This book presents the musician in dialog with a Polish-Canadian musicologist and three of his Dutch friends and collaborators, Reinbert de Leeuw, Elmer Schoenberger and Frits van der Waa. Topics include his artistic evolution, his relationship to minimalism, his prevalent interest in mysticism and meaning, the use of quotation and writing for the stage and an introduction to his musical language.

An indispensable biography for anyone interested in Constant Lambert, ballet and British musical life in the first part of the twentieth century. To the economist and ballet enthusiast John Maynard Keynes he was potentially the most brilliant man he'd ever met; to Dame Ninette de Valois he was the greatest ballet conductor and advisor this country has ever had; to the composer Denis ApIvor he was the greatest, most lovable, and most entertaining personality of the musical world; whilst to the dance critic Clement Crisp he was quite simply a musician of genius. Yet sixty years after his tragic earlydeath Constant Lambert is little known today. As a composer he is remembered for his jazz-inspired The Rio Grande but little more, and for a man who selflessly devoted the greater part of his life to the establishment of English ballet his work is largely unrecognized today. This book amply demonstrates why he deserves to be held in greater renown. With numerous music examples, extensive appendices and a unique iconography, every aspect of thecareer and life of this extraordinary, multi-talented man is examined. It looks not only at his music but at his journalism, his talks for the BBC, his championing of jazz (in particular Duke Ellington), and - more privately - his long-standing affair with Margot Fonteyn. This is an indispensable biography for anyone interested in Constant Lambert, ballet and British musical life in the first part of the twentieth century. STEPHEN LLOYD is a writer on British music and author of William Walton: Muse of Fire (Boydell, 2001).

John Antill (1904-1986) was one of the foremost composers of Australia's post-colonial period. Although a relatively prolific and much esteemed composer in Australia, Antill's wider reputation is sustained chiefly by his famous ballet Corroboree - a work which was perceived to bring an authentic Australian musical style before both a national and international audience for the first time. Through Sir Eugene Goossens' championship, the work was heard by enthusiastic audiences in Australia, Britain, Europe and the USA, and was, for many years, the best-known work of any Australian-born and resident composer. Indeed it has remained, for both Australian and overseas audiences, an Australian musical icon. David Symons traces Antill's development as a composer from his early, pre-Corroboree works, which display a late Romantic to post-impressionist style, through an analysis of the virile, dissonant, primitivist idiom of his magnum opus, to an examination of his later output of theatrical, orchestral and vocal/choral works. The book provides comprehensive and valuable insight into Antill's musical output, at the same time focussing on more detailed analyses of his major works which have reached public performances and/or recordings. In this way the book not only presents a developmental picture of Antill's works, but also demonstrates why they have made him one of Australia's most prominent musical creators of the post-colonial period.

Green's study is more than a biography of an Anglo-African composer.The first comprehensive study of Coleridge-Taylor's life for almost a century, it reveals how class-ridden Britain could embrace even the most unlikely of cultural icons.

Under the dictatorships of the twentieth century, music never ceased to sound. Even when they did not impose aesthetic standards, these regimes tended to favour certain kinds of art music such as occasional works for commemorations or celebrations, symphonic poems, cantatas and choral settings. In the same way, composers who were more or less ideologically close to the regime wrote pieces of music on their own initiative, which amounted to a support of the political order. This book presents ten studies focusing on music inspired and promoted by regimes such as Nazi Germany, Fascist Italy, France under Vichy, the USSR and its satellites, Franco's Spain, Salazar's Portugal, Maoist China, and Latin-American dictatorships. By discussing the musical works themselves, whether they were conceived as ways to provide "music for the people", to personally honour the dictator, or to participate in State commemorations of glorious historical events, the book examines the relationship between the composers and the State. This important volume, therefore, addresses theoretical issues long neglected by both musicologists and historians: What is the relationship between art music and propaganda? How did composers participate in musical life under the control of an authoritarian State? What was specifically political in the works produced in these contexts? How did audiences react to them? Can we speak confidently about "State music"? In this way, Composing for the State: Music in Twentieth Century Dictatorships is an essential contribution to our understanding of musical cultures of the twentieth century, as well as the symbolic policies of dictatorial regimes.

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'.

