Xenakis: His Life in Music is a full-length study of the influential contemporary composer Iannis Xenakis. Following the trajectory of Xenakisa (TM)s compositional development, James Harley, who studied with Xenakis, presents the works together with clear explanations of the technical and conceptual innovations that shaped them.

Harley examines the relationship between the composer and two early influences: Messiaen and Le Corbusier. Particular attention is paid to analyzing works which were vital to the composera (TM)s creative development, from early, unpublished works to the breakthrough pieces Metastasis and Pithoprakta, through the oft-discussed decade of formalization and the evolving styles of the succeeding three decades.

Born in 1916, Henri Dutilleux is one of France's leading composers, enjoying an international reputation for his beautifully crafted works. This is the first translation into English of a series of interviews between Dutilleux and the French writer and journalist Claude Glayman which took place in 1996. Dutilleux discusses aspects of his life including his early training at the Paris Conservatoire, the German occupation of France and the time that he spent in the United States. The interviews reveal much about his music and his approach to composition, as well as the influences on his musical style. Originally published by Actes Sud in 1997, this English edition is the work of translator Roger Nichols, one of the UK's leading specialists on French music.

Alban Berg: A Research and Information Guide, Third Edition is an annotated bibliography highlighting both the nature of primary sources related to the composer and the scope and significance of the secondary sources that deal with Berg, his compositions, and his influence as a composer. It is a reliable, complete, and useful resource and a starting point for anyone-performer, teacher, student, or scholar-wanting to learn about Berg's life, works, and cultural milieu. The third edition has 162 additional citations since the publication of the second edition, many arising after the expiration of copyright of Berg's musical and archival works 2005. Many important new, primary sources of information have appeared, most notably the letter exchanges with his wife, recently published in a three-volume critical edition (in German), as well as letter exchanges with Alma Mahler and Erich Kleiber, and later correspondences with Anton Webern. There has also been a notable increase in the availability of commercial video recordings of Berg's operas, Wozzeck and Lulu.

Re-Locating the Sounds of the Western examines the use and function of musical tropes and gestures traditionally associated with the American Western in new and different contexts ranging from Elizabethan theater, contemporary drama, space opera and science fiction, Cold War era European filmmaking, and advertising. Each chapter focuses on a notable use of Western musical tropes, textures, instrumentation, form, and harmonic language, delving into the resonance of the music of the Western to cite bravura, machismo, colonisation, violence, gender roles and essentialism, exploration, and other concepts.

Southwest Shuffle documents an important period in country music. During the '30s and early '40s, hundreds of thousands of 'Okies', "Arkies", and other rural peoples from around the Southwest resettled in California, in search of work. A country music scene quickly blossomed there, with performers playing Western Swing, Cowboy, and Honky Tonk country. After World War II, these styles rocked country music, leading to the innovations of '60s performers like Buck Owens and Merle Haggard in creating the so-called 'Bakersfield Sound'. These stories are based on original interviews and archival research by one of the most respected writers on this period of country history. Kienzle writes vibrantly, reflecting his long-time love for these musical styles.

Southwest Shuffle documents an important period in country music history. During the '30s and early '40s, hundreds of thousands of "Okies," "Arkies," and other rural folks from around the Southwest resettled in California, in search of work. A country music scene quickly blossomed there, with performers playing Western Swing, Cowboy, and Honky Tonk country. After World War II, these styles rocked country music, leading to the innovations of '60s performers like Buck Owens and Merle Haggard in creating the so-called "Bakersfield Sound." These stories are based on original interviews and archival research by one of the most respected writers on this period of country history. Kienzle writes in a vibrant style, reflecting his long-time love for these musical styles.

This first book in English on the French composer Andre Jolivet (1905-1974) investigates his music, life and influence. A pupil of Varese and colleague of Messiaen in La Jeune France, Jolivet is a major figure in French music of the twentieth century. His music combines innovative language with spirituality, summarised in his self-declared axiom to 'restore music's ancient original meaning when it was the magic and incantatory expression of the sacred in human communities'. The book's contextual introduction is followed by contributions, edited by Caroline Rae, from leading international scholars including the composer's daughter Christine Jolivet-Erlih. These assess Jolivet's output and activities from the 1920s through to his last works, exploring creative process, aesthetic, his relationship with the exotic and influences from literature. They also examine, for the first time, the significance of Jolivet's involvement with the visual arts and his activities as conductor, teacher and critic. A chronology of Jolivet's life and works with details of first performances provides valuable overview and reference. This fascinating and comprehensive volume is an indispensable source for research into French music and culture of the twentieth century.

