One hundred years after Luigi Russolos The Art of Noises, this book exposes a cross-section of the current motivations, activities, thoughts, and reflections of composers, performers, and artists who work with noise in all of its many forms. The books focus is the practice of noise and its relationship to music, and in particular the role of noise as musical material -- as form, as sound, as notation or interface, as a medium for listening, as provocation, as data. Its contributors are first and foremost practitioners, which inevitably turns attention toward how and why noise is made and its potential role in listening and perceiving. Contributors include Peter Ablinger, Sebastian Berweck, Aaron Cassidy, Marko Ciciliani, Nick Collins, Aaron Einbond, Matthias Haenisch, Alec Hall, Martin Iddon, Bryan Jacobs, Phil Julian, Michael Maierhof, Joan Arnau Pamies, and James Whitehead (JLIAT). The book also features a collection of short responses to a two-question interview -- what is noise (music) to you? and why do you make it? -- by some of the leading musicians working with noise today. Their work spans a wide range of artistic practice, including instrumental, vocal, and electronic music; improvisation; notated composition; theater; sound installation; DIY; and software development. Interview subjects include Eryck Abecassis, Franck Bedrossian, Antoine Chessex, Ryan Jordan, Alice Kemp (Germseed), George Lewis, Lasse Marhaug, Maja Solveig Kjelstrup Ratkje, Diemo Schwarz, Ben Thigpen, Kasper Toeplitz, and Pierre Alexandre Tremblay.

This is the first-ever historical study across all musical genres in any American metropolis. Detroit in the 1940s-60s was not just "the capital of the twentieth century" for industry and the war effort, but also for the quantity and extremely high quality of its musicians, from jazz to classical to ethnic. The author, a Detroiter from 1943, begins with a reflection of his early life with his family and others, then weaves through the music traffic of all the sectors of a dynamic and volatile city. Looking first at the crucial role of the public schools in fostering talent, Motor City Music surveys the neighborhoods of older European immigrants and of the later huge waves of black and white southerners who migrated to Detroit to serve the auto and defense industries. Jazz stars, polka band leaders, Jewish violinists, and figures like Lily Tomlin emerge in the spotlight. Shaping institutions, from the Ford Motor Company and the United Auto Workers through radio stations and Motown, all deployed music to bring together a city rent by relentless segregation, policing, and spasms of violence. The voices of Detroit's poets, writers, and artists round out the chorus.

The Rolling Stones' Beggars Banquet is one of the seminal albums in rock history. Arguably it not only marks the advent of the 'mature' sound of the Rolling Stones but lays out a new blueprint for an approach to blues-based rock music that would endure for several decades. From its title to the dark themes that pervade some of its songs, Beggars Banquet reflected and helped define a moment marked by violence, decay, and upheaval. It marked a move away from the artistic sonic flourishes of psychedelic rock towards an embrace of foundational streams of American music - blues, country - that had always underpinned the music of the Stones but assumed new primacy in their music after 1968. This move coincided with, and anticipated, the 'roots' moves that many leading popular music artists made as the 1960s turned toward a new decade; but unlike many of their peers whose music grew more 'soft' and subdued as they embraced traditional styles, the music and attitude of the Stones only grew harder and more menacing, and their status as representatives of the dark underside of the 60s rock counterculture assumed new solidity. For the Rolling Stones, the 1960s ended and the 1970s began with the release of this album in 1968.

Of the post-war, post-serialist generation of European composers, it was Luigi Nono who succeeded not only in identifying and addressing aesthetic and technical questions of his time, but in showing a way ahead to a new condition of music in the twenty-first century. His music has found a listenership beyond the ageing constituency of 'contemporary music'. In Nono's work, the audiences of sound art, improvisation, electronic, experimental and radical musics of many kinds find common cause with those concerned with the renewal of Western art music. His work explores the individually and socially transformative role of music; its relationship with history and with language; the nature of the musical work as distributed through text, time, technology and individuals; the nature and performativity of the act of composition; and, above all, the role and nature of listening as a cultural activity. In many respects his music anticipates the new technological state of culture of the twenty-first century while radically reconnecting with our past. His work is itself a case study in the evolution of musical activity and the musical object: from the period of an apparently stable place for art music in Western culture to its manifold new states in our century. Routledge Handbook to Luigi Nono and Musical Thought seeks to trace the evolution of Nono's musical thought through detailed examination of the vast body of sketches, and to situate this narrative in its personal, cultural and political contexts.

