This volume, part of Greenwood's continuing series of Bio-Bibliographies in Music, provides a concise bibliographic guide to the life and career of Otto Luening. While the music of this American composer, educator, conductor, and flutist has been performed throughout the northeastern United States, his work has received little attention outside of this region. With its extensive treatment of his life and career, this book will help to bring Luening's important compositions and his contributions to American music to the attention of a much wider audience. Ralph Hartsock divides Luening's work into four main sections, each covering a specific aspect of Luening's career. The volume begins with a brief biography of the subject and is followed by a complete listing of Luening's works and performances through 1989. Prepared with the assistance of Luening himself, this section arranges its information in chronological order, and includes basic bibliographical data as well as information on the premiere of each piece and selected performances. A comprehensive discography, arranged alphabetically by title, cites both commercially produced and selected privately released recordings. Also included is a pair of annotated bibliographies, covering the years from 1921 to 1989. One contains citations of material written by Luening, while the other details the hundreds of articles written about him. The work concludes with a pair of appendixes that catalog Luening's compositions alphabetically by title and according to genre. This work will be a valuable reference source for courses in contemporary music and American music, and a worthwhile addition to the collections of public, college, and university libraries.

John McCabe is a thoroughly documented bio-bibliography of one of Britain's leading composers. John McCabe has an international reputation, both as a composer and a pianist, whose compositions cover most of the established forms. The complete list of his works and performances have never before been presented in such detail. Articles and features by and about the composer contain annotations, often in the form of quotations from the material. National, academic, and public libraries, as well as specialized music libraries and archives, will find this work a valuable research tool. The work begins with a brief biography of John McCabe prepared with the composer's assistance and is followed by a complete list of works and performances classified by genre and arranged alphabetically by title of composition. Performance and publication information is provided for each work, including its first and other selected performances. A list of McCabe's publishers is followed by a discography of commercially produced sound recordings divided into sections on McCabe as a composer and as a performer. A bibliography of writings by and about McCabe includes gramaphone record reviews written by McCabe for the British journal Records and Recordings between 1967 and 1974. An alphabetical and a chronological list of compositions appear in appendices.

This volume presents the life and works of Robert Russell Bennett, whose prolific career as composer and arranger spanned much of the twentieth century. George J. Ferencz chronicles how Bennett's concert works, orchestrations, and commercial scores both reflected and enhanced the musical vitality of New York City, where he spent most of his professional life. Although Bennett enjoyed commercial success, his stylistic preferences embraced the classics, and Ferencz appropriately focuses his study on Bennett's original concert works rather than his popular scores. Ferencz introduces the artist with a lengthy biographical profile, followed by a complete list of works and selected performances which features compositions rather than arrangements in an effort to document those works most representative of Bennett's singular talent. All of Bennett's known commercial recordings are cataloged in the discography, and an annotated bibliography highlights writings about the composer and his works. Subsequent appendixes list commercial orchestrations and original scores for shows, film, and television, and a full index completes the work.

One of the momentous events in twentieth century music was the advent of atonality and serialism, and the consequent proliferation of such avant-garde genres as total serialism, electronic music, and aleatory music. This book examines serialism and its progeny, formulates criteria that are applicable both to serialism and to the traditional harmony from which it developed, and focuses on the failure of serialism to solve the problem of coherent harmonic progression. Rather than seeking to denounce serialism, the work attempts to restore a balance by questioning whether its esteem is justified.

In this work, Schoffman applies the criterion of the degree of indeterminacy of the chords to both traditional functional harmony and to serial and avant-garde music. Consequently, serialism and avant-garde music are placed in a historical perspective and evaluated in terms of their chordal behavior. The study is divided into four separate sections, examining the indeterminacy of progression, the indeterminacy of members of chords, chords in serial music, and destructive aspects of indeterminacy. Also included is an extensive list of musical examples, a guide to references, and a comprehensive index. With its correlations to literature, painting, and history, this volume will be an important addition to academic and public libraries, university music departments, and academies of music, as well as a valuable resource for courses in music theory and analysis, esthetics of music, and music history.

How can the musician's ear penetrate the complexities and theoretical abstractions of the twentieth-century music? This book offers a solution: it enables the student to perceive essential musical connections at the core of modern music by identifying and drilling the distinctive structures and processes of the twentieth century's greatest composers. Michael L. Friedmann has developed and successfully tested a method that combines theory and exercises to give students a deeper understanding of modern music. Using musical examples from the works of Debussy, Bartok, Choenberg, and Stravinsky, Friedmann begins with extensive work in sight-singing and dictation. The chapters that follow develop clear, multifaceted approaches to intervals and dyads, transposition and inversion, melodic contour, and three-and four-element set classes. In these chapters Friedmann offers students opportunities not just to identify the twelve trichord and twenty-nine tetrachord types, but to explore their structural possibilities. He also demonstrates the relation of these set classes to the diatonic, whole-tone, and octatonic scales. Finally, Friedmann introduces set classes of more than four elements, as well as twentieth-century modes. The book provides a wealth of musical excerpts including melodies composed by the author himself-to test analytic listening ability and to make the student with each set class.