Serious scholarship on the music of Ralph Vaughan Williams is currently enjoying a lively revival after a period of relative quiescence, and is only beginning to address the enduring affection of concert audiences for his music. The essays that comprise this volume extend the study of Vaughan Williams's music in new directions that will be of interest to scholars, performers and listeners alike. This volume contains the work of eleven North American scholars who have been recipients of the Ralph Vaughan Williams Fellowship based at the composer's own school, Charterhouse, which was created and has been supported by the Carthusian Trust since 1985. This wide-ranging and detailed collection of essays covers the spectrum of genres in which Vaughan Williams wrote, including dance, symphony, opera, song, hymnody and film music. The contributors also employ a range of analytical and historical methods of investigation to illuminate aspects of Vaughan Williams's compositional techniques and influences, musical, literary and visual.

A plethora of biographical accounts of some of the contemporary composers and musicians at the turn of the twentieth century.

Contents:
Preface Epigraphs 1. Autobiography 2. Precursors 3. His Own Music (to 1970) 4. His Own Music (after 1970) 5. His Performances 6. His Writings 7. Radio and Audiotape 8. Visual Arts 9. Dance 10. Successors 11. Esthetics 12. Pedagogy 13. Social Philosophy 14. Coda Index

"Masterworks of 20th-Century Music" introduces over 100 of the greatest compositions by world composers that have entered the standard orchestral repertory. The author surveyed dozens of major American orchestras to find which pieces are commonly performed, and has focused on these works that an average audience member is most likely to hear. Among the popular pieces profiled are Aaron Copland's "Appalachian Spring"; Gustav Holst's "The Planets;" Igor Stravinsky's "Le sacre du printemps;" Samuel Barber's "Knoxville: Summer of 1915;" George Gershwin's "An" "American in Paris"; Charles Ives's "Three Places in New England"; and many more. With each entry is given a wealth of information about: the composer, when and where the piece was first performed, in what "style" it was composed, and a basic analysis of the music. This book serves the general reader interested in 20th-century music, plus students, teachers, and scholars.

The story of influentiual music critic, Hans Keller's months in British internment camps in 1940 and its effect on his intellectual development. After World War II, the musical life of Britain was transformed by the Hitler emigres. None was more influential than the writer and broadcaster Hans Keller who arrived in London from Vienna in 1938. Although his thought was grounded in the work of Kant and Freud, he devoted himself to music after hearing Benjamin Britten's Peter Grimes. His remarkable development was accelerated during the nine months he spent in British internment camps, where from 1940 onwards the deracinated flower of European culture was confined . This book sets the story of Keller's internment in the context of what is still a too-little remembered part of British wartime history and traces its remarkable effects in the decade following his release as he gradually found his niche in London life. It includes several important texts, including that of his famous broadcast on the Kristallnacht, 'Vienna 1938', a selection of poignant letters from his two camps (in translation) and ends with a spirited memoir by Donald Mitchell of 'Hans Keller in the Early Years'. It is a remarkable and elegant contribution to our understanding both of Keller's development and of Britain in the 1940s.

In his 1985 book The Idea of Music: Schoenberg and Others, Peter Franklin set out a challenge for musicology: namely, how best to talk and write about the music of modern European culture that fell outside of the modernist mainstream typified by Schoenberg, Berg, and Webern? Thirty years on, this collected volume of essays by Franklin's students and colleagues returns to that challenge and the vibrant intellectual field that has since developed. Moving freely between insights into opera, Volksoper, film, festival, and choral movement, and from the very earliest years of the twentieth century up to the 1980s, its authors listen with a 'critical ear': they site these musical phenomena within a wider web of modern cultural practices - a perspective, in turn, that enables them to exercise a disciplinary self-awareness after Franklin's manner.