Commissioned by Roderick Williams, this characterful trilogy of songs sets poems by John Greening that present a vibrant, modern take on Schubert's song cycles. The first draws on 'Gute nacht' from Der Winterreise, taking inspiration from Captain Scott's perilous expedition to the Antarctic in 1911-12. The second, 'After Standchen', has an air of darkness and mystery, with icy clusters and ghostly spread chords. The text of the third song alludes to Schubert's 'Mein' from Die schoene Mullerin, and the musical setting is characterized by rapid semiquaver figuration in the piano and a vocal line full of dramatic expression.

One of the twentieth century's greatest composers, Jean Sibelius (1865-1957) virtually stopped writing music during the last thirty years of his life. Recasting his mysterious musical silence and his undeniably influential life against the backdrop of Finland's national awakening, "Sibelius" will be the definitive biography of this creative legend for many years to come. Glenda Dawn Goss begins her sweeping narrative in the Finland of Sibelius' youth, which remained under Russian control for the first five decades of his life. Focusing on previously unexamined parts of Sibelius' life, Goss explores the composer's formative experiences as a Russian subject and a member of the Swedish-speaking Finnish minority. She goes on to trace Sibelius' relationships with his creative contemporaries, with whom he worked to usher in a golden age of music and art that would endow Finns with a sense of pride in their heritage and encourage their hopes for the possibilities of nationhood. Skillfully evoking this artistic climate - in which Sibelius emerged as a leader - Goss creates a dazzling portrait of the painting, sculpture, literature, and music it inspired. To solve the deepest riddles of Sibelius' life, work, and enigmatic silence, Goss contends, we must understand the awakening in which he played so great a role.

Can music make the world a better place? Can it really 'belong' to anyone? Can the magic, mystery and incertitude of music - of the human brain meeting or making sound - can it stop wars, rehabilitate the broken, unite, educate or inspire? From Jimi Hendrix playing 'Machine Gun' at The Isle of Wight Festival in 1970 to the Bataclan under siege in 2015, Ed Vulliamy has lived the music, met the legends, and asked, when words fail, might we turn to music? There's only one way to find out, and that is to listen...

Pierre Boulez is acknowledged as one of the most important composers in contemporary musical life. This collection explores his works, influence, reception and legacy, shedding new light on Boulez's music and its historical and cultural contexts. In two sections that focus firstly on the context of the 1940s and 1950s, and secondly on the development of the composer's style, the contributors address recurring themes such as Boulez's approach to the serial principle and the related issues of form and large-scale structure. Featuring excerpts from Boulez's correspondence with a range of his contemporaries here published for the first time, the book illuminates both Boulez's relationship with them and his thinking concerning the challenges which confronted both him and other leading figures of the European avant-garde. In the final section, three chapters examine Boulez's relationship with audiences in the United Kingdom, and the development of the appreciation of his music.

for soprano and baritone soloists, SATB chorus, and orchestra This significant seven-movement work from Cecilia McDowall presents an imaginative pairing of extracts from The Notebooks of Leonardo da Vinci with texts from the Latin Missa pro defunctis. Da Vinci's reflective and penetrating insights into the nature of mortality and all that it encompasses cast new light on the familiar Requiem texts, and McDowall employs her orchestral forces to create a rich, atmospheric backdrop to the profound narrative presented by the chorus and soprano and baritone soloists. Dark, sonorous writing precedes an energetic 'Sanctus', and the closing bars of the luminous 'Lux aeterna' create a powerful allusion to da Vinci's concept of 'The Perspective of Disappearance'.

for SATB or upper voices, and wind band The Future of Fire is a brief but powerful work. The vibrant scoring creates a feeling of explosive energy from beginning to end with intense bursts from a battery of percussion. The melodic material is taken from a popular and touching love song from Shannxi province in north-western China, which is coupled with rhythmic motives in both the wind band and chorus. Folk melodies from this region use intervals of a minor seventh these angular leaps are suited to the dynamic spirit of this work. The chorus sings a vocalise based on repeated syllables that are found in Chinese folk songs, as well as many folk songs from around the world.

Double Lives: Film Composers in the Concert Hall is a collection of fifteen essays dealing with 'iconic' film composers who, perhaps to the surprise of many fans of film music, nevertheless maintained lifelong careers as composers for the concert hall. Featured composers include Erich Wolfgang Korngold, Franz Waxman, Miklos Rozsa, Bernard Herrmann, Nino Rota, Leonard Rosenman, and Ennio Morricone. Progressing in chronological order, the chapters offer accounts of the various composers' concert-hall careers and descriptions of their concert-hall styles. Each chapter compares the composer's music for films with his or her music for the concert hall, and speculates as to how music in one arena might have affected music in the other. For each composer discussed in the book, complete filmographies and complete works lists are included as appendices. Double Lives: Film Composers in the Concert Hall is accessible for scholars, researchers, and general readers with an interest in film music and concert music.

