A fresh appreciation of the great musical figure that gives him his due as composer as well as conductor Leonard Bernstein stood at the epicenter of twentieth-century American musical life. His creative gifts knew no boundaries as he moved easily from the podium, to the piano, to television with his nationally celebrated Young People's Concerts, which introduced an entire generation to the joy of classical music. In this fascinating new biography, the breadth of Bernstein's musical composition is explored, through the spectacular range of music he composed-from West Side Story to Kaddish to A Quiet Place and beyond-and through his intensely public role as an internationally celebrated conductor. For the first time, the composer's life and work receive a fully integrated analysis, offering a comprehensive appreciation of a multi-faceted musician who continued to grow as an artist well into his final days.

This is the first-ever historical study across all musical genres in any American metropolis. Detroit in the 1940s-60s was not just "the capital of the twentieth century" for industry and the war effort, but also for the quantity and extremely high quality of its musicians, from jazz to classical to ethnic. The author, a Detroiter from 1943, begins with a reflection of his early life with his family and others, then weaves through the music traffic of all the sectors of a dynamic and volatile city. Looking first at the crucial role of the public schools in fostering talent, Motor City Music surveys the neighborhoods of older European immigrants and of the later huge waves of black and white southerners who migrated to Detroit to serve the auto and defense industries. Jazz stars, polka band leaders, Jewish violinists, and figures like Lily Tomlin emerge in the spotlight. Shaping institutions, from the Ford Motor Company and the United Auto Workers through radio stations and Motown, all deployed music to bring together a city rent by relentless segregation, policing, and spasms of violence. The voices of Detroit's poets, writers, and artists round out the chorus.

'A delight to read' Philip Pullman 'Essential reading ... a genuine landmark publication' Tom Service A BBC Radio 4 'Book of the Week' The music of the British composer Michael Tippett - including the oratorio A Child of Our Time, five operas, and four symphonies - is among the most visionary of the twentieth century. But little has been written about his extraordinary life. In this long-awaited first biography, Oliver Soden weaves a century-spanning narrative of epic scope and penetrating insight. His achievement is to have enriched our understanding not only of Tippett but of the twentieth century. Figures such as T.S. Eliot, E.M. Forster, Barbara Hepworth, and W.H. Auden jostle in the cast list. An Edwardian world of gaslight and empire cedes to turmoil and warfare and his operas' game-changing attitudes to gay and civil rights, against a backdrop of the Cold War and the Space Race. The result is a landmark in the study of twentieth-century culture, simultaneously an astonishing feat of scholarship and a story as enthralling as in any great novel.

A source book incorporating all the most important unpublished writings of America's great composer.

Here are most of the previously unpublished writings of Charles E. Ives: a primary source book on this unique American composer.

These "Memos," as Ives called them, were on separate leaves and dealt with his music, composition, criticism, autobiography, biography, and many other topics. During his lifetime Ives rearranged them, lent them out, mislaid and tucked them away in books so that, in the late 1940s, only about three-fifths of the leaves were available to his biographer.

After his death in 1954, Ives's papers were gradually put in order, and in time most of the remaining leaves came to light. These two "batches" are here dovetailed into a three-part form by John Kirkpatrick, who has devotedly arranged, edited, and annotated them. Part One, "Pretext," sets forth Ives's aims, his views on music, critics, and criticism. In Part Two, "Scrapbook," Ives discusses his music. Part Three, "Memories," is devoted to biogrpahical and autobiographical remembrances.

The appendix consists of lists of Ives's music, other writings of Ives that round out the Memos, material clarifying Ives's relationship with people who influenced him, a play and a story Ives thought had operatic possibilities. There are three indices: a chronology of dates, an index to the music of Ives, and an index of names.

'In Music, the Arts, and Ideas, ' Leonard B. Meyer uses music as a vantage point to discover patters in the perplexing, fragmented world of twentieth-century culture. The book is concerned with the aesthetics of music and with the relationships between music (and the other arts), ideology, and history--especially as these have shaped contemporary culture. The Postlude, written for this edition, looks back at the predictions made more than twenty-five years ago and speculates about what the coming decades may hold.