The Music of Louis Andriessen is the first English-language collection of interviews and essays about this avant-garde composer. This book presents the musician in dialogue with a Polish-Canadian musicologist amd three of his Dutch friends and collaborators, Reinbert de Leeuw, Elmer Schönberger 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.

The approach of this book, first published in 1982, is multi-disciplinary. Popular music, it is argued, is not only a musical but also a social phenomenon; the criteria needed to assess it are different from those used in the appreciation of 'classical' music. The first section of this guide is devoted to setting out just what those criteria should be. A second section puts forward bases for course construction that are detailed and flexible. A final section provides a list of further resources.

This title was first published in 2000. John Ireland (1879-1962) was as elusive as the music that he composed. His music resists easy categorization, in part because it is linked so closely to specific events, places and people in Ireland's personal life. The Music of John Ireland explores the expressive and extramusical qualities of Ireland's compositions and their complex system of personal musical symbols, images and ideas. Fiona Richards interweaves biography and musical analysis in a series of chapters which take their themes from the significant influences in Ireland's life: Anglo-Catholicism, paganism, the countryside, the city, love and war. Ireland emerges as highly individual, struggling with his religious beliefs, his sexuality, and an uncertainty as to his success. His music, often an expression of a state of mind, is given, for the first time, the close investigation that it merits. Ireland preferred to compose on a small scale, showing a masterful command of form and a gift for melody. Richards reveals how the essence of the man shines through in the miniatures that he wrote.

Barcelonian Gaspar Cassado (1897-1966) was one of the greatest cello virtuosi of the twentieth century and a notable composer and arranger, leaving a vast and heterogeneous legacy. In this book, Gabrielle Kaufman provides the first full-length scholarly work dedicated to Cassado, containing the results of seven years of research into his life and legacy, after following the cellist's steps through Spain, France, Italy and Japan. The study presents in-depth descriptions of the three main parts of Cassado's creative output: composition, transcription and performance, especially focusing on Cassado's plural and multi-facetted creativity, which is examined from both cultural and historical perspectives. Cassado's role within the evolution of twentieth-century cello performance is thoroughly examined, including a discussion regarding the musical and technical aspects of performing Cassado's works, aimed directly at performers. The study presents the first attempt at a comprehensive catalogue of Cassado's works, both original and transcribed, as well as his recordings, using a number of new archival sources and testimonies. In addition, the composer's significance within Spanish twentieth-century music is treated in detail through a number of case studies, sustained by examples from recovered score manuscripts. Illuminated by extraordinary source material Gaspar Cassado: Cellist, Composer and Transcriber expands and deepens our knowledge of this complex figure, and will be of crucial importance to students and scholars in the fields of Performance Practice and Spanish Music, as well as to professional cellists and advanced cello students.

As John Cage once recalled, there were four musicians in the early '50s who, because of their deep interest in art, associated closely with the New York School of painters: Edgard Varèse, Stefan Wolpe, Morton Feldman, and Cage himself. This book explores the interaction and influences of the visual arts on these four seminal composers. Even though each composer stressed that his aesthetic derived mainly from the visual arts, the actual transference of an aesthetic form from one medium to another took many forms, reflecting the individual sensibilities and concerns of the artists involved. The theories of performance and composition that they evolved are still controversial; taking a new and unique perspective, Johnson and his collaborators give fresh insights into the music of our time.

As John Cage once recalled, there were four musicians in the early '50s who, because of their deep interest in art, associated closely with the New York School of painters: Edgard Varèse, Stefan Wolpe, Morton Feldman, and Cage himself. This book explores the interaction and influences of the visual arts on these four seminal composers. Even though each composer stressed that his aesthetic derived mainly from the visual arts, the actual transference of an aesthetic form from one medium to another took many forms, reflecting the individual sensibilities and concerns of the artists involved. The theories of performance and composition that they evolved are still controversial; taking a new and unique perspective, Johnson and his collaborators give fresh insights into the music of our time.