The Spanish Republican exile of 1939 impacted music as much as it did literature and academia, with well-known figures such as Adolfo Salazar and Roberto Gerhard forced to leave Spain. Exile is typically regarded as a discontinuity - an irreparable dissociation between the home country and the host country. Spanish exiled composers, however, were never totally cut off from the musical life of Francoist Spain (1939-1975), be it through private correspondence, public performances of their work, honorary appointments and invitations from Francoist institutions, or a physical return to Spanish soil. Music and Exile in Francoist Spain analyses the connections of Spanish exiled composers with their homeland throughout 1939-1975. Taking the diversity and heterogeneity of the Spanish Republican exile as its starting point, the volume presents extended comparative case studies in order to broaden and advance current conceptions of, and debates surrounding, exile in musicology and Spanish studies. In doing so, it significantly furthers academic research on individual composers including Salvador Bacarisse, Julian Bautista, Roberto Gerhard, Rodolfo Halffter, Julian Orbon and Adolfo Salazar. As the first English-language monograph to explore the exiled composers from the perspectives of historiography, music criticism, performance and correspondence, Eva Moreda Rodriguez's vivid reconception of the role of place and nation in twentieth-century music history will be of particular interest for scholars of Spanish music, Spanish Republican history, and exile and displacement more broadly.

The study of music within multimedia contexts has become an increasingly active area of scholarly research. However, the application of such studies to musical genres outside the 'classical' film canon, or in television and other media remains largely unexplored in any detail. Tristian Evans demonstrates how postminimal music interacts with other media forms, focusing on the film music by Philip Glass, but also taking into account works by other composers such as Steve Reich, Terry Riley, John Adams and others inspired by minimalist and postminimal practices. Additionally, Evans develops innovative ways of analysing this music, based on an interdisciplinary approach, and draws on research from areas that include philosophy, linguistics and film theory. The book offers one of the first in-depth studies of Philip Glass's music for film, considering The Hours and Dracula, Naqoyqatsi, Notes on a Scandal and Watchmen, while examining re-applications of the music in new cinematic and televisual contexts. The book will appeal to musicologists but also to those working in the fields of film music, cultural studies, media studies and multimedia.

Paul Hindemith: A Research and Information Guide is an annotated bibliography concerning both the nature of primary sources related to the composer and the scope and significance of the secondary sources which deal with him, his compositions, and his influence as a musician and teacher. The second edition includes research published since the publication of the first edition and provides electronic resources.

Singing the Body Electric explores the relationship between the human voice and technology, offering startling insights into the ways in which technological mediation affects our understanding of the voice, and more generally, the human body. From the phonautograph to magnetic tape and now to digital sampling, Miriama Young visits particular musical and literary works that define a century-and-a-half of recorded sound. She discusses the way in which the human voice is captured, transformed or synthesised through technology. This includes the sampled voice, the mechanical voice, the technologically modified voice, the pliable voice of the digital era, and the phenomenon by which humans mimic the sounding traits of the machine. The book draws from key electro-vocal works spanning a range of genres - from Luciano Berio's Thema: Omaggio a Joyce to Radiohead, from Alvin Lucier's I Am Sitting in a Room, to Bjoerk, and from Pierre Henry's Variations on a Door and a Sigh to Christian Marclay's Maria Callas. In essence, this book transcends time and musical style to reflect on the way in which the machine transforms our experience of the voice. The chapters are interpolated by conversations with five composers who work creatively with the voice and technology: Trevor Wishart, Katharine Norman, Paul Lansky, Eduardo Miranda and Bora Yoon. This book is an interdisciplinary enterprise that combines music aesthetics and musical analysis with literature and philosophy.

Leonard Bernstein: A Research and Information Guide is an annotated bibliography and research guide on this popular American composer and conductor. It includes annotations on Bernstein's writings, performances, educational work, and major secondary sources. Also included are a biographical sketch, lists of compositions and arrangements, as well as lists of recordings and video. The second edition is updated to include research since the 1st edition was published in 2001, as well as online resources.

The Polish composer Karol Szymanowski is one of the most fascinating musical figures of the early twentieth century. His works included four symphonies, two violin concertos, the operas Hagith and King Roger, the ballet-pantomime Harnasie, the oratorio Stabat Mater, as well as numerous piano, violin, vocal and choral compositions. The profile and popularity of Szymanowski's music outside Poland has never been higher and continues to grow. The Szymanowski Companion constitutes the most significant and comprehensive reference source to the composer in English. Edited by two of the leading scholars in the field, Paul Cadrin and Stephen Downes, the collection consists of over 50 contributions from an international array of contributors, including recognized Polish experts. The Companion thus provides a systematic, authoritative and up-to-date compilation of information concerning the composer's life, thought and works.