When the great avant-gardist John Cage died, just short of his eightieth birthday in 1992, he was already the subject of dozens of interviews, memoirs, and discussions of his contribution to music, music theory, and performance practice. But Cage never thought of himself as only (or even primarily) a composer; he was a poet, a visual artist, a philosophical thinker, and an important cultural critic.
"John Cage: Composed in America" is the first book-length work to address the "other" John Cage, a revisionist treatment of the way Cage himself has composed and been "composed" in America. Cage, as these original essays testify, is a contradictory figure. A disciple of Duchamp and Schoenberg, Satie and Joyce, he created compositions that undercut some of these artists' central principles and then attributed his own compositional theories to their "tradition." An American in the Emerson-Thoreau mold, he paradoxically won his biggest audience in Europe. A freewheeling, Californian artist, Cage was committed to a severe work ethic and a firm discipline, especially the discipline of Zen Buddhism.
Following the text of Cage's lecture-poem "Overpopulation and Art," delivered at Stanford shortly before his death and published here for the first time, ten critics respond to the challenge of the complexity and contradiction exhibited in his varied work. In keeping with Cage's own interdisciplinarity, the critics approach that work from a variety of disciplines: philosophy (Daniel Herwitz, Gerald L. Bruns), biography and cultural history (Thomas S. Hines), game and chaos theory (N. Katherine Hayles), music culture (Jann Pasler), opera history (Herbert Lindenberger), literary and art criticism (Marjorie Perloff), cultural poetics (Gordana P. Crnkovic, Charles Junkerman), and poetic practice (Joan Retallack). But such labels are themselves confining: each of the essays sets up boundaries only to cross them at key points. The book thus represents, to use Cage's own phrase, a much needed "beginning with ideas."

"["Western Music and Its Others] will be taken as an important book signalling a new turn within the field. It takes the best features of traditional, rigorous scholarship and brings these to bear upon contemporary, more speculative questions. The level of theoretical sophistication is high. The studies within it are polemical and timely and of lasting scholarly value."--Will Straw, co-editor of "Theory Rules: Art as Theory/ Theory and Art

"The great value of this collection lies in the wealth of questions that it raises--questions that together crystallize the recent concerns of musicology with force and clarity. But it also lies in the authors' resistance to the easy 'postmodernist' answers that threaten to turn new musicology prematurely grey. The editors' comprehensive, intellectually adventurous introduction exemplifies the sort of eager yet properly skeptical receptivity to scholarly innovation that fosters lasting disciplinary reform. It alone is worth the price of the book." --Richard Taruskin, author of "Stravinsky and the Russian Traditions: A Biography of the Works Through" Mavra"

"When cultural-studies methods first appeared in musicology 15 years ago, they triggered a storm of polemics that sometimes overshadowed the important issues being raised. As the canon wars recede, however, scholars are finding it possible to focus on the concerns that led them to cultural criticism in the first place: the study of music and its political meanings. "Western Music and Its Others brings together leading musicologists, ethnomusicologists, and specialists in film and popular music to explore the ways European and North American musicians have drawn on or identified themselves intension with the musical practices of Others. In a series of essays ranging from examination of the Orientalist tropes of early 20th-century Modernists to the tangled claims for ownership in today's World Music, the authors in this collection greatly advance both our knowledge of specific case studies and our intellectual awareness of the complexity and urgency of these problems. A timely intervention that should help push music studies to the next level." --Susan McClary, author of "Conventional Wisdom: The Content of Musical Form (2000)

"This collection provides a sophisticated model for using theory to interrogate music and music to interrogate theory. The essays both take up and challenge the dominance of notions of representation in cultural theory as they explore the relevance of the concepts of hybridity and otherness for contemporary art music. Sophisticated theory, erudite scholarship and a very real appreciation for the specificities of music make this a powerful and important addition to our understanding of both culture and music." --Lawrence Grossberg, author of "Dancing in Spite of Myself

"A fascinating interdisciplinary study of the interconnected subtexts of erotic attraction, illness, and death in several 19th- and 20th-century operatic texts. . . . This is an extraordinary examination of how opera uses the singing bodygendered and sexualto give voice to the suffering person. Highly recommended."Library Journal "The authors argument is rich and complex; it draws on source, text and music; it is also medically sound. Opera is quintessentially an art of love and desire, of loss and suffering, of disease and death. Hutcheon and Hutcheon enrich our understanding of both content and context."Opera News "Linda and Michael Hutcheon have done a fine job of pulling together medical and literary sources to make sense of the changing depiction of disease in opera. . . . For opera lovers and for anyone interested in seeing good, synthetic reasoning at work, this is a fine study."Publishers Weekly Linda Hutcheon is a professor of English and comparative literature at the University of Toronto. She is the author of, most recently, Ironys Edge: The Theory and Politics of Irony. Michael Hutcheon, M.D., is a professor of medicine at the University of Toronto. His many articles have appeared in American Review of Respiratory Disease and other journals.

