Yet Again, 2014-? Afterword Index

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Book SynopsisPresents previously unpublished memoirs (1933-77), lectures, and essays by the eminent harpsichordist and scholar Ralph Kirkpatrick. This collection of unpublished writings by the eminent harpsichordist and scholar Ralph Kirkpatrick contains his memoirs for the period 1933-77 as well as essays on a variety of topics, including his preparation for the first performance of Elliott Carter's Double Concerto, thoughts on editing Bach's Goldberg Variations, and reflections on recording, chamber music, performance, and harpsichords and their transport. The volume also contains five lectures from a Yale University lecture series presented between 1969 and 1971, a bibliography of publications by and about Kirkpatrick, a discography of his recordings, and a foreword by former Kirkpatrick student and renowned organist William Porter. Meredith Kirkpatrick, the niece of Ralph Kirkpatrick, is a librarian and bibliographer at Boston University and the editor of Ralph Kirkpatrick: Letters of the American Harpsichordist and Scholar (University of Rochester Press, 2014).Trade ReviewThe career of [harpsichordist] Kirkpatrick took place during a major developmental stage in the history of the harpsichord. Extremely enjoyable to read. Excellently produced and laid out on the page. * REVUE BELGE DE MUSICOLOGIE *[A]n exciting read not only for harpsichordists, but also for anyone interested in early music and the history of old keyboard instruments. * SZABÓ ERVIN LIBRARY MUSIC COLLECTION *His depth of thought, and skill in articulating his musical philosophy never disappoints, and I would buy the book if only for his outstandingly good essay, entitled 'The Performer's Pilgrimage to the Sources'...A writer who could evoke time and place with memorable clarity. * SOUNDING BOARD *Offers valuable insight into... the [early music] movement as well as considerable enjoyment along the way. * THE CONSORT *The writing style is elegant and captivating, often sprinkled with touches of humor. The pages...devoted to Scarlatti are particularly rich. * REVUE DE MUSICOLOGIE *[A] new and rich collection of writings by . . . Ralph Kirkpatrick (1911-1984). . . one of the principal shapers of the twentieth-century movement to return historical instruments to the practical uses of musical life. * AD PARNASSUM *[P]resents another pathway to understanding the stellar contributions of the most influential American harpsichordist of the mid-20th century after . Here is a book to treasure, and to share with fellow lovers of the harpsichord and its history. * DIAPASON *This special book is well made, beautiful to hold and captures this later period in the lifetime and place in history of this very eminent American musician and scholar. . . . Kirkpatrick's own Memoirs in this book have an elegant and engaging style of writing, displaying his erudite intelligence and charisma. . . . [His] Reflections . . . display the author's immense contribution and role in shaping music history. * FONTES ARTIS MUSICAE *Brilliant observations that apply to all fields of music. The fascinating writing itself is so elegant and polished. . . that the reader constantly wants to turn the pages. . . . Should be of interest to all lovers of keyboard instruments and the music written for them. * AMERICAN ORGANIST *Kirkpatrick's playing, at its best, is magnificent ... [This] entertaining and wittily written book ... [is] a beautiful complement to [Ralph Kirkpatrick: Letters of the American Harpsichordist and Scholar], which came out a few years ago. * OPUSKLASSIEK *Offers a fascinating view into the personality and worldview of Ralph Kirkpatrick. . . . The writing reveals scrupulous musical standards and a crunchy personality. * AMERICAN RECORD GUIDE *Meredith Kirkpatrick has selected wisely and edited meticulously. We are offered many insights into the life of a concert harpsichordist at a time when such individuals were rare indeed. [Kirkpatrick's] prose style is always elegant, but he expresses himself directly and vigorously. * EARLY MUSIC PERFORMER *Opens a window onto much of 20th-century cultural history. . . . Essential reading for anyone interested in the harpsichord, scholarship, and musical style. * EARLY MUSIC AMERICA *[From] a musician who was widely admired as one of the finest harpsichordists of his day [comes] this collection of memoirs, essays and lectures, all previously unpublished and edited sensitively by Kirkpatrick's niece...[The memoirs are] pleasingly anecdotal. * GRAMOPHONE *[A welcome new book of writings by] the trailblazing American harpsichordist...Humour and waspish observations gild memoir and polemic alike. Many of the issues pondered with characteristic clarity are no less relevant fifty years on...(Four stars, and Editor's Choice) * BBC MUSIC MAGAZINE *Table of ContentsIntroduction Memoirs, 1933-77 On Performing On Recording On Chamber Music On Harpsichords and Their Transport Elliott Carter's Double Concerto (ca. 1973) On Editing Bach's Goldberg Variations: For Arthur Mendel (March 31, 1973) RK and Music at JE (1983) The Equipment and Education of a Musician (1971) Bach and Mozart for Violin and Harpsichord (ca. 1944) The Early Piano (Broadcast on BBC Radio 3, Music Weekly, September 23, 1973) Bach and Keyboard Instruments In Search of Scarlatti's Harpsichord Style in Performance The Performer's Pilgrimage to the Sources Private Virtue and Public Vice in the Performance of "Early Music" Appendix A: Personal Names in the Text Appendix B: Publications by and about Ralph Kirkpatrick Appendix C: Ralph Kirkpatrick Discography