Australia offers tremendous scope for understanding the relationship between music, spirituality and landscape. This major, generously-illustrated new volume examines, in fifteen chapters, some of the ways in which composers and performers have attempted to convey a sense of the Australian landscape through musical means. The book embraces the different approaches of ethnomusicology, gender studies, musical analysis, performance studies and cultural history. Ranging across the country, from remote parts of the Northern Territory to the bustling east coast cities, from Tasmanian wilderness to tropical Queensland, the book includes references to art and literature as well as music. Issues of national identity, belonging and aboriginalization are an integral part of the book, with indigenous responses to place examined alongside music from the western orchestral, chamber and choral repertories. The book provides valuable insight into a wide range of music inspired by Australia, from the Yanyuwa people to Jewish communities in Victoria; from Peter Sculthorpe's opera Quiros to the work of European expats living in Australia before the Second World War; from historic Ealing film scores to contemporary sound installations. The work of many significant composers is discussed in detail, among them Ross Edwards, Barry Conyngham, David Lumsdaine, Anne Boyd and Fritz Hart. Throughout the book there is a sense of the vibrancy and diversity of the music inspired by the sights and sounds of the Australian landscape.

Music abounds in twentieth- century Irish literature. Whether it be the "thought-tormented" music of Joyce's "The Dead", the folk tunes and opera that resound throughout Ulysses, or the four- part threnody in Beckett's Watt, it is clear that the influence of music on the written word in Ireland is deeply significant. Samuel Beckett arguably went further than any other writer in the incorporation of musical ideas into his work. Musical quotations inhabit his texts, and structural devices such as the da capo are metaphorically employed. Perhaps most striking is the erosion of explicit meaning in Beckett's later prose brought about through an extensive use of repetition, influenced by his reading of Schopenhauer's philosophy of music. Exploring this notion of "semantic fluidity", John McGrath discusses the ways in which Beckett utilised extreme repetition to create texts that operate and are received more like music. Beckett's writing has attracted the attention of numerous contemporary composers and an investigation into how this Beckettian "musicalized fiction" has been retranslated into contemporary music forms the second half of the book. Close analyses of the Beckett- inspired music of experimental composer Morton Feldman and the structured improvisations of avantjazz guitarist Scott Fields illustrate the cross- genre appeal of Beckett to musicians, but also demonstrate how repetition operates in diverse ways. Through the examination of the pivotal role of repetition in both music and literature of the twentieth century and beyond, John McGrath's book is a significant contribution to the field of Word and Music Studies.

Kaikhosru Shapurji Sorabji (1892-1988) was an unusual legend in his own lifetime: a Parsi composer and critic living in England whose compositions are of such length and difficulty that he felt compelled to ban public performances of them. This book, the first devoted to Sorabji, explores his life and character, his music, his articles and letters. It both presents the legend accurately and dispels its exaggerated aspects. The portrait which emerges is not of a crank or eccentric but of a highly original and accomplished musical thinker whom recent performances and recordings confirm as unique and important. Most of the contributors knew Sorabji personally. They have all written about or performed his music, gaining international recognition for their work. Generous quotation of Sorabji's published and unpublished music and prose assists in bringing him and his work strikingly to life. The book also contains the most complete and accurate register of his work ever published.

Serial or 12-tone music has proved to be an enduring twentieth century style that has generated a wide range of writings. This much-needed work provides the only comprehensive up-to-date guide to research on serial music, offering an annotated bibliography with nearly 500 citations from books and journals from 1950 to 1995.

Series Information:
Composer Resource Manuals

Drawing upon extensive archival research, interview material, and musical analysis, Female Composers, Conductors, Performers: Musiciennes of Interwar France, 1919-1939 presents an innovative study of women working as professional musicians in France between the two World Wars. Hamer positions the activities, achievements, and reception of women composers, conductors, and performers against a contemporary socio-political climate that was largely hostile to female professionalism. The musical styles and techniques of Marguerite Canal, Jeanne Leleu, Germaine Tailleferre, Yvonne Desportes, Elsa Barraine, and Claude Arrieu are discussed with reference to significant works dating from the interwar period. Hamer highlights the activities of Jane Evrard and her Orchestre feminin de Paris as well as the reception of the Orchestra of the Union des Femmes Professeurs et Compositeurs de Musique, a contemporary pro-suffrage organisation that was dedicated to defending the collective interests of musiciennes and campaigning for their employment rights. Beyond women composers and conductors, Hamer also sheds light on female performers and their contribution to the interwar early music revival.