This is a comprehensive guide to research on the American composer Elliott Carter (b. 1908), widely acknowledged as one of the greatest composers of the twentieth century. It contains a chronology, complete list of works, detailed discography, and fully annotated bibliography of over 1,000 books, articles, interviews, video recordings, and Carter's own writings. This essential reference book covers the most significant works in English, French, German, and Italian, from the 1940s,when Carter's music first began to attract attention,to the 1990s.

eBook available with sample pages: 0203906551

Hear the name "Igor Stravinsky" and the first thing that comes to mind is a composer of ponderous, "serious" music. But did you know that Stravinsky lived much of his life in Hollywood? That he collaborated on musical projects with Pablo Picasso and George Balanchine? That his work subtly espoused deeply held political views and reflected key literary influences? That he was not only interested in the modern communication technologies of his time-sound recording, radio, television, even early computers-but wrote music that echoed their impact? In Experiencing Stravinsky, music historian Robin Maconie takes a fresh approach to understanding this great composer's works, explaining what makes Stravinsky's sound unique and what we, as listeners, need to know in order to appreciate the variety and brilliance of his compositions. Experiencing Stravinsky is more than just another work of music appreciation. In the author's deft hands, Stravinsky's long musical career is a guided tour through 20th-century history, from Czarist Russia and two world wars to the height of the Hollywood era and the birth of the information age. Maconie has provided nothing less than an operating manual to getting the most out of Stravinsky's music.

The book compiles all charts appearing in Cash Box magazine prior to 1989 which have not appeared in the earlier volumes of this chart series. Genres and media formats covered include twelve-inch disco/dance singles, midline albums, video games, compact discs (prior to their integration into the "Top 200 Album Chart"), video clips, videotape sales, and jukebox activity. Alphabetically-arranged title and artist (where relevant) indexes have been included for each chart section, along with appropriate "see also" references. The various sections also feature concise, informative introductions to the genre or medium being covered. The chart data cites not only chart entry dates and total weeks on the chart, but a week-by-week notation of chart positions attained by each title (a feature unique to Scarecrow Cash Box series).

The essays in this collection reflect the range and depth of musical life in the US from 1900 to 1950. Contributions consider the triumph of popular forms such as jazz, swing and blues, as well as the art music of composers such as Ives, Cage and Copland among others. American contributions to music technology and dissemination, and the role of these forms in extending the audience for music is also a focus.

The works of Edgard Varese (1883-1965) represent the most radical expression of 20th-century Modernism in music. Not only did he create such orchestral showpieces as "Ameriques" and "Arcana" and such mainstays of the instrumental repertoire as "Octandre" and "Density 21:5"; he also pioneered works for percussion ensemble and electronic music, both on tape and using electronic instruments. Yet books about Varese are few. Either they are biographical studies by non-musicians, or severely analytical treatises beyond the reach of the majority of music lovers who are likely to hear his works in concert. This book takes a different approach. Within a chronological scheme, its core is a series of descriptive analyses; accessible to any literate music-lover, of all Varese's available works. Malcolm MacDonald relates them to the ideas, both aesthetic and scientific, which underlay Varese's boldly original view of sound and musical structure.He shows how Varese's conception of a music that "explodes into space", of "intelligent sounds moving in space" arose from 20th-century man's expanding consciousness of his place in the universe, but also from the esoteric philosophies of late 19th-century Paris, inspired by Renaissance alchemists such as Paracelsus. Much of Varese's output is destroyed, but it is possible to infer much about his lost early works, his vast stage of composition about communication with the star Sirius, and the unachieved choral symphony "Espace", designed to be performed simultaneously in the various capitals of the world. This is also the first book to discuss the previously unpublished Varese scores released for performance in 1998 by Varese executor Chou Wen Chung.

First Published in 2000. Routledge is an imprint of Taylor & Francis, an informa company.

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.

Contents:
Editors' Introduction. Abstract Polyphonies: The Music of Schoenberg's Nietzschean Moment, William Benjamin. Arnold Schoenberg as Poet and Librettist: Dualism, Epiphany, and Die Jakobsleiter, David Schroeder. Androgyny and the Eternal Feminine in Schoenberg's Oratorio Die Jakobsleiter Jennifer Shaw. Von heute auf morgen: Schoenberg as Social Critic,Stephen Davison. Schoenberg in Shirtsleeves: The Male Choruses, Op. 35, Robert Falck. The Prophet and the Pitchman: Dramatic Structure and Its Musical Elucidation in Moses und Aron, Act I, Scene 2, Edward Latham. Schoenberg's Moses und Aron: A Vanishing Biblical Nation, Bluma Goldstein. Schoenberg Rewrites His Will: A Survivor from Warsaw, Op. 46,David Isadore Lieberman. Texts and Contexts of A Survivor from Warsaw, Op. 46, Camille Crittenden. Returning to a Homeland: Religion and Political Context in Schoenberg's Dreimal tausend Jahre, Naomi Andr. Schoenberg's Modern Psalm, Op.50c, and the Unattainable Ending, Mark Risinger

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.

