In a wide-ranging study of sentimentalism's significance for styles, practices and meanings of music in the nineteenth and twentieth centuries, a series of interpretations scrutinizes musical expressions of sympathetic responses to suffering and the longing to belong. The book challenges hierarchies of artistic value and the associated denigration of sentimental feeling in gendered discourses. Fresh insights are thereby developed into sentimentalism's place in musical constructions of emotion, taste, genre, gender, desire, and authenticity. The contexts encompass diverse musical communities, performing spaces, and listening practices, including the nineteenth-century salon and concert hall, the cinema, the intimate stage persona of the singer-songwriter, and the homely ambiguities of 'easy' listening. Interdisciplinary insights inform discussions of musical form, affect, appropriation, nationalisms, psychologies, eco-sentimentalism, humanitarianism, consumerism, and subject positions, with a particular emphasis on masculine sentimentalities. Music is drawn from violin repertory associated with Joseph Joachim, the piano music of Chopin, Schumann, and Liszt, sentimental waltzes from Schubert to Ravel, concert music by Bartok, Szymanowski and Gorecki, the Merchant-Ivory adaptation of The Remains of the Day, Antonio Carlos Jobim's bossa nova, and songs by Duke Ellington, Burt Bacharach, Carole King, Barry Manilow and Jimmy Webb. The book will attract readers interested in both the role of music in the history of emotion and the persistence and diversity of sentimental arts after their flowering in the eighteenth-century age of sensibility.

Joaquin Rodrigo: A Research and Information Guide catalogues and summarizes the musical works and related literature of Joaquin Rodrigo (1901-99), perhaps the most important Spanish composer of concert music in the second half of the twentieth century. The guide provides annotated bibliographic entries for both primary and secondary sources, detailing several guitar concertos, concertos for flute, violin, harp, cello, and piano, as well as symphonic pieces, piano solos, chamber music, and choral and stage works. Rodrigo's reputation rests on the Concierto de Aranjuez for guitar and orchestra and its expressive middle movement, which inspired jazz arrangements by Miles Davis and Chick Corea in the 1960s and continues to appear in film scores even eighty years after its composition. A major reference tool for all those interested in the prolific Rodrigo and his music-featuring a chronology of the composer's life and robust indices that enable researchers to easily locate sources by author, composition, or subject-Joaquin Rodrigo: A Research and Information Guide is a valuable resource for students and researchers alike.

Composers, arrangers, conductors, session musicians, and executives worked in easy listening and scoring, complicating an academic focus that lionizes film music while ignoring or deriding easy listening. This book documents easy listening's connections with film music, an aspect overlooked in academic and popular literature. Fueled by the rise of the LP and home entertainment, easy listening became the largest midcentury commercial music market, generating more actual income for the record business than 7- inch singles. Easy listening roped in subgenres including classical, baroque, jazz, Latin, Polynesian, "exotica," rock, Broadway, and R&B, appropriated and reinterpreted just as they were for cinema. Easy listening provided opportunities in orchestral music for conservatory- trained composers. Major film composers such as Henry Mancini and Michel Legrand had a prodigious output of easy listening albums. Critics fault easy listening for structural racisms, overlooking its evolution and practitioners. Easy listening helped destabilize a tripartite record business that categorized product as race records, old time records, or general popular music. Charlie Parker's with Strings records altered the direction of jazz, profoundly influencing other performers, encouraging bold crosspollinations, and making money. The influence of technology and historical contexts of music for work and leisure are explored. Original interviews and primary sources will fascinate scholars, historians, and students of cinema, television, film scoring, and midcentury popular music.

When the German Democratic Republic (GDR) was founded in 1949, its leaders did not position it as a new state. Instead, they represented East German socialism as the culmination of all that was positive in Germany's past. The GDR was heralded as the second German Enlightenment, a society in which the rational ideals of progress, Bildung, and revolution that had first come to fruition with Goethe and Beethoven would finally achieve their apotheosis. Central to this founding myth was the Germanic musical heritage. Just as the canon had defined the idea of the German nation in the nineteenth-century, so in the GDR it contributed to the act of imagining the collective socialist state.
Composing the Canon in the German Democratic Republic uses the reception of the Germanic musical heritage to chart the changing landscape of musical culture in the German Democratic Republic. Author Elaine Kelly demonstrates the nuances of musical thought in the state, revealing a model of societal ascent and decline that has implications that reach far beyond studies of the GDR itself. The first book-length study in English devoted to music in the GDR, Composing the Canon in the German Democratic Republic is a seminal text for scholars of music in the Cold War and in Germany more widely.