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Book SynopsisCombines fresh approaches to the life and music of the beloved nineteenth-century composer with the latest and most significant ways of thinking about rhythm, meter, and musical time. Brahms and the Shaping of Time brings together essays by leading music scholars, each of which analyzes the music of Brahms with a particular focus on the music's temporality. The volume reveals numerous ways in which Brahms manipulates such basic elements as rhythm and phrase structure in pieces ranging from the Third Piano Sonata and the Double Concerto to a number of his most important and beloved songs. The first two essays examine aspects of rhythm and meter in Brahms's lieder, recognizing his meaningful deviations from temporal norms. The second two pick up the mantle from William Rothstein's landmark text Phrase Rhythm in Tonal Music. Rothstein's study focused on the music of other composers, but suggested how a future study might explore the music of Brahms; these essays contribute to such a study while also pivoting the book's focus from vocal to instrumental music. Each of the chapters of the third pair cross-examines and expands our understanding of the hemiola. The concluding trio of essays promotes, through further analysis of individual works, ways of hearing that encourage the reader to breach the confines of the score's metric notation. Together, the essays in this volume offer fresh approaches to the life and music of the beloved nineteenth-century composer and incorporate significant new ways of thinking about rhythm, meter, and musical time. CONTRIBUTORS: Eytan Agmon, Richard Cohn, Harald Krebs, Ryan McClelland, Jan Miyake, Scott Murphy, Samuel Ng, Heather Platt, Frank Samarotto Scott Murphy is professorof music theory at the University of Kansas.Trade ReviewWINNER of the 2019 Outstanding Multi-Author Collection Award from the Society for Music Theory * . *Table of ContentsForeword: Brahms, Analysis, and Time Expressive Declamation in the Songs of Johannes Brahms Temporal Disruptions and Shifting Levels of Discourse in Brahms's Lieder Phrase Rhythm and the Expression of Longing in Brahms's "Gestillte Sehnsucht," Op. 91, No. 1 On the Oddness of Brahms's Five-Measure Phrases Hemiola as Agent of Metric Resolution in the Music of Brahms Brahms at Twenty: Hemiolic Varietals and Metric Malleability in an Early Sonata Containment and Wave: Temporal Experiment in Brahms's Opus 2 Rhythmic Displacement in the Fugue of Brahms's Handel Variations: The Refashioning of a Traditional Device Durational Enharmonicism and the Opening of Brahms's "Double Concerto"