Glasgow has always been known for its live music, and at the heart of any music community it is the live venues and buildings that are important, and play host to local and touring acts. One of the main reasons for Glasgow's continued blossoming as a cultural capital is the infrastructure of clubs and buildings available for live performances. This book in glorious colour throughout tells the history of the city's music through Glasgow's famous landmark buildings by people best placed to tell those stories - music writers and journalists and historians. This book is a collection of memories and stories about the buildings that hosted stars such as Michael Jackson, Joan Armatrading, Joy Division, among many thousands more - ranging from the Apollo to the Pavilion, Piping Centre, Sub Club and King Tut's.

Sound film captivated Sergey Prokofiev during the final two decades of his life: he considered composing for nearly two dozen pictures, eventually undertaking eight of them, all Soviet productions. Hollywood luminaries such as Gloria Swanson tempted him with commissions, and arguably more people heard his film music than his efforts in all other genres combined. Films for which Prokofiev composed, in particular those of Sergey Eisenstein, are now classics of world cinema. Drawing on newly available sources, Composing for the Red Screen examines - for the first time - the full extent of this prodigious cinematic career. Author Kevin Bartig examines how Prokofiev's film music derived from a self-imposed challenge: to compose "serious" music for a broad audience. The picture that emerges is of a composer seeking an individual film-music voice, shunning Hollywood models and objecting to his Soviet colleagues' ideologically expedient film songs. Looking at Prokofiev's film music as a whole - with well-known blockbusters like Alexander Nevsky considered alongside more obscure or aborted projects - reveals that there were multiple solutions to the challenge, each with varying degrees of success. Prokofiev carefully balanced his own populist agenda, the perceived aesthetic demands of the films themselves, and, later on, Soviet bureaucratic demands for accessibility.

In Arranging Gershwin, author Ryan Banagale approaches George Gershwin's iconic piece Rhapsody in Blue not as a composition but as an arrangement -- a status it has in many ways held since its inception in 1924, yet one unconsidered until now. Shifting emphasis away from the notion of the Rhapsody as a static work by a single composer, Banagale posits a broad vision of the piece that acknowledges the efforts of a variety of collaborators who shaped the Rhapsody as we know it today. Arranging Gershwin sheds new light on familiar musicians such as Leonard Bernstein and Duke Ellington, introduces lesser-known figures such as Ferde Grofe and Larry Adler, and remaps the terrain of this emblematic piece of American music. At the same time, it expands on existing approaches to the study of arrangements -- an emerging and insightful realm of American music studies -- as well as challenges existing and entrenched definitions of composer and composition.
Based on a host of newly discovered manuscripts, the book significantly alters existing historical and cultural conceptions of the Rhapsody. With additional forays into visual media, including the commercial advertising of United Airlines and Woody Allen's Manhattan, it moreover exemplifies how arrangements have contributed not only to the iconicity of Gershwin and Rhapsody in Blue, but also to music-making in America -- its people, their pursuits, and their processes."

Since the music is characterized principally by its diversity - by the different schools and movements moving forward simultaneously - it poses special problems for those lacking extensive analytical experience. Therefore, Morgan has included, for each selection, an analytical essay in which he discusses the overall character of the music in question, avoiding special terminology and technical jargon wherever possible. All musical genres are represented and only complete works, movements or integral sections are included. To assist the reader, the book includes instructions on how to read a score and a chart of instrumental names and abbreviations.

As heard on Radio 4 Book of the Week Lina Prokofiev was alone in her Moscow apartment one night when the telephone rang. The caller insisted that she come downstairs to collect a parcel, but when she reached the courtyard she was arrested for treason. First enraptured by the young pianist and rising star, Serge Prokofiev, during a courtship in Brooklyn, then abandoned by him in Moscow, Lina survived one of the darkest periods in Soviet history - enduring eight years in the Gulag after she received that fateful telephone call. Unfolding with the intrigue of a spy novel, The Love and Wars of Lina Prokofiev traces the largely untold story of a remarkable woman who gave up her career, her country and her freedom for the brilliant man she married.

