The career of Gabriel Faure as a composer of songs for voice and piano traverses six decades (1862-1921); almost the whole history of French melodie is contained within these parameters. In the 1860s Faure, the lifelong protege of Camille Saint-SaA"ns, was a suavely precocious student; he was part of Pauline Viardot's circle in the 1870s and he nearly married her daughter. Pointed in the direction of symbolist poetry by Robert de Montesquiou in 1886, Faure was the favoured composer from the early 1890s of Winnarretta Singer, later Princesse de Polignac, and his songs were revered by Marcel Proust. In 1905 he became director of the Paris Conservatoire, and he composed his most profound music in old age. His existence, steadily productive and outwardly imperturbable, was undermined by self-doubt, an unhappy marriage and a tragic loss of hearing. In this detailed study Graham Johnson places the vocal music within twin contexts: Faure's own life story, and the parallel lives of his many poets. We encounter such giants as Charles Baudelaire and Paul Verlaine, the patrician Leconte de Lisle, the forgotten Armand Silvestre and the Belgian symbolist Charles Van Lerberghe. The chronological range of the narrative encompasses Faure's first poet, Victor Hugo, who railed against Napoleon III in the 1850s, and the last, Jean de La Ville de Mirmont, killed in action in the First World War. In this comprehensive and richly illustrated study each of Faure's 109 songs receives a separate commentary. Additional chapters for the student singer and serious music lover discuss interpretation and performance in both aesthetical and practical terms. Richard Stokes provides parallel English translations of the original French texts. In the twenty-first century musical modernity is evaluated differently from the way it was assessed thirty years ago. Faure is no longer merely a 'Master of Charms' circumscribed by the belle epoque. His status as a great composer of timeless

This is the third volume of Carl Nielsen Studies which is an annual publication issuing from the Royal Library of Denmark, also home to the Carl Nielsen edition. Carl Nielsen's status as one of the twentieth-century's foremost composers is now well-established. These volumes provide a forum for the spectrum of historical, analytical and aesthetic approaches to the study of Nielsen's music from an international line-up of contributors. In addition, each volume features reviews and reports on current Nielsen projects and an updated Nielsen bibliography, making Carl Nielsen Studies the most important source for up-to-the minute research on the composer and his work. Carl Nielsen Studies is distributed outside Scandinavia by Ashgate; distribution within Scandinavia is handled by The Royal Library, Copenhagen, PB 2149, DK 1016 K, Denmark.

This book is the first to examine in depth the contributions of major British authors such as W. H. Auden and E. M. Forster, as critics and librettists, to the rise of British opera in the twentieth century. The perceived literary values of British authors, as much as the musical innovations of British composers, informed the aesthetic development of British opera. Indeed, British opera emerged as a simultaneously literary and musical project. Too often, operatic adaptations are compared superficially to their original sources. This is a particular problem for British opera, which has become increasingly defined artistically by the literary sophistication of its narrative sources. The resulting collaborations between literary figures and composers have crucial implications for the development of both opera and literature. Twentieth-Century British Authors and the Rise of Opera in Britain reveals the importance of this literary involvement in operatic adaptation to literature and literary studies, to music and musicology, and to cultural and theoretical studies.

The grotesque is one of art's most puzzling figures - transgressive, comprising an unresolveable hybrid, generally focussing on the human body, full of hyperbole, and ultimately semantically deeply puzzling. In Bluebeard's Castle (1911), The Wooden Prince (1916/17), The Miraculous Mandarin (1919/24, rev. 1931) and Cantata Profana (1930), BartA(3)k engaged scenarios featuring either overtly grotesque bodies or closely related transformations and violations of the body. In a number of instrumental works he also overtly engaged grotesque satirical strategies, sometimes - as in Two Portraits: 'Ideal' and 'Grotesque' - indicating this in the title. In this book, Julie Brown argues that BartA(3)k's concerns with stylistic hybridity (high-low, East-West, tonal-atonal-modal), the body, and the grotesque are inter-connected. While BartA(3)k developed each interest in highly individual ways, and did so separately to a considerable extent, the three concerns remained conceptually interlinked. All three were thoroughly implicated in cultural constructions of the Modern during the period in which BartA(3)k was composing.

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.

This volume showcases key theoretical ideas and practical considerations in the growing area of scholarship on musical gesture. The book constructs and explores the relations between music and gesture from a range of differing perspectives, identifying theoretical approaches and examining the nature of certain types of gesture in musical performance. The twelve chapters in this volume are organized into a heuristic progression from theory to practice, from essay to case study. Theoretical considerations about the interpretation of musical gestures are identified and phrased in terms of semiotics, the mimetic hypothesis, concepts of musical force, immanence, quotation and topic, and the work of musical gestures. The lives of musical gestures in performance are revealed through engaging with their rhythmic properties as well as inquiring into the breathing of pianists, the nature of clarinettists' bodily movements, and the physical acts and personae of individual artists, specifically Keith Jarrett and Robbie Williams. The reader is encouraged to listen to the various resonances and tensions between the chapters, including the importance given to bodies, processes, motions, expressions, and interpretations of musical gesture. The book will be of significance to musicologists, theorists, semioticians, analysts, composers and performers, as well as scholars working in different research communities with an interest in the study of gesture.

