Of the post-war, post-serialist generation of European composers, it was Luigi Nono who succeeded not only in identifying and addressing aesthetic and technical questions of his time, but in showing a way ahead to a new condition of music in the twenty-first century. His music has found a listenership beyond the ageing constituency of 'contemporary music'. In Nono's work, the audiences of sound art, improvisation, electronic, experimental and radical musics of many kinds find common cause with those concerned with the renewal of Western art music. His work explores the individually and socially transformative role of music; its relationship with history and with language; the nature of the musical work as distributed through text, time, technology and individuals; the nature and performativity of the act of composition; and, above all, the role and nature of listening as a cultural activity. In many respects his music anticipates the new technological state of culture of the twenty-first century while radically reconnecting with our past. His work is itself a case study in the evolution of musical activity and the musical object: from the period of an apparently stable place for art music in Western culture to its manifold new states in our century. Routledge Handbook to Luigi Nono and Musical Thought seeks to trace the evolution of Nono's musical thought through detailed examination of the vast body of sketches, and to situate this narrative in its personal, cultural and political contexts.

Commissioned by Roderick Williams, this characterful trilogy of songs sets poems by John Greening that present a vibrant, modern take on Schubert's song cycles. The first draws on 'Gute nacht' from Der Winterreise, taking inspiration from Captain Scott's perilous expedition to the Antarctic in 1911-12. The second, 'After Standchen', has an air of darkness and mystery, with icy clusters and ghostly spread chords. The text of the third song alludes to Schubert's 'Mein' from Die schoene Mullerin, and the musical setting is characterized by rapid semiquaver figuration in the piano and a vocal line full of dramatic expression.

One of the twentieth century's greatest composers, Jean Sibelius (1865-1957) virtually stopped writing music during the last thirty years of his life. Recasting his mysterious musical silence and his undeniably influential life against the backdrop of Finland's national awakening, "Sibelius" will be the definitive biography of this creative legend for many years to come. Glenda Dawn Goss begins her sweeping narrative in the Finland of Sibelius' youth, which remained under Russian control for the first five decades of his life. Focusing on previously unexamined parts of Sibelius' life, Goss explores the composer's formative experiences as a Russian subject and a member of the Swedish-speaking Finnish minority. She goes on to trace Sibelius' relationships with his creative contemporaries, with whom he worked to usher in a golden age of music and art that would endow Finns with a sense of pride in their heritage and encourage their hopes for the possibilities of nationhood. Skillfully evoking this artistic climate - in which Sibelius emerged as a leader - Goss creates a dazzling portrait of the painting, sculpture, literature, and music it inspired. To solve the deepest riddles of Sibelius' life, work, and enigmatic silence, Goss contends, we must understand the awakening in which he played so great a role.

This is the first book which deals with the school of American repetitive music, also know as minimal music. The early work of La Monte Young, Terry Riley, Steve Reich and Philip Glass is discussed in the context of traditional Western music. Minimal music thus emerges as the latest stage in a development leading from Schoenberg, Webern, Stockhausen and Cage. In considering the philosophical thinking of Deleuze and Lyotard, the representatives of the so-called French ' libidinal philosophy', and of Adorno, the author examines the degree to which the 'ecstatic dimension' is present in this music or is even consciously introduced to it.

for soprano and baritone soloists, SATB chorus, and orchestra This significant seven-movement work from Cecilia McDowall presents an imaginative pairing of extracts from The Notebooks of Leonardo da Vinci with texts from the Latin Missa pro defunctis. Da Vinci's reflective and penetrating insights into the nature of mortality and all that it encompasses cast new light on the familiar Requiem texts, and McDowall employs her orchestral forces to create a rich, atmospheric backdrop to the profound narrative presented by the chorus and soprano and baritone soloists. Dark, sonorous writing precedes an energetic 'Sanctus', and the closing bars of the luminous 'Lux aeterna' create a powerful allusion to da Vinci's concept of 'The Perspective of Disappearance'.