This collection of essays is the first book-length study of music history and cosmopolitanism, and is informed by arguments that culture and identity do not have to be viewed as primarily located in the context of nationalist narratives. Rather than trying to distinguish between a true cosmopolitanism and a false cosmopolitanism, the book presents studies that deepen understanding of the heritage of this concept - the various ways in which the term has been used to describe a wide range of activity and social outlooks. It ranges over a two hundred-year period, and more than a dozen countries, revealing how musicians and audiences have responded to a common humanity by embracing culture beyond regional or national boundaries. Among the various topics investigated are: musical cosmopolitanism among composers in Latin America, the Ottoman Empire, and Austro-Hungarian Empire; cosmopolitan popular music historiography; cosmopolitan musical entrepreneurs; and musical cosmopolitanism in the metropolises of New York and Shanghai.

The Pre-history of 'The Midsummer Marriage' examines the early collaborative phase (1943 to 1946) in the making of Michael Tippett's first mature opera and charts the developments that grew out of that phase. Drawing on a fascinating group of Tippett's sketchbooks and a lengthy sequence of his letters to Douglas Newton, it helps construct a narrative of the Tippett-Newton collaboration and provides insights into the devising of the opera's plot, both in that early phase and in the phase from 1946 onwards when Tippett went on with the project alone. The book asks: who was Newton, and what kind of collaboration did he have-then cease to have- with Tippett? What were the origins of and shaping factors behind the original scenario and libretto-drafts? How far did the narrative and controlling concepts of Midsummer Marriage in its final form tally with-and how far did they move away from-those that had been set up in the years of the two men's collaboration, the 'pre-historic' years? The book will be of particular interest to scholars and researchers in opera studies and twentieth-century music.

Identity and Diversity in New Music: The New Complexities aims to enrich the discussion of how musicians and educators can best engage with audiences, by addressing issues of diversity and identity that have played a vital role in the reception of new music, but have been little-considered to date. Marilyn Nonken offers an innovative theoretical approach that considers how the environments surrounding new music performances influence listeners' experiences, drawing on work in ecological psychology. Using four case studies of influential new music ensembles from across the twentieth century, she considers how diversity arises in the musical environment, its impact on artists and creativity, and the events and engagement it makes possible. Ultimately, she connects theory to practice with suggestions for how musicians and educators can make innovative music environments inclusive.

The Nature of Nordic Music explores two distinctive yet complementary understandings of the term 'nature': the inherent features, characters and qualities of contemporary Nordic music, and how the elemental forces of nature, the phenomena of the physical world (landscape, climate, environment), inspire and condition creativity here. Within a broader debate about the meaning of 'Nordicness', 12 case studies challenge our assumptions about a 'Nordic tone' to reveal a creative energy that is diverse and cosmopolitan in outlook. Each of the three parts of the book - 'Identities', 'Images' and 'Environments' - accommodates an eclectic array of musical genres (classical, popular, jazz, folk, electronic). This book will appeal to anyone interested in Nordic music and culture, especially students and researchers.

On 10 December 1910, Giacomo Puccini's seventh opera, La fanciulla del West, had its premiere before a sold-out audience at New York City's Metropolitan Opera House. The performance was the Metropolitan Opera Company's first world premiere by any composer. By all accounts, the premiere was an unambiguous success and the event itself recognized as a major moment in New York cultural history. The initial public opinion matched Puccini's own evaluation of his opera. He called it "the best he had ever written" and expected it to become as popular as La Boheme. Yet the music reviews tell a different story. Marked by ambivalence, the reviews expose the New York City critics' struggle to reconcile the opera they expected to see with the one they actually saw, and the opera itself became embroiled in controversy over the essence of musical Americanness and the nativist perception that a uniquely American national opera tradition continued to elude both American- and foreign-born opera composers. This book seeks to account for the differences between Puccini's own assessments of the opera and those of its first audience. Offering transcriptions of the central reviews and of letters unavailable elsewhere, the book provides a historically informed understanding of La fanciulla del West and the reception of this European work as it intersected with both opera production and consumption in the United States and with the process of American musical identity formation during the very period that Americans actively sought to eradicate European cultural influences. As such, it offers a window into the development of nativism and "cosmopolitan nationalism" in New York City's musical life during the first decade of the twentieth century.

