In Oh Joy! Oh Rapture! expert and enthusiast Ian Bradley explores the world of Gilbert and Sullivan over the last four and a half decades, looking at the way this "phenomenon" is passed from generation to generation. Taking as his starting point the expiry of copyright on the opera libretti at
the end of 1961 and using fascinating hitherto unpublished archive material, Bradley reveals the extraordinary story of the last years of the old D'Oyly Carte Opera Company, the guardian of Savoy tradition for over a hundred years, and the troubled history of its successor. He explores the rich vein
of parodies, spoofs, and spin-offs of the songs, as well as their influence on twentieth century lyricists and composers. He analyzes professional productions across the world, looks at the unique place of G&S in schools, colleges, and universities, and lovingly explores the culture of amateur
performance. He also uncovers the largely male world of the obsessive fans, those collecting memorabilia, the myriad magazines, journals, websites, and festivals devoted to G&S, and the arcane interests of some of the faithful "inner brotherhood."

The Sarah Quartel Songbook brings together a selection of the composer's best-loved pieces for mixed voices, including favourites such as Sing, my Child, Voice on the Wind, and Swept Away. This is an invaluable resource both for choirs looking to explore the work of this fine choral composer for the first time and for admirers of Quartel's style hoping to find staple repertoire conveniently gathered together in one volume.

The theme of this Research Companion is 'connectivity and the global reach of electroacoustic music and sonic arts made with technology'. The possible scope of such a companion in the field of electronic music has changed radically over the last 30 years. The definitions of the field itself are now broader - there is no clear boundary between 'electronic music' and 'sound art'. Also, what was previously an apparently simple divide between 'art' and 'popular' practices is now not easy or helpful to make, and there is a rich cluster of streams of practice with many histories, including world music traditions. This leads in turn to a steady undermining of a primarily Euro-American enterprise in the second half of the twentieth century. Telecommunications technology, most importantly the development of the internet in the final years of the century, has made materials, practices and experiences ubiquitous and apparently universally available - though some contributions to this volume reassert the influence and importance of local cultural practice. Research in this field is now increasingly multi-disciplinary. Technological developments are embedded in practices which may be musical, social, individual and collective. The contributors to this companion embrace technological, scientific, aesthetic, historical and social approaches and a host of hybrids - but, most importantly, they try to show how these join up. Thus the intention has been to allow a wide variety of new practices to have voice - unified through ideas of 'reaching out' and 'connecting together' - and in effect showing that there is emerging a different kind of 'global music'.

Focusing on Messiaen's relation to history - both his own and the history he engendered - the Messiaen Perspectives volumes convey the growing understanding of his deep and varied interconnections with his cultural milieux. Messiaen Perspectives 1: Sources and Influences examines the genesis, sources and cultural pressures that shaped Messiaen's music. Messiaen Perspectives 2: Techniques, Influence and Reception analyses Messiaen's compositional approach and the repercussions of his music. While each book offers a coherent collection in itself, together these complementary volumes elucidate how powerfully Messiaen was embedded in his time and place, and how his music resonates ever more today. Messiaen Perspectives 2: Techniques, Influence and Reception explores Messiaen's imprint on recent musical life. The first part scrutinizes his compositional technique in terms of counterpoint, spectralism and later piano music, while the second charts ways in which Messiaen's influence is manifest in the music and careers of Ohana, Xenakis, Murail and Quebecois composers. The third part includes case studies of Messiaen's reception in Italy, Spain and the USA. The volume also includes an ornithological catalogue of Messiaen's birds, collates information on the numerous 'tombeaux' pieces he inspired, and concludes with a Critical Catalogue of Messiaen's Musical Works.

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.