Double Lives: Film Composers in the Concert Hall is a collection of fifteen essays dealing with 'iconic' film composers who, perhaps to the surprise of many fans of film music, nevertheless maintained lifelong careers as composers for the concert hall. Featured composers include Erich Wolfgang Korngold, Franz Waxman, Miklos Rozsa, Bernard Herrmann, Nino Rota, Leonard Rosenman, and Ennio Morricone. Progressing in chronological order, the chapters offer accounts of the various composers' concert-hall careers and descriptions of their concert-hall styles. Each chapter compares the composer's music for films with his or her music for the concert hall, and speculates as to how music in one arena might have affected music in the other. For each composer discussed in the book, complete filmographies and complete works lists are included as appendices. Double Lives: Film Composers in the Concert Hall is accessible for scholars, researchers, and general readers with an interest in film music and concert music.

for SATB or upper voices, and wind band The Future of Fire is a brief but powerful work. The vibrant scoring creates a feeling of explosive energy from beginning to end with intense bursts from a battery of percussion. The melodic material is taken from a popular and touching love song from Shannxi province in north-western China, which is coupled with rhythmic motives in both the wind band and chorus. Folk melodies from this region use intervals of a minor seventh these angular leaps are suited to the dynamic spirit of this work. The chorus sings a vocalise based on repeated syllables that are found in Chinese folk songs, as well as many folk songs from around the world.

The first book about Elliott Carter's only opera--or indeed about any single work by this still-productive modern master. In 1997, the eminent American composer Elliott Carter teamed with British music critic/librettist Paul Griffiths to create the one-act opera What Next? Hailed by the New York Times as "theatrically dynamic" and "poignant," the opera explores how six people work together to emerge from the wreckage of an accident. Today, What Next? enjoys a prominent position in Carter's celebrated "late late" compositional period. In the firstbook to focus exclusively on one Carter composition, Guy Capuzzo uses the metaphors of communication, cooperation, and separation to trace the dramatic arc of What Next? Through an approach that places stage action, words,and music on equal footing, Capuzzo's readings of four excerpts from the opera reveal the inner workings of Carter and Griffiths's tragicomedy. Elliott Carter's "What Next?": Communication, Cooperation, and Separation sheds light on a significant work by a major figure in twentieth-century concert music and will be of interest to all who study American music, vocal music, and musical criticism. Guy Capuzzo is associate professor of music theory at the University of North Carolina - Greensboro.

Music, Time, and Its Other explores the relation between the enigmatic character of our temporal experiences and music's affective power. By taking account of competing concepts of time, Savage explains how music refigures dimensions of our experiences through staking out the borderlines between time and eternity. He examines a range of musical expressions that reply to the deficiency born from the difference between time and an order that exceeds or surpasses it and reveals how affective tonalities of works by Bach, Carolan, Debussy, Schoenberg, Messiaen, and Glass augment our understanding of our temporal condition. Reflections on the moods and feelings to which music gives voice counterpoint philosophical investigations into the relation between music's power to affect us and the force that the present has with respect to the initiatives we take. Music, Time, and Its Other thus sets out a new approach to music, aesthetics, politics, and the critical roles of judgment and imagination.

Originally the title for Vaughan Williams's opera Sir John in Love, Fat Knight was conceived as a seven-movement orchestral suite that drew upon the opera and had, as its central character, Shakespeare's Falstaff. Vaughan Williams never completed the work and left only a two-piano score. It is from this score that the conductor Martin Yates has realised the Fat Knight suite, incorporating the orchestration from the completed opera.

The Wind Band Music of Henry Cowell studies the compositions for wind band by twentieth-century composer Henry Cowell, a significant and prolific figure in American fine art music from 1914-1965. The composer is noteworthy and controversial because of his radical early works, his interest in non-Western musics, and his retrogressive mature style-along with notoriety for his imprisonment in San Quentin on a morals charge. Eleven chapters are organized both topically and chronologically. An introduction, conclusion, series of eight appendices, bibliography, and discography complete this comprehensive study, along with an audio playlist of representative works, hosted on the CMS website.

Described by Walton as the 'greatest symphony since Beethoven', Vaughan Williams's fourth symphony was composed in 1935 and is noted for its abrasively dissonant harmonic language, unlike much of the composer's other work. This new, scholarly edition, edited by David Matthews, will replace the existing OUP edition from 1935 and the Eulenburg edition from 1983. The preliminary text will include a preface, sources and editorial method, and detailed textual notes.

Symphony No. 9 in E minor was the last symphony written by Ralph Vaughan Williams and was premiered by the Royal Philharmonic Orchestra conducted by Malcolm Sargent on 2nd April 1958. It is described in The New Grove Dictionary of Music and Musicians as 'the most impressive achievement' of the composer's final decade. This scholarly edition replaces the original 1958 edition, and includes detailed preliminary matter comprising a preface, sources and editorial method, and detailed textual notes. Orchestral material is available on hire/rental.