Benjamin Britten was the greatest English composer of the twentieth century and one of the outstanding musicians of his age. Born in Lowestoft, Suffolk, in 1913, Britten was the youngest child of a dentist father and amateur musician mother. After studying at the Royal College of Music, he became a vital part of London's creative and intellectual life during the 1930s, collaborating with W. H. Auden and meeting his lifelong partner, the tenor Peter Pears. At the outbreak of the Second World War, Britten and Pears were already in America, earning a precarious living as freelance musicians before re-crossing the Atlantic by ship in the perilous days of 1942. But the east coast of England was where Britten, as he himself said, belonged: this was where he returned to write his most famous opera, Peter Grimes, and - with Pears and Eric Crozier - to found the Aldeburgh Festival in 1948. In the years that followed, his worldwide reputation grew steadily, helped by a busy schedule of international tours and, for many, crowned by the extraordinary success of his War Requiem. Meanwhile, his festival went from strength to strength, its progress symbolised by the opening of Snape Maltings Concert Hall in 1967. Britten was a mass of paradoxes: a solitary, introspective thinker who came to ebullient life in the company of young people, for whom he composed some of his most memorable works; a man of the political left who was on the friendliest terms with members of the royal family; a composer inspired by some of the twentieth century's deepest preoccupations who combined innovation with a profound understanding of musical tradition. Devoted to his friends, proteges and fellow musicians, he was, above all, someone who lived for music. Neil Powell's book is the landmark biography for Britten's centenary year: a subtle and moving portrait of a brilliant, complex and ultimately loveable man.

The clarinetist Rebecca Rischin has written a captivating book. . . . Her research dispels several long-cherished myths about the 1941 premiere. . . . Rischin lovingly brings to life the other musicians Etienne Pasquier, cellist; Henri Akoka, clarinetist; and Jean Le Boulaire, violinist who played with Messiaen, the pianist at the premiere." Alex Ross, The New Yorker "This book offers a wealth of new information about the circumstances under which the Quartet was created. Based on original interviews with the performers, witnesses to the premiere, and documents from the prison camp, this first comprehensive history of the Quartet's composition and premiere held my interest from beginning to end. . . . For the End of Time touches on many things: faith, friendship, creativity, grace in a time of despair, and the uncommon human alliances that wartime engenders." Arnold Steinhardt, Chamber Music"The clarification of the order of composition of the movements is just one of the minor but cumulatively significant ways in which Rischin modifies the widely accepted account of the events at Stalag VIII A. . . . For the End of Time is a thorough and readable piece of investigative journalism that clarifies some important points about the Quartet's genesis." Michael Downes, Times Literary Supplement The premiere of Olivier Messiaen's Quartet for the End of Time on January 15, 1941, has been called one of the great stories of twentieth-century music. Composed while Messiaen (1908 1992) was imprisoned by the Nazis in Stalag VIII A, the work was performed under the most trying of circumstances: the temperature, inferior instruments, and the general conditions of life in a POW camp.Based on testimonies by the musicians and their families, witnesses to the premiere, former prisoners, and on documents from Stalag VIII A, For the End of Time examines the events that led to the Quartet's composition, the composer's interpretive preferences, and the musicians' problems in execution and how they affected the premiere and subsequent performances. Rebecca Rischin explores the musicians' life in the prison camp, their relationships with each other and with the German camp officials, and their intriguing fortunes before and after the momentous premiere. This paperback edition features supplementary texts and information previously unavailable to the author about the Quartet's premiere, Vichy and the composer, the Paris premiere, a recording featuring Messiaen as performer, and an updated bibliography and discography."

The works of Claude Debussy (1862-1918) had a major impact on the music of the 20th century, influencing a range of figures from Ravel and Stravinsky to Henri Dutilleux and Toru Takemitsu. Less well known is Debussy's influence on the popular culture of the period. Matthew Brown shows how Debussy's music has surfaced in an array of contexts from the film music of the 1940s to the dance music of the 1990s. It is easy to see how Debussy's impressionist soundscapes for orchestra such as La Mer and Iberia could be perfect models for accompaniments to film scenes, but as Brown makes clear Debussy's music and influence cannot by reduced to dreamy imitations of Clair de Lune. As he traces the trajectory of Debussy's stylistic evolution, Brown shows how facets of this style were reinterpreted in a surprising variety of popular musical contexts.

This book investigates the spectrum of meaning inherent in six orchestral works by Leos Janacek. It codifies his compositional style, first through a thorough examination of its origins in folk music and speech-melody, then in discussions of the features of its melody and motivic techniques. His harmonic style and multiple organizations of tonality are examined in rich detail. The analysis section consists of the examination of each musical work's musical elements, its affective and programmatic associations, as well as four narrative codes through which the listener discovers further meaning in the work: the hermeneutic code (which governs enigmas), the semic code of musical motives, the proairetic (formal) code, and the referential code (which draws on analogous passages from other pieces of music).