Music, Time, and Its Other explores the relation between the enigmatic character of our temporal experiences and music's affective power. By taking account of competing concepts of time, Savage explains how music refigures dimensions of our experiences through staking out the borderlines between time and eternity. He examines a range of musical expressions that reply to the deficiency born from the difference between time and an order that exceeds or surpasses it and reveals how affective tonalities of works by Bach, Carolan, Debussy, Schoenberg, Messiaen, and Glass augment our understanding of our temporal condition. Reflections on the moods and feelings to which music gives voice counterpoint philosophical investigations into the relation between music's power to affect us and the force that the present has with respect to the initiatives we take. Music, Time, and Its Other thus sets out a new approach to music, aesthetics, politics, and the critical roles of judgment and imagination.

The first book about Elliott Carter's only opera--or indeed about any single work by this still-productive modern master. In 1997, the eminent American composer Elliott Carter teamed with British music critic/librettist Paul Griffiths to create the one-act opera What Next? Hailed by the New York Times as "theatrically dynamic" and "poignant," the opera explores how six people work together to emerge from the wreckage of an accident. Today, What Next? enjoys a prominent position in Carter's celebrated "late late" compositional period. In the firstbook to focus exclusively on one Carter composition, Guy Capuzzo uses the metaphors of communication, cooperation, and separation to trace the dramatic arc of What Next? Through an approach that places stage action, words,and music on equal footing, Capuzzo's readings of four excerpts from the opera reveal the inner workings of Carter and Griffiths's tragicomedy. Elliott Carter's "What Next?": Communication, Cooperation, and Separation sheds light on a significant work by a major figure in twentieth-century concert music and will be of interest to all who study American music, vocal music, and musical criticism. Guy Capuzzo is associate professor of music theory at the University of North Carolina - Greensboro.

New Music at Darmstadt explores the rise and fall of the so-called 'Darmstadt School, ' through a wealth of primary sources and analytical commentary. Martin Iddon's book examines the creation of the Darmstadt New Music Courses and the slow development and subsequent collapse of the idea of the Darmstadt School, showing how participants in the West German new music scene, including Herbert Eimert and a range of journalistic commentators, created an image of a coherent entity, despite the very diverse range of compositional practices on display at the courses. The book also explores the collapse of the seeming collegiality of the Darmstadt composers, which crystallised around the arrival there in 1958 of the most famous, and notorious, of all post-war composers, John Cage, an event Carl Dahlhaus opined 'swept across the European avant-garde like a natural disaster.

Originally the title for Vaughan Williams's opera Sir John in Love, Fat Knight was conceived as a seven-movement orchestral suite that drew upon the opera and had, as its central character, Shakespeare's Falstaff. Vaughan Williams never completed the work and left only a two-piano score. It is from this score that the conductor Martin Yates has realised the Fat Knight suite, incorporating the orchestration from the completed opera.

Vaughan Williams's famous romance for solo violin and orchestra is given new life in this beautiful arrangement. For the first time, violinists can perform the original solo line as part of a string quartet, while also joining the other players for the longer tutti sections. Perfect as a rehearsal tool in preparation a larger-scale orchestral concert, the arrangement is also ideal for performance in a chamber recital.

Described by Walton as the 'greatest symphony since Beethoven', Vaughan Williams's fourth symphony was composed in 1935 and is noted for its abrasively dissonant harmonic language, unlike much of the composer's other work. This new, scholarly edition, edited by David Matthews, will replace the existing OUP edition from 1935 and the Eulenburg edition from 1983. The preliminary text will include a preface, sources and editorial method, and detailed textual notes.

The Wind Band Music of Henry Cowell studies the compositions for wind band by twentieth-century composer Henry Cowell, a significant and prolific figure in American fine art music from 1914-1965. The composer is noteworthy and controversial because of his radical early works, his interest in non-Western musics, and his retrogressive mature style-along with notoriety for his imprisonment in San Quentin on a morals charge. Eleven chapters are organized both topically and chronologically. An introduction, conclusion, series of eight appendices, bibliography, and discography complete this comprehensive study, along with an audio playlist of representative works, hosted on the CMS website.

This hauntingly beautiful piece is extracted from Rutter's large-scale work Visions. The expressive solo line features long phrases, double stopping in thirds and sixths, and a quasi-improvised section, making it an ideal concert work for advanced violinists.