This title was first published in 2002. Sir Peter Maxwell Davies is one of Britain's most distinguished composers. This source book documents as much of the material on his music as is available to 2001. As Richard McGregor points out in his foreword to the volume, Stewart Craggs has made valuable advances in sorting out the origins of many unknown works and gleaning details of many private compositions. The book also supplies details of those unknown works which haven't appeared in any previous catalogues, including broadcasts of early works from the BBC Archives. With information given on first performances, manuscript locations and recordings, in addition to details of composition dates, authors/librettists, durations, commissions and dedications amongst much else, this book is a key reference source for all those interested in Peter Maxwell Davies and his music.

The first significant publication devoted entirely to Trevor Jones's work, The Screen Music of Trevor Jones: Technology, Process, Production, investigates the key phases of his career within the context of developments in the British and global screen-music industries. This book draws on the direct testimony of the composer and members of his team as well as making use of the full range of archival materials held in the University of Leeds's unique Trevor Jones Archive, which was digitized with support from the Arts and Humanities Research Council. Through a comprehensive series of chapters covering Jones's early career to his recent projects, this book demonstrates how Jones has been active in an industry that has experienced a prolonged period of major technological change, including the switchover from analogue to digital production and post-production techniques, and developments in computer software for score production and sound recording/editing. This is a valuable study for scholars, researchers and professionals in the areas of film music, film-score production and audio-visual media.

The aftermath of World War II sent thousands of Estonian refugees into Europe. The years of Estonian independence (1917-1940) had given them a taste of freedom and so relocation to displaced person (DP) camps in post-war Germany was extremely painful. One way in which Estonians dealt with the chaos and trauma of WWII and its aftermath was through choral singing. Just as song festivals helped establish national identity in 1869, song festivals promoted cultural cohesiveness for Estonians in WWII displaced person camps. A key turning point in hope for the Estonian DPs was the 1947 Augsburg Song Festival, which is the center point of this book. As Estonian DPs dispersed to Australia, Canada, Europe, and the United States these choirs and song festivals gave Estonians the resilience to retain their identity and to thrive in their new homes. This history of Estonian WWII DP camp choirs and song festivals is gathered from the stories of many courageous individuals and filled with the tenacious spirit of the Estonian singing culture. This work contributes to an understanding of immigration, identity, and resilience and is particularly important within the field of music regarding music and healing, music and identity, historical musicology, ethnomusicology, and music and politics.

American organist David Craighead's influence in the United States and abroad is widespread and extensive: 37 years as professor of organ at the Eastman School of Music, 48 years as church organist at St. Paul's Episcopal Church in Rochester, New York, and 64 years performing in over 275 cities as a concert organist. His name has become synonymous with excellence in organ pedagogy and performance in the 20th century. In David Craighead: Portrait of an American Organist, Tandy Reussner presents the full story of the artist's life, told with quotes and anecdotes from Craighead himself as well as from his fellow colleagues and former students. Reussner references historical events in the framework of Craighead's life, from changes in pipe organ construction to the riots of the 1960s, to provide the full context of a musician in 20th-century America. The book also contains facsimiles of musical examples, personal memorabilia, letters, and recital programs. Additional reference information includes a complete listing of his recitals from 1942 to 1998, a comprehensive list of his repertoire, a full discography, and a unique compilation of photos.

Bringing together well-known writers with composers and performers, this volume gives a complete overview of Holt's creative work up to 2015. British composer Simon Holt (b. 1958) has been a leading presence in contemporary music since the early 1980s and Kites. His output is diverse, comprising chamber music, concertos for diverse instruments, songs, piano musicand opera. Holt is a composer who demands unusual commitment from his interpreters - the intricate sound-worlds he creates often contain complex, rich textures, offset by 'still centres' - for the purpose of making music which speaks with extraordinary power. Bringing together well-known writers with composers and performers, this volume gives a complete overview of Holt's creative work up to 2015 and Fool is hurt. It uses a variety of approaches to help readers, listeners and players to find ways into the pieces and to understand the influence of visual art and poetry on Holt's work. Colour illustrations, music examples, tables and sketch facsimiles offer a rounded impression of Holt's inspiration and thought to date. Also included are a wide-ranging conversation between Simon Holt and the artist Julia Bardsley, and a text by the conductor Thierry Fischer. The volume also offers the first detailed catalogue of Holt's compositions, drawn up together with the composer. It reveals that the last twenty years have seen no slowing-up in his rate of creative production, notwithstanding that the nature of his writing has changed during this time. DAVID CHARLTON is Professor Emeritus of Music History, Royal Holloway, University of London. Contributors: JULIA BARDSLEY, DAVID BEARD, DAVID CHARLTON, THIERRY FISCHER, ANTHONY GILBERT, STEPHEN GUTMAN, MELINDA MAXWELL, RICHARD MCGREGOR, STEPH POWER, PHILIP RUPPRECHT, SIMON SPEARE, REBECCA THUMPSTON, EDWARD VENN