1956 was a year of transition in Poland, and an important year for Polish music. This year saw the beginning of a political thaw - sometimes called the Polish October - in communist Poland. It was also the year of the establishment of the 'Warsaw Autumn' International Festival of Contemporary Music. This was a time of great artistic ferment in Polish music, which also deeply influenced symphonic thinking. The year 1956 is thus an appropriate starting point for Beata Boleslawska's study of the contemporary Polish symphonic tradition. Boleslawska investigates the influential Polish avant-garde, illuminating the ways in which new musical means and ideas influenced symphonic music and the genre of the symphony in the music of such important composers as Witold Lutoslawski (1913-1994), Henryk Mikolaj Gorecki (1933-2010) and Krzysztof Penderecki (b. 1933). Referring to the main elements of the European tradition, as well as examining briefly the symphonic activity in Poland before 1956, the book concentrates on the symphonic writing in the context of avant-garde trends, represented by the so-called 'Polish school of composers', as well as on its later redefinitions proposed by Polish composers up to the present day.

This book studies recent music in the western classical tradition, offering a critique of current analytical/theoretical approaches and proposing alternatives. The critique addresses the present fringe status of recent music sometimes described as crossover, postmodern, post-classical, post-minimalist, etc. and demonstrates that existing descriptive languages and analytical approaches do not provide adequate tools to address this music in positive and productive terms. Existing tools and concepts were developed primarily in the mid-20th century in tandem with the high modernist compositional aesthetic, and they have changed little since then. The aesthetics of music composition, on the other hand, have been in constant transformation. Lochhead proposes new ways to conceive musical works, their structurings of musical experience and time, and the procedures and goals of analytic close reading. These tools define investigative procedures that engage the multiple perspectives of composers, performers, and listeners, and that generate conceptual modes unique to each work. In action, they rebuild a conceptual, methodological, and experiential place for recent music. These new approaches are demonstrated in analyses of four pieces: Kaija Saariaho's Lonh (1996), Sofia Gubaidulina's Second String Quartet (1987), Stacy Garrop's String Quartet no.2, Demons and Angels (2004-05), and Anna Clyne's "Choke" (2004). This book defies the prediction of classical music's death, and will be of interest to scholars and musicians of classical music, and those interested in music theory, musicology, and aural culture.

Sir Andrzej Panufnik was born in Warsaw and studied in the newly independent Poland in the 1930s, as well as in Vienna and Paris just before the outbreak of the Second World War. During the German occupation he formed a piano duo with his friend and fellow composer Witold LutosA'awski, and they performed in cafes around Warsaw. After the war, Panufnik quickly established himself as a leading Polish composer, and as a conductor he played a significant role in the re-establishment of first the KrakA(3)w and then the Warsaw Philharmonic. Although he was considered Poland's leading composer for some years after the war, Panufnik was subsequently put under intolerable pressure both musically and politically. Frustrated by the continuing rejection of his compositions and the unending political demands inflicted on him by the country's post-war Communist regime, he made a daring escape to England in 1954. He briefly became Principal Conductor of the City of Birmingham Symphony Orchestra, a post he relinquished after two years to devote all his time to composition. His works were in demand by major figures such as Leopold Stokowski who conducted the first performances of Sinfonia Elegiaca, KatyA" Epitaph and Universal Prayer, Yehudi Menuhin who commissioned the Violin Concerto, Seiji Ozawa in Boston and Sir Georg Solti in Chicago who both commissioned symphonies for the centenaries of their famous orchestras; also Mstislav Rostropovich with the London Symphony Orchestra, who together commissioned the Cello Concerto. Beata BolesA'awska has written the first book on the life and artistic output of Panufnik, setting his significance alongside the political and cultural scene of twentieth-century Europe. The account of the composer's life is based on numerous archival documents, as well as the personal accounts contributed by his family and friends. Panufnik's compositional style and techniques are also analysed. This book will be of interest not only to those devoted