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.

A critical re-evaluation of the music of Carl Nielsen which examines its context and relationship to musical modernism. Carl Nielsen (1865-1931) is one of the most playful, life-affirming and awkward voices in twentieth-century music. His work resists easy stylistic categorisation or containment, yet its melodic richness and harmonic vitality are immediately appealing and engaging. Nielsen's symphonies, concertos and operas are an increasingly prominent feature of the international repertoire, and his songs remain perennially popular at home in Denmark. But his work has only rarely attracted sustained critical attention within the scholarly community; he remains arguably the most underrated composer of his international generation. This book offers a critical re-evaluation of Carl Nielsen's music and his rich literary and artistic contexts. Drawing extensively on contemporary writing and criticism, as well as the research of the newly completed Carl Nielsen Edition, the book presents a series of case studies centred on key works in Carl Nielsen's output, particularly his comic opera Maskarade, the Third Symphony (Sinfonia Espansiva), and his final symphony, the Sinfonia Semplice. Topics covered include his relationship with symbolism and fin-de-siecle decadence, vitalism, counterpoint, and the Danish landscape. Running throughout the book is a critical engagement with the idea of musical modernism - a term which, for Nielsen, was fraught withanxiety and yet provided a constant creative stimulus. DANIEL M. GRIMLEY holds a University Lectureship in Music at Oxford, and is the Tutorial Fellow in Music at Merton College and Lecturer in Music, Landscape at University College. His previous books include Grieg: Music, Landscape and Norwegian Identity (Boydell, 2006) and the Cambridge Companion to Sibelius (Cambridge University Press, 2004).

First Published in 1999. Routledge is an imprint of Taylor & Francis, an informa company.

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.

First Published in 1999. Routledge is an imprint of Taylor & Francis, an informa company.

Teaching Music History with Cases introduces a pedagogical approach to music history instruction in university coursework. What constitutes a music-historical "case?" How do we use them in the classroom? In business and the hard sciences, cases are problems that need solutions. In a field like music history, a case is not always a problem, but often an exploration of a context or concept that inspires deep inquiry. Such cases are narratives of rich, complex moments in music history that inspire questions of similar or related moments. This book guides instructors through the process of designing a curriculum based on case studies, finding and writing case studies, and guiding class discussions of cases.

Series Information:
Studies in Contemporary Music and Culture

Product Note:
Garland Publishing

Understanding Post-Tonal Music is a student-centered textbook that explores the compositional and musical processes of twentieth-century post-tonal music. Intended for undergraduate or general graduate courses on the theory and analysis of twentieth-century music, this book will increase the accessibility of post-tonal music by providing students with tools for understanding pitch organization, rhythm and meter, form, texture, and aesthetics. By presenting the music first and then deriving the theory, Understanding Post-Tonal Music leads students to greater understanding and appreciation of this challenging and important repertoire. The updated second edition includes new "Explorations" features that guide students to engage with pieces through listening and a process of exploration, discovery, and discussion; a new chapter covering electronic, computer, and spectral musics; and additional coverage of music from the twenty-first century and recent trends. The text has been revised throughout to enhance clarity, both by streamlining the prose and by providing a visual format more accessible to the student.

How and why is pre-existing music used in films? What effects can its use have on films and their audiences? And what lasting impact can appropriation have on the music? Reeled In is a comprehensive exploration of these questions, considering the cinematic quotation of Beethoven symphonies, Beatles songs, and Herrmann scores alike in films ranging from the early sound era to the present day, and in every role from 'main title theme' to 'music playing in bar'. Incorporating a discussion of such factors as copyright and commerce alongside examination of texts and their effects, this broad study is a significant contribution to the scholarship on music in screen media, demonstrating that pre-existing music possesses unique attributes that can affect both how filmmakers construct their works and how audiences receive them, to an extent regardless of the music's style, genre, and so on. This book also situates the reception of music by film, and by audiences experiencing that music through film, as significant processes within present-day culture, while more generally providing an illuminating case study of the kinds of borrowings, adaptations, and reinventions that characterize much of today's art and entertainment.