"Francis Poulenc: A Bio-Bibliography" is a thorough presentation of the works of this often performed and critically appreciated 20th-century composer. George R. Keck traces events in Poulenc's life and offers a list of works and performances with the primary focus on those facts and influences which contributed to the development of the composer's distinctive musical style. Included in the text is a substantial discography as well as annotated entries by and about the composer which cover every phase of his career and affirm Poulenc's place in 20th-century music.

The highly selective annotated bibliography comprises the major portion of the text. Since Keck's documentation of the development of Poulenc's style covers only representative works, he includes a list of all of Poulenc's compositions, arranged both alphabetically and chronologically, in the two appendixes. A complete index of names, places, and titles concludes the book.

Appropriately, this work written on the year of the 100th birthday of Frank Martin, is the first English language resource dealing with work by and about the Swiss composer. Charles King provides access to a great deal of critical substantive writing about Martin's work and to the considerable body of writing by the composer himself. Many of the most important writings, derived from articles, lectures, letters, program notes and interviews, are now collected into several monographs in French with some parts in English and German, all of which have been indexed here. Comprehensive coverage is given to articles in English, and excellent work written in German, French, Dutch, and Italian has been highlighted also. The volume consists of a biography of Martin, a cataloging of the composer's works and performances, and a 229-item discography followed by two separate bibliographies that list writings by and about Martin. Two appendixes and an index complete the work. As the only comprehensive introduction in English to Frank Martin and his work, this reference will assist future researchers and stimulate the interest and curiosity of others to learn more of this composer's life and work.

Radie Britain: A Bio-Bibliography is a concise biography which summarizes the major events in the prolific American composer's life, and describes the conditions under which her singular talent emerged. An in-depth interview with Britain herself gives the opportunity to hear her own personal thoughts on her life, music, and creative philosophy. Walter and Nancy Bailey give an exhaustive list of works and performances, each accompanied by significant information on the work or documented performance. Also included are Britain's compositions for orchestra and band; chamber ensemble; solo piano; piano duets; the harp; chorus and solo voice as well as her stage works. Authorized by Miss Britain and compiled with her help, this is a comprehensive guide to the work of a gifted musician. A bibliography of Britain's writings concludes the text along with reviews of her performances and other press materials. With its chronological arrangement, this bibliography traces Britain's musical evolution much like a second biography. An index to the entire volume is provided. Both chronological and alphabetical lists of works can be found in the appendixes.

This book is a collection of essays, by the leading German musicologist of our day, on one of the most controversial and influential composers of our century: Arnold Schoenberg. Schoenberg is considered here as a historical figure, as a thinker and theoretician and as a composer whose works may be subjected to technical analysis and/or examined in relation to the history of ideas. Above all, he is considered in the context of the 'New Music', the historical and cultural movement of the first two decades of this century which embrace musicians such as Webern, Schreker and Scriabin (all of whom are allotted individual essays), as well as Schoenberg himself. In addition to historical and analytical essays there are essays of a broader cultural-historical and even sociological import which should interest all those involved with twentieth-century music and ideas.

A discussion of more than 50 composers focuses on poets whose verse was set to music frequently, Housman, Hardy, De la Mare, Yeats, etc.. and song composers, Butterworth, Finzi, Gurney, Ireland, Quilter, Somervell and Vaughan Williams.

The most popular radio adventure show in history, The Lone Ranger held an audience of millions spellbound for over two decades. Key to its success was the music used on it-music rendered so beautifully, chosen with such delicate precision, that for half a century listeners have frantically searched for an answer to the question, "What was the music used on the Lone Ranger?" This book answers that question and many more, including, "Who performed it?" "Who recorded it?" "When?" "Where?". Set in Detroit, New York, Hollywood, and Mexico City against a backdrop of cliffhanging events that shaped the broadcasting industry, the story is as great an adventure as any heard on the show itself. Paperback edition available April 2002. Cloth edition previously published in 1987/

Hennessee provides a biographical overview of the life of Samuel Barber, one of America's foremost composers, as well as comprehensive bibliographical information about his complete oeuvre. The volume consists of four main sections: a brief biography, a complete list of works and performances, a discography, and an annotated bibliography. A complete index of personal and corporate names and titles concludes the volume.

Thea Musgrave ranks among the world's foremost living composers, and is widely known for the warmth, humor, and theatrical qualities of her music. Donald L. Hixon has prepared the first and only substantial bibliographical treatment of the composer, and the only complete listing of her works, with the assistance of Musgrave herself. The volume includes a brief biography; a complete list of her works and premieres, together with other notable selected performances, classified by genre and arranged alphabetically by title; a discography of commercially produced recordings; and an annotated bibliography of writings by and about Musgrave and her music. In addition, appendixes provide alphabetical and chronological access to the composer's music. An index of names and titles completes the volume.