The mass is an extraordinary musical form. Whereas other Western art music genres from medieval times have fallen out of favour, the mass has not merely survived but flourished. A variety of historical forces within religious, secular, and musical arenas saw the mass expand well beyond its origins as a cycle of medieval chants, become concertised and ultimately bifurcate. Even as Western societies moved away from their Christian origins to become the religiously plural and politically secular societies of today, and the Church itself moved in favour of congregational singing, composers continued to compose masses. By the early twentieth century two forms of mass existed: the liturgical mass composed for church services, and the concert mass composed for secular venues. Spanning two millennia, The Origins and Ascendancy of the Concert Mass outlines the origins and meanings of the liturgical texts, defines the concert mass, explains how and why the split occurred, and provides examples that demonstrate composers' gradual appropriation of the genre as a vehicle for personal expression on serious issues. By the end of the twentieth century the concert mass had become a repository for an eclectic range of theological and political ideas.

Both in opera studies and in most operatic works, the singing body is often taken for granted. In Postopera: Reinventing the Voice-Body, Jelena Novak reintroduces an awareness of the physicality of the singing body to opera studies. Arguing that the voice-body relationship itself is a producer of meaning, she furthermore posits this relationship as one of the major driving forces in recent opera. She takes as her focus six contemporary operas - La Belle et la Bete (Philip Glass), Writing to Vermeer (Louis Andriessen, Peter Greenaway), Three Tales (Steve Reich, Beryl Korot), One (Michel van der Aa), Homeland (Laurie Anderson), and La Commedia (Louis Andriessen, Hal Hartley) - which she terms 'postoperas'. These pieces are sites for creative exploration, where the boundaries of the opera world are stretched. Central to this is the impact of new media, a de-synchronization between image and sound, or a redefinition of body-voice-gender relationships. Novak dissects the singing body as a set of rules, protocols, effects, and strategies. That dissection shows how the singing body acts within the world of opera, what interventions it makes, and how it constitutes opera's meanings.

Unaccountably, Percy Grainger has remained on the margins of both American music history and twentieth-century modernism. This volume reveals the well-known composer of popular gems to be a self-described 'hyper-modernist' who composed works of uncompromising dissonance, challenged the conventions of folk song collection and adaptation, re-visioned the modern orchestra, experimented with 'ego-less' composition and designed electronic machines intended to supersede human application. Grainger was far from being a self-sufficient maverick working in isolation. Through contact with innovators such as Ferrucio Busoni, Leon Theremin and Henry Cowell; promotion of the music of modern French and Spanish schools; appreciation of vernacular, jazz and folk musics; as well as with the study and transcription of non-Western music; he contested received ideas and proposed many radical new approaches. By reappraising Grainger's social and historical connectedness and exploring the variety of aspects of modernity seen in his activities in the British, American and Australian contexts, the authors create a profile of a composer, propagandist and visionary whose modernist aesthetic paralleled that of the most advanced composers of his day, and, in some cases, anticipated their practical experiments.

Most classical musicians, whether in orchestral or ensemble situations, will have to face a piece by composers such as Ligeti, Messiaen, Varese or Xenakis, while improvisers face music influenced by Dave Holland, Steve Coleman, Aka Moon, Weather Report, Irakere or elements from the Balkans, India, Africa or Cuba. Rafael Reina argues that today's music demands a new approach to rhythmical training, a training that will provide musicians with the necessary tools to face, with accuracy, more varied and complex rhythmical concepts, while keeping the emotional content. Reina uses the architecture of the South Indian Karnatic rhythmical system to enhance and radically change the teaching of rhythmical solfege at a higher education level and demonstrates how this learning can influence the creation and interpretation of complex contemporary classical and jazz music. The book is designed for classical and jazz performers as well as creators, be they composers or improvisers, and is a clear and complete guide that will enable future solfege teachers and students to use these techniques and their methodology to greatly improve their rhythmical skills. An accompanying website of audio examples helps to explain each technique. For examples of composed and improvised pieces by students who have studied this book, as well as concerts by highly acclaimed karnatic musicians, please copy this link to your browser: http://www.contemporary-music-through-non-western-techniques.com/pages/1587-video-recordings