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Book SynopsisA new and wide-ranging collection of essays by leading international scholars, exploring the concept and practices of virtuosity in Franz Liszt and his contemporaries. In the annals of music history, few figures have dominated the discussion of virtuosity as much as Franz Liszt. A flamboyant performer whose hair-raising technical feats at the piano created a sense of awe-inspiring excitement andan icon whose star power radiated far beyond the realm of music, Liszt was, along with his early model, Paganini, among the first major performer-composers to define himself principally by virtuosity. Featuring new essays by an international group of preeminent scholars, Liszt and Virtuosity offers a reevaluation of the concept and practices of virtuosity as shaped and defined in Liszt's multifaceted oeuvre, as well as a reconsiderationof Liszt's relation to other major and lesser-known musical figures, including Czerny, Schubert, Chopin, Brahms, Debussy, and Marie Jaëll. Set in the context of larger trends within the fields of music history, musicanalysis, intellectual history, and performance studies, these capacious explorations demonstrate that Liszt's uniqueness and significance resided in his ability to transform virtuosity into a revolutionary musical force, pushingthe piano aesthetic to the limits of sound and poetic meaning.Trade ReviewThe book brings together these insights by the world's most important Liszt's scholars and performers. [...] [This book] deepen[s] our understanding of the concept of virtuosity and of different approaches [and] re-evaluates virtuosity, specifically its given definitions and practices, through Liszt's own understanding in connection to his contemporaries -- NINETEENTH-CENTURY MUSIC REVIEWSThis splendid volume dispels any lingering prejudices against nineteenth-century piano virtuosity and especially against Franz Liszt--often suspected of practicing a musical dark art. By casting new light on Liszt's singular virtuosity in essays on his instruments, technique, and teaching through to his revolutionary compositional aesthetic, the internationally distinguished authorship aspires to a level of understanding no less transformational than the work of the spectacular figure at center stage. * John Rink, Professor of Musical Performance Studies, University of Cambridge *There is a lot to think about in this volume. It is dense and rich, well researched, and thoughtful. Perhaps it is virtuosic in its own way, with its apparent casual command of fine detail. This is the kind of collection where single lines might spark new scholarship. * MUSIC & LETTERS *Table of ContentsIntroduction: Virtuosity and Liszt - Robert Doran Part One: Liszt, Virtuosity, and Performance Après une lecture de Czerny?: Liszt's Creative Virtuosity - Kenneth Hamilton Transforming Virtuosity: Liszt and Nineteenth-Century Pianos - Olivia Sham Spirit and Mechanism: Liszt's Early Piano Technique and Teaching - Nicolas Dufetel Paths through the Lisztian Ossia - Jonathan Kregor Brahms "versus" Liszt: The Internalization of Virtuosity - David Keep Part Two: Lisztian Virtuosity: Theoretical Approaches The Practice of Pianism: Virtuosity and Oral History - Jim Samson Liszt's Symbiosis: The Question of Virtuosity and the Concerto Arrangement of Schubert's Wanderer Fantasy - Jonathan Dunsby From the Brilliant Style to the Bravura Style: Reconceptualizing Lisztian Virtuosity - Robert Doran Part Three: Virtuosity and Anti-Virtuosity in "Late Liszt" Harmony, Gesture, and Virtuosity in Liszt's Revisions: Shaping the Affective Journeys of the Cypress Pieces from Années de pèlerinage III - Dolores Pesce Anti-Virtuosity and Musical Experimentalism: Liszt, Marie Jaëll, Debussy, and Others - Ralph P. Locke Virtuosity in Liszt's Late Piano Works - Shay Loya