The vast majority of writing on film music is concentrated on Hollywood in particular and on a canon of North American scores and films more generally. Recent scholarship acknowledges other traditions of film scoring but little has been written about European film music specifically. Miguel Mera and David Burnand present a volume that redresses the balance by exploring specific European filmic texts, composers and approaches to film scoring that have hitherto been neglected. Films involving British, French, German, Greek, Irish, Italian, Polish and Spanish composers are considered in detail. Starting from a study of the influence of propaganda on musical aesthetics in Nazi Germany the book includes an analysis of Italian neo-realist cinema, a consideration of the Ealing Comedies, experimental music in contemporary Spanish scoring, the invocation of traditional music, the portrayal of classical music performers, the use of space, silence and manipulation of time, and the depiction of the processes of scoring in independent film-making. Important issues that permeate all the essays involve the working relationship of composer and director, the dialectic between the diegetic and non-diegetic uses of music in films, the music-image synergism and the levels of realism that are created by the audio-visual mix. The book will appeal to those working in film studies, popular music studies, musicology, media studies and cultural theory.

With many new photos and an updated introduction, The Day John Met Paul, a critically-acclaimed Beatles book, re-appears in a visually stunning second edition. The book is an hour-by-hour account of the fateful day the two founding Beatles met in July 1957. But it is much more than that: it's a spellbinding story of how fate brought together two men who would radically change the face of popular music, from its look and feel to its sound. Jim O'Donnell, a veteran rock music writer, spent eight years researching The Day John Met Paul. Published in 1996 and translated into several languages, the book was widely praised for its blend of accurate reporting and colorful storytelling. Long out of print, but revered among Beatles fans, the new printing enlivens the text with many well-chosen photos of the Liverpool landmarks--from Strawberry Field to Penny Lane--that played a role in the Beatles' lives and works.

The Day John Met Paul chronicles the first Day in the Life of the Beatles--a day that changed the musical world.

French Music Since Berlioz explores key developments in French classical music during the nineteenth and twentieth centuries. This volume draws on the expertise of a range of French music scholars who provide their own perspectives on particular aspects of the subject. Deirdre Donnellon's introduction discusses important issues and debates in French classical music of the period, highlights key figures and institutions, and provides a context for the chapters that follow. The first two of these are concerned with opera in the nineteenth and twentieth centuries respectively, addressed by Thomas Cooper for the nineteenth century and Richard Langham Smith for the twentieth. Timothy Jones's chapter follows, which assesses the French contribution to those most Germanic of genres, nineteenth-century chamber music and symphonies. The quintessentially French tradition of the nineteenth-century salon is the subject of James Ross's chapter, while the more sacred setting of Paris's most musically significant churches and the contribution of their organists is the focus of Nigel Simeone's essay. The transition from the nineteenth to the twentieth century is explored by Roy Howat through a detailed look at four leading figures of this time: Faure, Chabrier, Debussy and Ravel. Robert Orledge follows with a later group of composers, Satie & Les Six, and examines the role of the media in promoting French music. The 1930s, and in particular the composers associated with Jeune France, are discussed by Deborah Mawer, while Caroline Potter investigates Parisian musical life during the Second World War. The book closes with two chapters that bring us to the present day. Peter O'Hagan surveys the enormous contribution to French music of Pierre Boulez, and Caroline Potter examines trends since 1945. Aimed at teachers and students of French music history, as well as performers and the inquisitive concert- and opera-goer, French Music Since Berlioz is an essential companion for anyone interested in the culture of France.

* 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.

Relatively little has been written about film scores and soundtracks outside of Hollywood cinema. Hollywood Theory, Non-Hollywood Practice addresses this gap by looking at the practices of film soundtrack composition for non-Hollywood films made after 1980. Annette Davison argues that since the mid-1970s the model of the classical Hollywood score has functioned as a form of dominant ideology in relation to which alternative scoring and soundtrack practices may assert themselves. The first part of the book explores some of the key theoretical issues and debates in film studies and film music studies. The second part comprises a series of case studies of non-Hollywood scores. Starting with Jean Luc Godard's Prenom: Carmen (1983), Davison argues that the film's score offers a deconstruction of the relationship between sound and image proposed by classical Hollywood film. Derek Jarman's The Garden (1990) takes the debate a step further in its exploration of the possibility that a film's soundtrack may be liberated from slavery to the image track. Wings of Desire (1987) directed by Wim Wenders offers, Davison believes, a negotiation between classical and alternative scoring and soundtrack practices; while David Lynch's Wild at Heart (1990) actually fully integrates scoring and soundtrack practices so that sounds and dialogue are used in musical ways. Seeking to stimulate debate about the aesthetics and interpretation of film scores and soundtracks in general, this book develops an important synthesis of film studies and musicology.