Elliott Carter (1908-2012) was the foremost composer of classical music in America during the second half of the 20th century. Over the course of a career that spanned seven decades, he consistently produced works that critics hailed as creatively daring, intellectually demanding, and emotionally complex. Distancing himself from the various "schools" and movements that grew and waned in popularity during the postwar era, Carter cultivated a deeply personal musical style that he developed and refined up until the very end of his life. This book springs from author David Schiff's life-long interest in Elliott Carter's music and his close personal connection with the composer which spanned over forty years. This critical overview of Carter's life and work explores aspects of the composer's life about which he was usually reticent-and occasionally misleading-such as his complicated relationships with Charles Ives, Aaron Copland, Nicolas Nabokov, and his own parents. Schiff's study of Carter's complete oeuvre-from his politically charged Depression-era ballets to the deeply personal and reflective late works-is based on extensive study of the composer's personal sketches and letters. Featuring an in-depth look at the legacy project of Carter's final decade, seven settings of American modernist poetry by E.E. Cummings, T.S. Eliot, Marianne Moore, Ezra Pound, Wallace Stevens and William Carlos Williams, this newest addition to the Master Musicians Series paints with a fine brush the story of America's foremost composer of the second half of the twentieth century.

With a Foreword by Brian Eno
The Ambient Century reveals the drift in twentieth-century music from composers to non-musicians, from strict rules to no rules and from the single note to the sample. From the expanding classical horizons of Debussy ro the revolutions in electronic music inaugurated by Stockhausen and Cage; through the epoch-defining music of rock maestros The Beatles and Jimi Hendrix to the pure electronic creations of Kraftwerk, Goldie and Moby - this is earthed by the development in Ambient Sound. Ambient has established itself beyond question as the 'classical music of the future', and this book is exhaustive in its knowledge and coverage. In this new edition, Mark Prendergast has updated the bible of electronic sound.

‘Prendergast's highly stimulating book courses across the last century, criss-crossing happily between classical, jazz, rock and its subdivisions, charting the myriad ways composers, musicians and galloping technology have expanded our sonic horizons’ —The Times

'It's not so much a Desert Island Discs as the soundtrack for a misson to Mars ... Prendergast describes a fascnitaing musical journey' —Uncut

'A stonker of a coffee-table wonder ... one of the most comprehensive representations of electronic music' —Bassline and Blank Magazine

"Alban Berg and His World" is a collection of essays and source material that repositions Berg as the pivotal figure of Viennese musical modernism. His allegiance to the austere rigor of Arnold Schoenberg's musical revolution was balanced by a lifelong devotion to the warm sensuousness of Viennese musical tradition and a love of lyric utterance, the emotional intensity of opera, and the expressive nuance of late-Romantic tonal practice.

The essays in this collection explore the specific qualities of Berg's brand of musical modernism, and present newly translated letters and documents that illuminate his relationship to the politics and culture of his era. Of particular significance are the first translations of Berg's newly discovered stage work "Night (Nocturne)," Hermann Watznauer's intimate account of Berg's early years, and the famous memorial issue of the music periodical 23. Contributors consider Berg's fascination with palindromes and mirror images and their relationship to notions of time and identity; the Viennese roots of his distinctive orchestral style; his links to such Viennese contemporaries as Alexander Zemlinsky, Franz Schreker, and Erich Wolfgang Korngold; and his attempts to maneuver through the perilous shoals of gender, race, and fascist politics.

The contributors are Antony Beaumont, Leon Botstein, Regina Busch, Nicholas Chadwick, Mark DeVoto, Douglas Jarman, Sherry Lee, and Margaret Notley.

Bard Music Festival:

Berg and His World
Bard College
Annandale-on-Hudson, New York
August 13-15, 2010 and August 20-22, 2010