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Book SynopsisThe first collection ever of essays and reviews by the renowned pedagogue, composer, and conductor, providing fresh perspectives on her musical influence and impact. The impact of Nadia Boulanger (1887-1979) on twentieth-century music was vast: as composer, keyboard performer, conductor, impresario, and pedagogue. Her extensive musical networks included figures such as Fauré, Stravinsky, and Poulenc, and her advocacy helped establish the compositions of her sister Lili Boulanger. Few today realize, though, that Boulanger wrote numerous essays and reviews at various times in her career. These offer unparalleled insight into her thinking and illuminate aspects of musical culture in Europe and America from the rare point of view of an internationally prominent female artist. Nadia Boulanger: Thoughts on Music provides a translation and critical edition of selected writings chosen for their quality and interest. The previously published articles and essays have never been reissued since their original appearance; the remaining materials are presented to readers here for the first time. The volume renders all these materials widely available, providing an important new resource for teaching and scholarship on twentieth-century music as well as an engaging collection of musical essays for the general reader.Table of ContentsIntroduction PART 1: JOURNALISM, CRITICISM, TRIBUTES Le Monde Musical, 1919-1927 Other critical writing, 1913-1929 "La musique religieuse," La Revue musicale (1922) "L'oeuvre théâtrale d'Albert Roussel," La Revue musicale (1929) Spectateur, 1946-1947 Tributes, 1924-1978 PART 2: LECTURES, CLASSES, AND BROADCASTS Course transcripts Lectures and speeches Broadcasts Thinking at the Close "Propos impromptus: Nadia Boulanger" Le Courrier musical (1978) Bibliography of Nadia Boulanger's published writing General Bibliography

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Book SynopsisFor forty years, singer and songwriter Bruce Cockburn has been writing beautifully evocative music. Bestselling author and respected theologian Brian Walsh has followed Cockburn's work for years and has written and spoken often on his art. In this creative theological and cultural engagement, Walsh reveals the imaginative depth and uncompromising honesty of the artist's Christian spirituality. Cockburn offers hope in the midst of doubt, struggle, failure, and anger; indeed, the sentiment of "kicking at the darkness" is at the heart of his spirituality. This book engages the rich imagery of Cockburn's lyrics as a catalyst for shaping and igniting a renewed Christian imagination.Table of Contents1. God, Friendship, and Art2. Ecstatic Wonderings and Dangerous Kicking: Imagination and Method3. Cockburn's Windows: Getting a Big Picture4. Creation Dream5. At Home in the Darkness, but Hungry for Dawn6. Creation Dreams and Ecological Nightmares7. Into a World of Darkness8. Humans9. Broken Wheel10. Betrayal and Shame11. What Do You Do with the Darkness?12. Justice and Jesus13. Waiting for a MiracleDiscography

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Book SynopsisFrom a small mountain town in West Virginia, elder fiddler Melvin Wine has influenced musicians and music enthusiasts far beyond his homeplace. Music, community, and tradition permeate all aspects of life in this rural region. Fiddling Way Out Yonder: The Life and Music of Melvin Wine shows how in Wine's playing and teaching all three have created a vital and enduring legacy. As a musician, Wine has been honored nationally for his musical skills and his leadership role in an American musical tradition. A farmer, a coal miner, a father of ten children, and a deeply religious man, he has played music influenced by the hard lessons of his own experience and shaped a musical tradition even while passing it on to others. Fiddling Way Out Yonder examines the fiddler, his music, and its context from a variety of perspectives. Many rousing fiddlers came from isolated mountain regions like Wine's home stomp. The book makes a point to address the broad historical issues related both to North American fiddling and to Wine's personal history. Wine (b.1 909) has spent almost all of his life in rural Braxton County, an area where the fiddle and dance traditions that were strong during his childhood and early adult life continue to be active today. Utilizing models from folklore studies and ethnomusicology, Fiddling Way Out Yonder discusses how community life and educational environment have affected Wine's music and his approaches to performance. Such a unique fiddler deserves close stylistic scrutiny. The book reveals Wine's particular tunings, his ways of holding the instrument, his licks, his bowing techniques and patterns, his tune categories, and his favorite keys. The book includes transcriptions and analyses of ten of Wine's tunes, some of which are linked to minstrelsy, ballad singing traditions, and gospel music. Narratives discuss the background of each tune and how it has fit into Wine's life. This biography heralds a musician who wants both to communicate the spirit of his mountains and to sway an audience into having an old-fashioned good time. Drew Beisswenger is a music librarian at Southwest Missouri State University.

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