The life of a great musician is always interesting, but the story of Hazel Harrison is exceptional. Her achievement was particularly impressive because she had been schooled entirely at home and was the first black pianist, male or female, to perform with a major European orchestra. Harrison's extraordinarily long and impressive performing career spanned more than half a century, from the days when Brahms was still alive and Stravinsky had not yet composed The Rite of Spring to the time of the civil rights struggle in the deep South.

A brief, detailed biography of the composer/architect, student and protege of Honegger, Milhaud, Messiaen, Le Corbusier. Xenakis himself is a major proponent of advancing the boundaries of musical possibilities.

In his introduction Mr. Foss gives us a short sketch of Delius; contributions by Rogber Quilter, Charles Kennedy and Percy Scott.

Experimentations provides a detailed historical and theoretical analysis of the first three decades of experimental composer John Cage's aesthetic production (ca. 1940-1972). Paying particular attention to Cage's inter- and cross-disciplinary engagements with the visual arts and architecture during this period, the book sheds new light on some of Cage's most controversial and influential innovations, such as the use of noise, chance techniques, indeterminacy, electronic technologies, and computerization, as well as upon lesser known but important ideas and strategies such as transparency, multiplicity, virtuality, and actualization. Ultimately, it traces the development of Cage's avant-garde aesthetic and political project as it transformed from the emulation of historical avant-garde precedents such as futurism and the Bauhaus, to the development of important precedents for the post-World War II movements of happenings and Fluxus, to its ultimate abandonment in the aftermath of problems encountered in the vast, multimedia composition HPSCHD (1967-69).

George Gershwin lived with purpose and gusto, but with melancholy as well, for he was unable to make a place for himself--no family of his own and no real home in music. He and his siblings received little love from their mother and no direction from their father. Older brother and lyricist Ira managed to create a home when he married Leonore Strunsky, a hard-edged woman who lived for wealth and status. The closest George came to domesticity was through his longtime relationship with Kay Swift. She was his lover, musical confidante, and fellow composer. But she remained married to another man while he went endlessly from woman to woman. Only in the final hours of his life, when they were separated by a continent, did he realize how much he needed her. Fatally ill, unprotected by (and perhaps estranged from) Ira, he was exiled by Leonore from the house she and the brothers shared, and he died horribly and alone at the age of thirty-eight. Nor was Gershwin able to find a satisfying musical harbor. For years his songwriting genius could be expressed only in the ephemeral world of show business, as his brilliance as a composer of large-scale works went unrecognized by highbrow music critics. When he resolved this quandary with his opera Porgy and Bess, the critics were unable to understand or validate it. Decades would pass before this, his most ambitious composition, was universally regarded as one of music's lasting treasures and before his stature as a great composer became secure. In George Gershwin: An Intimate Portrait, Walter Rimler makes use of fresh sources, including newly discovered letters by Kay Swift as well as correspondence between and interviews with intimates of Ira and Leonore Gershwin. It is written with spirited prose and contains more than two dozen photographs.

This volume explores the way in which composers, performers, and critics shaped individual and collective identities in music from Europe and the United States from the 1860s to the 1950s. Selected essays and articles engage with works and their reception by Richard Wagner, Georges Bizet (in an American incarnation), Lili and Nadia Boulanger, William Grant Still, and Aaron Copland, and with performers such as Wanda Landowska and even Marilyn Monroe. Ranging in context from the opera house through the concert hall to the salon, and from establishment cultures to counter-cultural products, the main focus is how music permits new ways of considering issues of nationality, class, race, and gender. These essays - three presented for the first time in English translation - reflect the work in both musical and cultural studies of a distinguished scholar whose international career spans the Atlantic and beyond.

Quasi una Fantasia contains Adorno's own selection from his essays and journalism over more than three decades. In its analytical profundity it can be compared to his Philosophy of Modern Music, but in the range of its topics and the clarity of its arguments it stands alone among Adorno's writings on music. Especially significant is Adorno's dialectical portrait of Stravinsky in which he both reconsiders and refines the damning indictment he gave in Philosophy on Modern Music. More unexpectedly, there are moving accounts of earlier works, including Bizet's Carmen and Weber's Der Freischutz, along with an entertainingly caustic Natural History of the Theatre, which explores the hierarchies of the auditorium, from upper circle to foyer. 'The positive element of kitsch', Adorno remarks, 'lies in the fact that it sets free for a moment the glimmering realization that you have wasted your life.' Yet even while Adorno demolishes 'commodity music' he is sustained by the conviction that music is supremely human because it retains the capacity to speak of inhumanity and to resist it. It is a conviction which reverberates throughout these writings. For Adorno, music and philosophy were inextricably linked: Quasi una Fantasia will enlarge our understanding of both.

American composer John Cage (1912-1992) was without doubt one of the most important and influential figures in twentieth-century music. He spent much of his career in pursuit of an unusual goal--"giving up control so that sounds can be sounds", as he put it. As well as composing around 300 works, he was also a prolific performer, writer, poet, and visual artist. This Companion celebrates the richness and diversity of Cage's achievements and provides readers with a fully rounded portrait of a fascinating figure.