Symphony No. 9 in E minor was the last symphony written by Ralph Vaughan Williams and was premiered by the Royal Philharmonic Orchestra conducted by Malcolm Sargent on 2nd April 1958. It is described in The New Grove Dictionary of Music and Musicians as 'the most impressive achievement' of the composer's final decade. This scholarly edition replaces the original 1958 edition, and includes detailed preliminary matter comprising a preface, sources and editorial method, and detailed textual notes. Orchestral material is available on hire/rental.

Originally published in 1943, Models for Beginners in Composition represents one of Arnold Schoenberg's earliest attempts at reaching a broad American audience through his pedagogical ideas. The novelty of this book was its streamlined approach, basing all aspects of composition including motivic design, harmony, and the construction of themes on the two-measure phrase. This newly revised edition by Gordon Root incorporates many of Schoenberg's corrections to the original manuscript. It also includes a significant commentary elucidating the evolution of Schoenberg's pedagogical approach. In its function as a practical manual for the American classroom, Models for Beginners in Composition is unique among Schoenberg's texts. The current Commentary explores Schoenberg's experience as a teacher at UCLA while tracing the development of the two-measure phrase as the main component of his pedagogical method. It demonstrates the way in which Schoenberg simultaneously preserved and adapted European ideas about tonal theory and pedagogy when he came to America, a give and take that allowed for increased theoretical originality and scope. Models for Beginners in Composition established the two-measure phrase as one of the most significant of Schoenberg's contributions to American music education. This new edition, with Schoenberg's corrections and newly added commentary, allows readers to utilize and explore the text in greater depth. Students of composition, Schoenberg scholars, music theorists, and historians of music theory alike will no doubt welcome this new edition.

The musical leitmotif, having reached a point of particular forcefulness in the music of Richard Wagner, has remained a popular compositional device up to the present day. In this book, Matthew Bribitzer-Stull explores the background and development of the leitmotif, from Wagner to the Hollywood adaptations of The Lord of The Rings and the Harry Potter series. Analyzing both concert music and film music, Bribitzer-Stull explains what the leitmotif is and establishes it as the union of two aspects: the thematic and the associative. He goes on to show that Wagner's Ring cycle provides a leitmotivic paradigm, a model from which we can learn to better understand the leitmotif across style periods. Arguing for a renewed interest in the artistic merit of the leitmotif, Bribitzer-Stull reveals how uniting meaning, memory, and emotion in music can lead to a richer listening experience and a better understanding of dramatic music's enduring appeal.

This hauntingly beautiful piece is extracted from Rutter's large-scale work Visions. The expressive solo line features long phrases, double stopping in thirds and sixths, and a quasi-improvised section, making it an ideal concert work for advanced violinists.

First Published in 1998. This book serves as the key to study of Kodaly for an English-speaking audience. The volume presents a biographical outline, a catalog of his compositions according to genre, and over 1,400 annotated primary and secondary sources. Three indexes cover listings by author and title, Kodaly's compositions, and proper names. Primary sources include Kodaly's own essays, articles, lectures on folk music and art music, letters and other documents, and his folk music collections and facsimiles. Secondary sources include: biographical and historical studies; theoretic, analytic, stylistic, and aesthetic studies of his music; discussions of folk music influences and art music influences; studies of his compositional process; and discussions of the Kodaly concept. Doctoral dissertations and Masters theses pertaining to Kodaly are included in this guide. This annotated, topically organized book is the first to draw together the most important primary and secondary bibliographic sources that cover his varied activities as composer, ethnomusicologist, linguist, and educator.

One of today's most widely acclaimed composers, Arvo Part broke into the soundscape of the Cold War West with Tabula Rasa in 1977, a work that introduced his signature tintinnabuli style to listeners throughout the world. In the first book dedicated to this pathbreaking composition, author Kevin C. Karnes tells the story of Tabula Rasa as one of Part and of Europe itself, traced over the course of a quarter-century that saw momentous transitions in European culture and politics, history and memory. Beginning at the site of the work's creation in the Estonian SSR, and drawing extensively upon a range of previously unexamined archival materials, Karnes recounts Part's discovery of tintinnabuli amidst his experiments with the music of the Western and Soviet avant-gardes. He examines Tabula Rasa in relation to modernist conceptions of musical structure, the ascetic practice of Orthodox Christianity, postwar experiences of electronic music, and the polystylistic approaches to composition that have become emblematic of the Soviet 1970s. Tracing the export of Tabula Rasa to the West and Part's emigration in 1980, the book reveals intersections of critical commentary with visions of the "end of history" that attended the collapse of European communism to suggest that it was in this confluence of listening, discovery, and geopolitical reordering that enduring lines of conversation about Part and his music took shape.