A novel approach to biography, drawing on interview material and other sources, all extensively annotated. This book is a major source of information about one of the most influential British composers of the mid-twentieth century and the musicians he knew. It also provides details of the musical relationship between Paris and London before, during and after World War II. Berkeley had a ring-side seat when he lived in Paris, studied with Nadia Boulanger and wrote reviews about musical life there from 1929 to 1934. His little known letters to her reveal the mesmeric power of this extraordinary woman. Berkeley was an elegant writer, and it is fascinating to read his first-hand memories of composers such as Ravel, Poulenc, Stravinsky and Britten. The book also contains interviewswith Berkeley's colleagues, friends and family. These include performers such as Julian Bream and Norman Del Mar; composers Nicholas Maw and Malcolm Williamson; the composer's eldest son Michael, the composer and broadcaster; andLady Berkeley. Lennox Berkeley knew Britten well, and there are many references to him in this eminently readable collection. Peter Dickinson, British composer and pianist, has written and edited numerous books about twentieth-century music, including Cage Talk: Dialogues with and about John Cage as well as Samuel Barber Remembered (both with University of Rochester Press) and three books published by Boydell Press: The Music of Lennox Berkeley; Copland Connotations; and Lord Berners: Composer, Writer, Painter. Peter Dickinson's music is widely performed and recorded. Dickinson knew Berkeley from 1956 until the composer's death in 1989; performed many of the songs with his sister, the mezzo Meriel Dickinson; and has written and broadcast regularly about his music.

This title was first published in 2001. This work provides detailed information taken from the 'Programmes-as-Broadcast' daily log of output held at the BBC Written Archives Centre in Caversham. Arranged in chronological order, entries are given for broadcasts of first performances of musical works in the United Kingdom, and include details of: the date of the broadcast, the composer, the title of the work, performers and conductor. In addition to its usefulness as a reference tool, the Chronicle enables us to gauge the trends in twentieth-century British musical life, and the role of the BBC in their promotion.

This study is the first to consider all three of Rachmaninoff's careers in detail. After surveying his place in Russian musical history and his creative activity, the author examines, with musical examples, each working chronological order against the background of the composer's life. Among the the many subjects upon which new light is shed are the operas, the songs, and the religious music. Rachmaninoff's remarkable career as a pianist, his style of playing and repertoire are analysed along with his historically important contribution to the gramophone and his work for the reproducing piano. The book includes a survey of his activity as a conductor. There are extensive references to Russian sources and the first appearance of a complete Rachmaninoff disconography is included. This book is the only comprehensive study in any language of the three aspects of Rachmaninoff's musical career and is a stimulating read for music lovers everywhere.

Frederick Delius is among the most celebrated English composers of the 20th century. Widely studied and performed, his works are considered models of the British impressionist school and continue to fascinate students and scholars centuries later. This research guide serves as a ready reference for students and scholars, but will also be interesting to read and useful for anyone who wants to know where to begin to learn more about this important composer.

The extraordinary story of Malcolm Williamson is one of rare musical talent combined with outrageous behaviour. An Australian, Williamson was the first non-Briton to hold the post of Master of the Queen's Music. He was appointed in 1975 and looked set to embellish his already illustrious career as a composer. By the time of his death in 2003 he was unproductive and largely forgotten. Authors Anthony Meredith and Paul Harris tell his bizarre story unflinchingly, sifting fact from fiction and offering a strong case for re-evaluating this flawed man and multi-talented musician. An investigation of the myths, rumours and half truths surrounding this controversial and misunderstood figure. The authors reveal the rift between Williamson and the Royal family. He was pointedly not invited to contribute to several high profile occasions including the wedding of Charles and Diana. They discuss if his failed marriage and open bisexuality was deemed beyond the pale at the Palace.

American composer Louise Talma (1906-1996) was the first female winner of two back-to-back Guggenheim Awards (1946, 1947), the first American woman to have an opera premiered in Europe (1962), the first female winner of the Sibelius Award for Composition (1963), and the first woman composer elected to the American Academy and Institute of Arts and Letters (1974). This book analyses Talma's works in the context of her life, focusing on the effects on her work of two major changes she made during her adult life: her conversion to Catholicism as an adult, under the guidance of Nadia Boulanger, and her adoption of serial compositional techniques. Employing approaches from traditional musical analysis, feminist and queer musicology, and women's autobiographical theory to examine Talma's body of works, comprising some eighty pieces, this is the first full-length study of this pioneering composer. Exploring Talma's compositional language, text-setting practices, and the incorporation of autobiographical elements into her works using her own letters, sketches, and scores, as well as a number of other relevant documents, this book positions Talma's contributions to serial and atonal music in the United States, considers her role as a woman composer during the twentieth century, and evaluates the legacy of her works and career in American music.