While music and musical life in Nazi Germany, Vichy France, Fascist Italy, and Stalinist Russia have been widely explored, concert music in the United States during World War II has remained markedly untouched. Music in this period - whether as an instrument of propaganda or as a means of entertainment, recuperation, and uplift - pervaded homes and concert halls, army camps and government buildings, hospitals and factories. Dinah Shore, Duke Ellington, and the Andrew Sisters entertained civilians at home and G.I.s stationed abroad with the sounds of swing and boogie-woogie. Yet, it was the role assigned specifically to classical music that truly distinguished musical life in the wartime United States. Within U.S. spheres of influence during World War II, American and exiled European musicians alike contributed actively and self-consciously to the war effort. Indeed, on the day after Pearl Harbor, Group Theatre director Harold Clurman wrote to his cousin, Aaron Copland: "So you're back in N.Y. . . ready to defend your country in her hour of need with lectures, books, symphonies!" Copland would be one of many classical composers deeply involved in the arts as part of the war effort. Marc Blitzstein, Elliott Carter, Henry Cowell, Roy Harris, and Colin McPhee were all mixed up with the propaganda missions of the Office of War Information (OWI); Samuel Barber served in the US Army Air Force, writing both his Second Symphony and his Capricorn Concerto, "a rather tooting piece, with flute, oboe and trumpet chirping away" and thus fit for the times, as he assured a fellow composer. Civilian commissions for new music focused on patriotic and "martial" subjects, most famously the series of fanfares that Eugene Goossens, the chief conductor of the Cincinnati Symphony Orchestra, requested from American composers and from European musicians in exile: Copland's Fanfare for the Common Man is a still much performed result. Similarly, the League of Composers (financed by the Treasury Department) commissioned numerous works on patriotic themes, including Bohuslav Martin?'s Memorial to Lidice and William Grant Still's moving In Memoriam: The Colored Soldiers Who Died for Democracy. Classical music was heard on the radio and in film scores; it was performed in the Armed Forces; and it even played a role in the work of the Office of Strategic Services (OSS; the predecessor to the CIA), whose director, General "Wild Bill" Donovan, was known not only to support experiments about music as a cipher code, but also to involve himself in music-related affairs, including the case of smuggling Shostakovich's Seventh Symphony out of Russia. Classical music in 1940s America had a cultural relevance and ubiquitousness that is hard to imagine today, and it played an important role as a cultural counterpoint to the military effort as musicians and politicians were-in Henry Cowell's words-"shaping music for total war. No other war mobilized and instrumentalized culture in general and music in particular so totally, so consciously, and so unequivocally as World War II. Through author Annegret Fauser's in-depth, engaging, and encompassing discussion in context of this unique period in American history, Sounds of War brings to life the people and institutions that created, performed, and listened to this music. The book will have wide-ranging appeal among a general readership interested in the study of culture and war, as well as musicologists and historians studying World War II era America

The state of contemporary music is dizzyingly diverse in terms of style, media, traditions, and techniques. How have trends in music developed over the past decades? Music Composition in the 21st Century is a guide for composers and students that helps them navigate the often daunting complexity and abundance of resources and influences that confront them as they work to achieve a personal expression. From pop to classical, the book speaks to the creative ways that new composers mix and synthesize music, creating a music that exists along a more continuous spectrum rather than in a series of siloed practices. It pays special attention to a series of critical issues that have surfaced in recent years, including harmony, the influence of minimalism, the impact of technology, strategies of "openness," sound art, collaboration, and improvisation. Robert Carl identifies an emerging common practice that allows creators to make more informed aesthetic and technical decisions and also fosters an inherently positive approach to new methods.

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 introductory survey of western twentieth-century music to address popular music, art music and jazz on equal terms. It treats those forms as inextricably intertwined, and sets them in a wide variety of social and critical contexts. The book comprises four sections - Histories, Techniques and Technologies, Mediation, Identities - with 16 thematic chapters. Each of these explores a musical or cultural topic as it developed over many years, and as it appeared across a diversity of musical practices. In this way, the text introduces both key musical repertoire and critical-musicological approaches to that work. It historicises music and musical thinking, opening up debate in the present rather than offering a new but closed narrative of the past. In each chapter, an overview of the topic's chronology and main issues is illustrated by two detailed case studies.

* Dismisses traditional, chronological format designed around European western canon to meets needs of today's ethnically diverse students, who identify their heritage as Asian, African, or Central American rather than European * Builds on a series of chapter-long theme-oriented narratives such as ethnicity, gender, spirituality, love, technology, that interweave the musical "here and now" * Focuses on how music creates and reflects social meaning in a variety of cultures and time periods. * Leads the student from music or ideas with which they are familiar to music that is unfamiliar, always through the connecting thread of the original social concept.

Representation in Western Music offers a comprehensive study of the roles of representation in the composition, performance and reception of Western music. In recent years, there has been increasing academic interest in questions of musical interpretation and meaning and in music's interactions with other artistic media, and yet no book has dealt extensively with representation's important role in these processes. This volume presents new research about musical representation, with particular focus on Western art and popular music from the nineteenth century to the present day. It assembles essays by an international assortment of leading scholars on a range of subjects including instrumental music, opera, popular song, ballet, cinema and the music video. Individual sections address representation, interpretation and musical meaning; music's relationships with visual forms of representation; musical representation in dramatic forms; and the functions of music in the representation of identity.

This book provides an overview of the current state of research on Machaut, the major figure of 14th-century French music and poetry, giving fair representation to the many areas of Machaut research that are pursued in fields outside music.

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.