Musicians are always quick to adopt and explore new technologies. The fast-paced changes wrought by electrification, from the microphone via the analogue synthesiser to the laptop computer, have led to a wide range of new musical styles and techniques. Electronic music has grown to a broad field of investigation, taking in historical movements such as musique concrete and elektronische Musik, and contemporary trends such as electronic dance music and electronica. The first edition of this book won the 2009 Nicolas Bessaraboff Prize as it brought together researchers at the forefront of the sonic explorations empowered by electronic technology to provide accessible and insightful overviews of core topics and uncover some hitherto less publicised corners of worldwide movements. This updated and expanded second edition includes four entirely new chapters, as well as new original statements from globally renowned artists of the electronic music scene, and celebrates a diverse array of technologies, practices and music.

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.

Elliott Carter (b.1908) is now generally acknowledged as America's most eminent living composer. This definitive volume of his essays and lectures -- many previously unpublished or uncollected -- shows his thinking and writing on music and associated issues developing in parallel with his career as a composer; his reputation became established in the 1950s, and the material in this book offers an important and knowledgeable commentary on the course of American and European music in the succeeding decades. Carter's articles on his own music have become classic texts for students of his oeuvre; he also writes on the state of new music in Europe and the United States and the relations between music and the other arts. Other pieces range from a consideration of aspects of music to the work of individual composers. As a whole, the collection is the expression of Carter's musical philosophy, and a valuable record for historians of modern music.

The first full-length study dedicated to Schoenberg's life and music in the United States, Schoenberg's New World dispels many myths and fills significant gaps in the existing literature on Schoenberg. Drawing on much new information, the book traces early Schoenberg pioneers in America, who set the stage for Schoenberg's arrival in 1933. The volume addresses in detail how Schoenberg while coming to terms with his German and Jewish identities, thoroughly adapted to American society both privately and professionally. New light is cast on Schoenberg's relations with Americans, his interest in American culture, and changes in his religious and political thinking and lifestyle. As Schoenberg was committed to the advancement of American music and composed music inspired by and composed for American musicians, his American works are examined anew with regard to their contexts and the history of their performance and publication. Schoenberg's many interactions with performers and publishers in the United States are explored as well. Illustrating how Schoenberg adjusted to the American educational system, the book delves into Schoenberg's American teaching career, teaching methods and materials and features some of the many remarkable students he taught in Boston and Los Angeles. Finally the impact of Schoenberg's music and ideas on American performers, composers and scholars after World War II is gauged in the light of major political and cultural changes during the Cold War era. Schoenberg's New World contributes to a new understanding of one of the most important pioneers of musical modernism and most polarizing figures in twentieth-century music.

Witold Lutoslawski was one of the most important composers of the twentieth century, whose significance extends far beyond his native Poland. His vita is just as captivating as his compositionally path-breaking music. Witold Lutoslawski (1913-1994) was one of the most important composers of the twentieth century. His significance extends far beyond his native Poland: his classical music was premiered by internationally renowned performers likethe LaSalle Quartet and Krystian Zimerman, and his symphonies, concertante, chamber, instrumental and vocal music are produced by the leading labels of the recording industry. Lutoslawski's vita is just as captivating as his compositionally path-breaking music. He lived through the Second World War and brutal German oppression of Poland, negotiated the challenges of Soviet influence and fluctuating local politics during Poland's post-war transition to communism, and finally strove for a new voice in the post-Stalin Thaw of the mid-1950s. Lutoslawski's Worlds is a landmark volume which looks at the multi-faceted spheres that informed the composer's life and works andrepresents a new departure in the study of his music. Throughout his life, he steered musicologists away from the connections between his extraordinary biography and concert music. He also sought to minimize scholarly attention to the many other spheres of creative activity - popular music, theatre music, film scoring, propaganda music, and educational music - that occupied him. In this volume, for the first time, the world's leading Lutoslawski scholars consider the full range of his musical output and the biographical, cultural and historical contexts in which those musics were created. It contends that all of Lutoslawski's worlds are equally worthy of study, because each represents an opportunity better to understand the life and music of a figure of paramount importance to the critical and cultural history of twentieth-century music.

This book provides an overview of the current state of research on Machaut, the major figure of 14th-century French music and poetry, giving fair representation to the many areas of Machaut research that are pursued in fields outside music.