Aaron Copland is one of America's best-known composers and writers on twentieth century music. This volume brings together for the first time the best of his published essays on music, with previously unpublished material from his diaries, letters, and writings to present a complete picture of Copland as a cultural critic.

The 1990s work of six British composers forms the focus of this collection of essays, arising from a conference that took place at University of Surrey Roehampton in February 1999. The composers whose music is discussed are James Dillon, Thomas Ades, Harrison Birtwistle, Jonathan Harvey, Edwin Roxburgh and Sebastian Forbes. Reflecting the aims of the conference, this volume brings together composers and musicologists to discuss significant works from the last decade of the twentieth century, and also some of the wider issues surrounding British music. Arnold Whittall and Julian Johnson provide perspectives on the plurality of contemporary British music. Edwin Roxburgh offers a personal account of 'The Artists' Dilemma', whilst the essays that follow explore aspects of musical form and structure in a variety of works. The second half of the book comprises interviews with most of the composers whose music is discussed in Part I, adding a further dimension to our understanding of the preoccupations of British composition at the end of the twentieth century.

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.

Described by Maurice Ravel as one of the most considerable talents in French music of his generation, Darius Milhaud remains a largely neglected composer. This book reappraises his contribution, focusing on the emergence of the composer's style until his Jewish background forced his exile to the United States on the eve of the World War II. The period 1912-1939 spans the crucial years that mark the development of Milhaud's mature style. It was also during this time that he published his most important writings on contemporary music and its relationship to the past. Barbara Kelly discusses the extent to which Milhaud's complex views on the idea of a French national musical heritage relate to his own practice, and considers how his works reflect the balance between innovation and tradition. Drawing comparisons with contemporaries, such as Debussy, Satie, Schoenberg, Stravinsky and Poulenc, the book argues that the rhythmic vitality of Milhaud's style and his modal approach within a polytonal context mark him out as an original and distinctive composer.

The story of Nicolas Nabokov's involvement with the CIA-funded Congress for Cultural Freedom (CCF) is a story of the politics and sociology of culture; how music was used for political ends and how intellectual groups formed and functioned during the Cold War. The seemingly independent CCF, established to counteractA apparent Soviet successes in the fields of the arts and intellectual life, appointed Nabokov (a Russian emigre and minor composer) as its Secretary General in 1951.A Over the next ten years he gave music a high profile in theA work of the organisation, producing four international musical festivals, the first and most ambitious of which was 1952's L'Oeuvre du XXe Siecle in Paris, an event which showcased the work of no less than 62 composers. As Ian Wellens reveals, Nabokov'sA musical involvement with the CCF was in fact a struggle on two fronts.A Apparently aA defenceA ofA Western modernism against 'backward', 'provincial' Soviet music, Nabokov's writings show this to have meshed closely with theA domestic concernA - shared byA many intellectuals -A that high culture was being undermined by an increasingly culturally aware middle class. His attacks on Soviet cultural policy, and his unflattering assessments of Shostakovich, are seen to be not merely salvos in the cold war but part of a broader campaign aimed at securing the authority and prestige ofA intellectuals.

This paperback edition is updated to include new insights into Holst's life and work resulting from the discovery of important unseen archival materials. Imogen Holst was one of the most wide-ranging and highly regarded of musicians. Popular with all who knew her, she was intensively protective of her inner life, reminding one friend of a 'locked door of which she had thrown away the key'. Imogen Holst: A Life in Music uses a wealth of newly discovered material to explore the complexities and contradictions of her life and career, drawing on her own writings - ranging from heartfelt early poetry, through correspondence, to a series of journals that maintain a colourful record of her travels and achievements. Most revealing of these is the daily journal that she kept at the start of her working association with Britten, adocument that provides a unique insight both into her own thoughts, and into the professional and domestic life of a major composer. Extensively revised with new material, the book also includes a study of Imogen Holst's music and a chronological list of her works, revealing her as a composer of tremendous talent, whose music deserves to be much more familiar. CHRISTOPHER GROGAN is Director of Collections and Heritage at the Britten-Pears Foundation.