Originally published in 1943, Models for Beginners in Composition represents one of Arnold Schoenberg's earliest attempts at reaching a broad American audience through his pedagogical ideas. The novelty of this book was its streamlined approach, basing all aspects of composition including motivic design, harmony, and the construction of themes on the two-measure phrase. This newly revised edition by Gordon Root incorporates many of Schoenberg's corrections to the original manuscript. It also includes a significant commentary elucidating the evolution of Schoenberg's pedagogical approach. In its function as a practical manual for the American classroom, Models for Beginners in Composition is unique among Schoenberg's texts. The current Commentary explores Schoenberg's experience as a teacher at UCLA while tracing the development of the two-measure phrase as the main component of his pedagogical method. It demonstrates the way in which Schoenberg simultaneously preserved and adapted European ideas about tonal theory and pedagogy when he came to America, a give and take that allowed for increased theoretical originality and scope. Models for Beginners in Composition established the two-measure phrase as one of the most significant of Schoenberg's contributions to American music education. This new edition, with Schoenberg's corrections and newly added commentary, allows readers to utilize and explore the text in greater depth. Students of composition, Schoenberg scholars, music theorists, and historians of music theory alike will no doubt welcome this new edition.

Symphony No. 9 in E minor was the last symphony written by Ralph Vaughan Williams and was premiered by the Royal Philharmonic Orchestra conducted by Malcolm Sargent on 2nd April 1958. It is described in The New Grove Dictionary of Music and Musicians as 'the most impressive achievement' of the composer's final decade. This scholarly edition replaces the original 1958 edition, and includes detailed preliminary matter comprising a preface, sources and editorial method, and detailed textual notes. Orchestral material is available on hire/rental.

Symphony No. 9 in E minor was the last symphony written by Ralph Vaughan Williams and was premiered by the Royal Philharmonic Orchestra conducted by Malcolm Sargent on 2nd April 1958. It is described in The New Grove Dictionary of Music and Musicians as 'the most impressive achievement' of the composer's final decade. This scholarly edition replaces the original 1958 edition, and includes detailed preliminary matter comprising a preface, sources and editorial method, and detailed textual notes. Orchestral material is available on hire/rental.

One of today's most widely acclaimed composers, Arvo Part broke into the soundscape of the Cold War West with Tabula Rasa in 1977, a work that introduced his signature tintinnabuli style to listeners throughout the world. In the first book dedicated to this pathbreaking composition, author Kevin C. Karnes tells the story of Tabula Rasa as one of Part and of Europe itself, traced over the course of a quarter-century that saw momentous transitions in European culture and politics, history and memory. Beginning at the site of the work's creation in the Estonian SSR, and drawing extensively upon a range of previously unexamined archival materials, Karnes recounts Part's discovery of tintinnabuli amidst his experiments with the music of the Western and Soviet avant-gardes. He examines Tabula Rasa in relation to modernist conceptions of musical structure, the ascetic practice of Orthodox Christianity, postwar experiences of electronic music, and the polystylistic approaches to composition that have become emblematic of the Soviet 1970s. Tracing the export of Tabula Rasa to the West and Part's emigration in 1980, the book reveals intersections of critical commentary with visions of the "end of history" that attended the collapse of European communism to suggest that it was in this confluence of listening, discovery, and geopolitical reordering that enduring lines of conversation about Part and his music took shape.

The musical leitmotif, having reached a point of particular forcefulness in the music of Richard Wagner, has remained a popular compositional device up to the present day. In this book, Matthew Bribitzer-Stull explores the background and development of the leitmotif, from Wagner to the Hollywood adaptations of The Lord of The Rings and the Harry Potter series. Analyzing both concert music and film music, Bribitzer-Stull explains what the leitmotif is and establishes it as the union of two aspects: the thematic and the associative. He goes on to show that Wagner's Ring cycle provides a leitmotivic paradigm, a model from which we can learn to better understand the leitmotif across style periods. Arguing for a renewed interest in the artistic merit of the leitmotif, Bribitzer-Stull reveals how uniting meaning, memory, and emotion in music can lead to a richer listening experience and a better understanding of dramatic music's enduring appeal.

This long-awaited study of the life and music of Anglo-Irish composer Ernest John Moeran (1894-1950) finally provides a full biography of the last senior figure in early twentieth-century British Music to have been without one. This long-awaited study of the life and music of Anglo-Irish composer Ernest John Moeran (1894-1950) finally provides a full biography of the last senior figure in early twentieth-century British Music to have been without one. Although Moeran's work was widely performed during his lifetime, he suffered neglect in the years following his death. It was not until a re-awakening of appreciation for the music of the folksong-inspired English pastoralism in the latter part of the twentieth century that Moeran's tuneful, well-crafted and approachable music began to attract a new audience. However, widely accepted misconceptions about his life and character have obscured a clearunderstanding of both man and composer. Written with the benefit of access to previously unknown or unresearched archives, Ernest John Moeran: His Life and Music strips away a hitherto unchallenged mythological framework, and replaces it by a thorough-going examination and analysis of the life and work of a musician that may reasonably be asserted as having been unique in British music history.