A singer in an evening dress, a grand piano. A modest-sized audience, mostly well-dressed and silver-haired, equipped with translation booklets. A program consisting entirely of songs by one or two composers. This is the way of the Lieder recital these days. While it might seem that this style of performance is a long-standing tradition, German Song Onstage demonstrates that it is not. For much of the 19th century, the songs of Beethoven, Schubert, Schumann, and Brahms were heard in the home, salon, and, no less significantly, on the concert platform alongside orchestral and choral works. A dedicated program was rare, a dedicated audience even more so. The Lied was a genre with both more private and more public associations than is commonly recalled. The contributors to this volume explore a broad range of venues, singers, and audiences in distinct places and time periods-including the United States, the United Kingdom, Russia, and Germany-from the mid-19th century through the early 20th century. These historical case studies are set alongside reflections from a selection of today's leading musicians, offering insights on current Lied practices that will inform future generations of performers, scholars, and connoisseurs. Together these case studies unsettle narrow and elitist assumptions about what it meant and still means to present German song onstage by providing a transnational picture of historical Lieder performance, and opening up discussions about the relationship between history and performance today.

This acclaimed study, available in English for the first time, looks at the music of Jean Sibelius in its biographical context. Myths have surrounded Sibelius (1865-1957) and his work, for more than 100 years, often diverting attention away from his creative output. Drawing on many unpublished sources, Makela's study leads us back to Sibelius as a musician and a 'poet' of universal validity. Chapters examine the composer's creativity, inspiration, influence, aspects of genre, as well as the relationship of the artist with nature and homeland. Those who knew Sibelius at an early age tell of a youthful bohemian in the midst of European decadence. This 'age of Carmen' (Eduard Munch) marked Sibelius's formative years. The composer's most important works, dating from a time between his third symphony and Tapiola, reflect the modernistic mainstream. Sibelius's last three decades, known as the 'Silence of Ainola', have inspired the masculine cliches that this book deconstructs. Sibelius was one of the least political artists of his time who nevertheless became heavily politicized. The first supreme musical talent in the region, he gave his nation a genuine sound. Europeans of the late nineteenth century showed increasing affinity with Nordic culture. Aino, Sibelius's wife, was instrumental in creating the image of her husband as a Nordic icon. The book closely scrutinizes this popular image. In an Anglo-American artistic context his mix of regionalism and modernity remained attractive even when these elements went out of fashion in the art movement of continental Europe. Ideas of Finland and the North vastly influenced the interpretation of meaning in Sibelius's music, a music that until this day remains enigmatic. BR TOMI MAKELA is the author of several books and essays on Finnish music, Romanticism, and Western modernism. From 1996-2008 he was professor of music in Magdeburg. Since 2009 he has been professor of music at the Martin Luther University of Halle-Wittenberg.

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.

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.

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.

When Twin Peaks debuted on the ABC network on the night of April 8, 1990, thirty-five million viewers tuned in to some of the most unusual television of their lives. Centered on an eccentric, coffee-loving FBI agent's investigation into the murder of a small town teen queen, Twin Peaks brought the aesthetic of arthouse cinema to a prime time television audience and became a cult sensation in the process. Part of Twin Peaks' charm was its unforgettable soundtrack by Angelo Badalamenti, a longtime musical collaborator of film director and Twin Peaks co-creator David Lynch. Badalamenti's evocative music, with its haunting themes and jazzy moodscapes, served as a constant in a narrative that was often unhinged and went on to become one of the most popular and influential television soundtracks of all time. How did a unique collaborative process between a director and composer result in a perfectly postmodern soundtrack that ran the gamut of musical styles from jazz to dreamy pop to synthesizer doom and beyond? And how did Badalamenti's musical cues work with Twin Peaks' visuals, constantly evolving and playing off viewers' expectations and associations? Under the guidance of Angelo Badalamenti's beautifully dark sonic palette, Clare Nina Norelli delves deep into the world of Twin Peaks to answer all this and more.

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.

A study of the life and works of Erik Chisholm, one of the most influential figures in twentieth-century Scottish music. Erik Chisholm was the pre-eminent composer and musician in Scottish classical music in the first half of the twentieth century. As Sir Charles Mackerras put it, 'Chisholm was a musician of rare capabilities. He was a pianist and organist, a conductor, a composer, a lecturer on music, an entrepreneur and administrator, and to all these he brought a unique blend of originality, flair and energy.' As well as his life in Glasgow, Chisholm travelled to the Far East, notably Singapore, for the Entertainments and National Service Association during the Second World War, and subsequently became Professor of Music at the University of Cape Town, where he greatly developed the study and performance of music. He conducted numerous first British performances, including Berlioz's The Trojans in 1935 and Bartok's Bluebeard's Castle in 1957. Accounts of the visits to Glasgow by such composers as Bartok,Casella, Hindemith et al are being presented here. Erik Chisholm. Scottish Modernist will be of general interest to scholars and students of twentieth-century music. In particular, those interested in the development of music, opera and ballet in Scotland, Scottish literature and cultural history will find this book of much value. It will also be of interest to those studying the music of Bartok, Sorabji, Hindemith, Walton, Bax, Casella, and Shostakovich whom Chisholm knew personally and brought to Scotland.