The historic encounter around 1911 between the composer Arnold Schonberg and the painter Wassily Kandinsky occurred at a moment when the first wild revolts against traditional art - Dada and Futurism - had just manifested themselves. This volume is a collection of the papers presented at the conference on Schonberg and Kandinsky at the Royal Conservatory in The Hague in January 1993. The conference focused on the varying aspects of the avant-garde from 1910 to 1913, when both Schonberg and Kandinsky formulated their far-reaching views on the ways in which music and painting should develop, and discussed their common interest in new theatrical forms of presentation.

This book develops ways of discussing musical practices to articulate a new approach to understanding connections between recordings, singers, and singing. Centred around materials from the mid-twentieth century, this book focuses on a time when composers and performers were questioning the idea of authorship within their musical practice. Materials drawn upon include recordings, scores, archival content, visual art, interviews, and liner notes to develop a rich conception of practices of performance. Analysis of performances include recordings of singers such as Cathy Berberian, Linda Hirst, Lore Lixenberg, Angelika Luz, and Meredith Monk. Compositions by Cathy Berberian, Luciano Berio, John Cage, and Manuel De Falla are considered. The book utilizes these sources to examine the collective way in which singers and composers form practices as multiple, transforming, emergent, and not hierarchical. The book articulates - with a detailed, close consideration of specific instances in recordings and scores - a relational understanding of performance. This book will be useful reading for students and scholars of music analysis, musicology, performance practice, and twentieth century vocal music.

The author of "New Musical Resources", Henry Cowell's works include innovative single movement vocal or instrumental pieces, 20 symphonies, five string quartets, and 8 suites of various kinds. He was also innovative in his use of instruments from different cultures (jalatarang, dragonmouths, Japanese wind glasses, the shakuhachi flute) and in this book, Nicholls brings together a symposium of articles and reminiscences dealing exclusively with Cowell.

It is impossible to contain Henry Cowell within the boundaries of the consistencies of forms, styles, ensembles, and genres of Western art music. John Cage once described Cowell as the "open sesame for new music in America." Of the thousand or so works catalogued by William Lichtenwanger, the majority are formally innovative single movement vocal or instrumental pieces, although there are 20 symphonies, five string quartets, and 8 suites of various kinds. Cowell was also innovative in his use of instruments from different cultures (jalatarang, dragonmouths, Japanese wind glasses, the shakuhachi flute) and in this book, Lou Harrison writes of Cowell's "adventurous promotion of automobile junkyards for the finding of new sounds." In addition, Cowell was a tireless advocate of new music in the West, and Musics from other cultures worldwide, as a teacher, lecturer, publisher, and performer. He founded "New Music Quarterly" in 1927, wrote the influential book "Ne
In this major book of articles"

The historic encounter around 1911 between the composer Arnold Schonberg and the painter Wassily Kandinsky occurred at a moment when the first wild revolts against traditional art, Dada and Futurism, had just manifested themselves. Independently of those sometimes spectacular activities, both Schonberg and Kandinsky had already concluded that the material and the compositional methods they had relied on in the past were exhausted and did not satisfy the development of their artistic ideas.
Both artists had already submitted their modes of production to a critical analysis which resulted in Schonberg's Theory of Harmony and Kandinsky's Concerning the Spiritual in Art, both of 1911 - indeed the two artists had already been putting their self-criticism into practice for some time. In Schonberg's case this led to breaking with tonality; Kandinsky effected the transition to abstract painting.
This book is a collection of the papers presented at the conference on Schonberg and Kandin

In the years 1917 to 1991, despite unfavorable prevailing conditions, there were outstanding achievements in the music created for the cinema in the Soviet Union. Perhaps in no other country was film music associated with so many distinguished composers: Sergei Prokofiev, Dmitry Shostakovich, Isaak Dunayevsky, Georgy Sviridov, Aram Khachaturian, Alfred Schnittke, Nikolai Karetnikov, Edward Artemyev, Edison Denisov, and Sofia Gubaidulina.
They were ready to accept film directors' invitations because they considered the cinema to be a perfect laboratory for testing the concepts and themes for future operas, symphonies, oratorios, and other large-scale compositions.
A remarkable characteristic of Soviet film music was the appearance of successful director - composer collaborations, such as the famous 'duets' of Eisenstein - Prokofiev, Kozintsev - Shostakovich and Tarkovsky - Artemyev.
This fascinating volume is the first attempt at a historical analysis of Soviet film music - a unique and full