The theme of The Planetary Clock is the representation of time in postmodern culture and the way temporality as a global phenomenon manifests itself differently across an antipodean axis. To trace postmodernism in an expansive spatial and temporal arc, from its formal experimentation in the 1960s to environmental concerns in the twenty-first century, is to describe a richer and more complex version of this cultural phenomenon. Exploring different scales of time from a Southern Hemisphere perspective, with a special emphasis on issues of Indigeneity and the Anthropocene, The Planetary Clock offers a wide-ranging, revisionist account of postmodernism, reinterpreting literature, film, music, and visual art of the post-1960 period within a planetary framework. By bringing the culture of Australia and New Zealand into dialogue with other Western narratives, it suggests how an antipodean impulse, involving the transposition of the world into different spatial and temporal dimensions, has long been an integral (if generally occluded) aspect of postmodernism. Taking its title from a Florentine clock designed in 1510 to measure worldly time alongside the rotation of the planets, The Planetary Clock ranges across well-known American postmodernists (John Barth, Toni Morrison) to more recent science fiction writers (Octavia Butler, Richard Powers), while bringing the US tradition into juxtaposition with both its English (Philip Larkin, Ian McEwan) and Australian (Les Murray, Alexis Wright) counterparts. By aligning cultural postmodernism with music (Messiaen, Ligeti, Birtwistle), the visual arts (Hockney, Blackman, Fiona Hall), and cinema (Rohmer, Haneke, Tarantino), this volume enlarges our understanding of global postmodernism for the twenty-first century.

From the end of the Second World War through the U.S. Bicentennial, the National Endowment for the Arts, the Rockefeller Foundation, and the Ford Foundation granted close to $300 million (approximately $2.3 billion in 2017 dollars) in the field of music alone. In deciding what to fund, these three grantmaking institutions decided to "ask the experts," adopting seemingly objective, scientific models of peer review and specialist evaluation. They recruited music composers at elite institutions, professors from prestigious universities, and leaders of performing arts organizations. Among the most influential expert-consultants were Leonard Bernstein, Aaron Copland, Lukas Foss, and Milton Babbitt. The significance was two-fold: not only were male, Western art composers put in charge of directing large and unprecedented channels of public and private funds, but in doing so they also determined and defined what was meant by artistic excellence. They decided the fate of their peers and shaped the direction of music-making in this country. By asking the experts, the grantmaking institutions produced a concentrated and interconnected field of artists and musicians. Officers and directors utilized ostensibly objective financial tools like matching grants and endowments in an attempt to diversify and stabilize applicants' sources of funding, as well as the number of applicants they funded. Such economics-based strategies, however, relied more on personal connections among the wealthy and elite, rather than local community citizens. Ultimately, this history demonstrates how "expertise" served as an exclusionary form of cultural and social capital that prevented racial minorities and non-dominant groups from fully participating.

Philip BrettOCOs groundbreaking writing on Benjamin Britten altered the course of music scholarship in the later twentieth century. This volume is the first to gather in one collection BrettOCOs searching and provocative work on the great British composer. Some of the early essays opened the door to gay studies in music, while the discussions that Brett initiated reinvigorated the study of BrittenOCOs work and inspired a generation of scholars to imagine the new musicology. Addressing urgent questions of how an artistOCOs sexual, cultural, and personal identity feeds into specific musical texts, Brett examines most of BrittenOCOs operas as well as his role in the British cultural establishment of the mid-twentieth century. With some of the essays appearing here for the first time, this volume develops a complex understanding of BrittenOCOs musical achievement and highlights the many ways that Brett expanded the borders of his field."

Philip Glass has, almost single-handedly, crafted the dominant sound of late-twentieth-century classical music. Yet in Words Without Music, his critically acclaimed memoir, he creates an entirely new and unexpected voice, that of a born storyteller and an acutely insightful chronicler, whose behind-the-scenes recollections allow readers to experience those moments of creative fusion when life so magically merged with art. From his childhood in Baltimore to his student days in Chicago and at Juilliard, to his first journey to Paris and a life-changing trip to India, Glass movingly recalls his early mentors, while reconstructing the places that helped shape his creative consciousness. Whether describing working as an unlicensed plumber in gritty 1970s New York or composing Satyagraha, Glass breaks across genres and re-creates, here in words, the thrill that results from artistic creation. Words Without Music ultimately affirms the power of music to change the world.

Drawing on newly available archival material, key works, and correspondence of the era, Australian Music and Modernism defines "Australian Music" as an idea that emerged through the lens of the modernist discourse of the 1960s and 70s. At the same time that the new "Australian Music" was distinctive of the nation, it was also thoroughly connected to practices from Europe and shaped by a new engagement with the music of Southeast Asia. This book examines the intersection of nationalism and modernism at this formative time. During the early stages of "Australian Music" there was disagreement about what the idea itself ought to represent and, indeed, whether the idea ought to apply at all. Michael Hooper considers various perspectives offered by such composers as Peter Sculthorpe, Richard Meale, and Nigel Butterley and analyzes some of the era's significant works to articulate a complex understanding of "Australian Music" at its inception.