A History of the Symphony: The Grand Genre identifies the underlying cultural factors that have shaped the symphony over the past three hundred years, presenting a unified view of the entire history of the genre. The text goes beyond discussions of individual composers and the stylistic evolution of the genre to address what constitutes a symphony within each historical period, describing how such works fit into the lives of composers and audiences of the time, recognizing that they do not exist in a vacuum but rather as the products of numerous external forces spurring their creation. In three parts, the text proceeds chronologically, drawing connections between musical examples across regions and eras: The Classical Symphony The Romantic Symphony The Symphony in the Modern Era Within this broad chronology-from the earliest Italian symphonies of the 18th century to the most experimental works of the 20th century-discussion of the development of the genre often breaks down along national lines that outline divergent but parallel paths of stylistic growth. In consideration of what is and is not a symphony, musical developments in other genres are presented as they relate to the symphony, genres such as the serenade, the tone poem, and the concert overture. Suitable for a one-semester course as well as a full-year syllabus, and with illustrative musical examples throughout, A History of the Symphony places composers and works in sociological and musical contexts while confronting the fundamental question: What is a symphony?

DIY House Shows and Music Venues in the US is an interdisciplinary study of house concerts and other DIY ('do-it-yourself') music venues in the US, such as warehouses, all-ages clubs and guerrilla shows, with its primary focus on West Coast American DIY locales. Focusing on DIY houses, music venues, social spaces, and local and translocal cultural geographies, the author examines how American DIY communities constitute themselves in relation to their social and spatial environment. The ethnographic approach shows the inner-workings of American DIY culture, and how the particular people within particular places strive to achieve a social ideal of an "intimate" community.

This collection brings together for the first time essays on postmodernism and music and covers a wide range of musical styles including concert music, jazz, film music, and popular music. Topics include:
* the importance of technology and marketing in postmodern music
* the appropriation and reworking of Western music by non-Western bands
* postmodern characteristics in the music of Gorecki, Rochberg, Zorn and Bolcom as well as Bjork and Wu Tang Clan
* issues of music and race
* comparisons of postmodern architecture to postmodern music.

This collection of essays seeks to reflect the many aspects of the life and work of William Walton. Written by acknowledged Walton scholars they cover the literary influences in his music and the current debates that surround them. Walton's particularly well-known compositions are examined, such as Belshazzar's Feast, Troilus and Cressida and FaAade. Also included is an overview of his 14 film scores and an analysis of his first and second symphonies and his concertos.

This collection of essays provides vivid new insights into Poulenc's world, his particular rapport with painters, writers and fellow musicians, and with the social elite who promoted his music through their salons. Contributions from international Poulenc scholars include the influence of various artists on his music, the nature of his affinity for Eluard's poetry, his response to texts by Cocteau and Bernanos, and his constant search for suitable libretti. New light is thrown on two friendships, the first with his childhood friend Raymonde Linossier who introduced him to the world of books, the second to his teacher Charles Koechlin who greatly influenced his choral style. A detailed study is also provided of Poulenc's four choral works with orchestra. Finally, the reader is allowed a rare view of Poulenc at the microphone, not as interviewee but as radio presenter, in his 1947-1949 series of programmes 'A bActons rompus'.

This first full biography of Edward J. Dent (1876-1957), Cambridge Professor of Music and foremost musicologist, tells the story of a remarkable man who played a crucial role in the formation of twentieth-century culture and cultural institutions. Operating at both personal and international levels, Dent knew and quietly influenced musicians, poets, artists, writers, politicians, theatrical producers and designers, including Busoni, E.M. Forster, Sassoon and Maynard Keynes. The book covers not only his pioneering music scholarship and cultural activities but also his personal crusades on behalf of music and opera, gays, refugees and the culturally destitute. Drawn from a wide variety of unpublished sources, from behind Dent's carefully constructed public persona of a cosmopolitan gentleman scholar the picture emerges of a more complex and fascinating human being: a lifelong pacifist and agnostic; a scion of the upper classes who voted Labour; 'the kindest heart and the wickedest tongue in Cambridge', who always helped friends in need; a natural rebel and iconoclast; an English internationalist. His seminal books and articles remain fresh and vital and his writing hugely entertaining, while his ideas on the importance of the arts in everyday life are as relevant as ever. Dent's fundamental belief in 'training the imagination' and in personal friendships, along with his lifelong quest to 'understand all music', kept music and the arts alive through the most dire periods in the last century and into our own.

This short collection of essays focuses on four areas of immersive sound environments: repetition, sustained tones, performed installations and approaches to extended forms. Through in depth exploration of the experiential nature of these subjects, the authors offer reflections upon the materials used for these environments, how they are organised, and the consequences of this on how we listen.

As the century comes to a close, composition of music in the United States has reached little consensus in terms of style, techniques, or "schools." In fourteen original articles, the contributors to this volume explore the broad range and diversity of post-World War II musical culture. Classical and jazz idioms are both covered, as is the broad history of electronic music in the United States.