This handbook offers new ways to read the audiovisual. In the media landscapes of today, conglomerates jockey for primacy and the internet increasingly places media in the hands of individuals-producing the range of phenomena from movie blockbuster to YouTube aesthetics. Media forms and genres are proliferating and interpenetrating, from movies, music and other entertainments streaming on computers and iPods to video games and wireless phones. The audiovisual environment of everyday life, too-from street to stadium to classroom-would at times be hardly recognizable to the mid-twentieth-century subject. The Oxford Handbook of New Audiovisual Aesthetics provides powerful ways to understand these changes.
Earlier approaches tended to consider sound and music as secondary to image and narrative. These remained popular even as practices from theater, cinema and television migrated across media. However, the traversal, or "remediation," from one medium to another has also provided practitioners and audiences the chance to rewrite the rules of the audiovisual contract. Whether viewed from the vantage of televised mainstream culture, the Hollywood film industry, the cinematic avant-garde, or the participatory discourses of "cyberspace," audiovisual expression has changed dramatically.
The book provides a definitive cross-section of current ways of thinking about sound and image. Its authors-leading scholars and promising younger ones, audiovisual practitioners and non-academic writers (both mainstream and independent)- open the discussion on audiovisual aesthetics in new directions. Our contributors come from fields including film, visual arts, new media, cultural theory, and sound and music studies, and they draw variously from economic, political, institutional, psychoanalytic, genre-based, auteurist, internationalist, reception-focused, technological, and cultural approaches to questions concerning today's sound and image. All consider the aural dimension, and what Michel Chion calls "audio-vision: " the sensory and semiotic result of sound placed with vision, an encounter greater than their sum.

Antonio Carlos Jobim has been called the greatest of all contemporary Brazilian songwriters. He wrote both popular and serious music and was a gifted piano, guitar and flute player. One of the key figures in the creation of the bossa nova style, Jobim's music made a lasting impression worldwide, and many of his songs are now standards of the popular music repertoire. In The Music of Antonio Carlos Jobim, one of the first extensive musicological analyses of the Brazilian composer, Peter Freeman examines the music, philosophy and circumstances surrounding the creation of Jobim's popular songs, instrumental compositions and symphonic works. Freeman attempts to elucidate not only the many musical influences that formed Jobim's musical output, but also the stylistic peculiarities that were as much the product of a gifted composer as the rich musical environment and heritage that surrounded him.

In the music of Stuart Saunders Smith (b. 1948), jazz, the avant-garde, and sound-text poetry coalesce. Through the years he has concentrated on certain kinds of composition--open form, radio music, trans-media systems, and sound-text poetry. Although Smith considers himself a jazz composer and drummer, his work has been absorbed into a wider range of contemporary musical efforts, both in the United States and Europe.

This study of Smith contains six critical analyses, an interview, and bibliographic information containing a list of compositions, a discography, Smith's publications, and research currently available on his music. As Milton Babbitt notes, All of his music is to be reckoned with... and, as such, this volume will be of interest to all students and scholars of contemporary composition.

Offers an overview of Italian music of the modern era dealing with the composers and the music they wrote. This book includes full bibliographical references and an index.

There can be little doubt that opera and emotion are inextricably linked. From dramatic plots driven by energetic producers and directors to the conflicts and triumphs experienced by all associated with opera's staging to the reactions and critiques of audience members, emotion is omnipresent in opera. Yet few contemplate the impact that the customary cultural practices of specific times and places have upon opera's ability to move emotions. Taking Australia as a case study, this two-volume collection of extended essays demonstrates that emotional experiences, discourses, displays and expressions do not share universal significance but are at least partly produced, defined, and regulated by culture. Spanning approximately 170 years of opera production in Australia, the authors show how the emotions associated with the specific cultural context of a nation steeped in egalitarian aspirations and marked by increasing levels of multiculturalism have adjusted to changing cultural and social contexts across time. Volume I adopts an historical, predominantly nineteenth-century perspective, while Volume II applies historical, musicological, and ethnological approaches to discuss subsequent Australian operas and opera productions through to the twenty-first century. With final chapters pulling threads from the two volumes together, Opera, Emotion, and the Antipodes establishes a model for constructing emotion history from multiple disciplinary perspectives.

Modernism in music still arouses passions and is riven by controversies. Taking root in the early decades of the twentieth century, it achieved ideological dominance for almost three decades following the Second World War, before becoming the object of widespread critique in the last two decades of the century, both from critics and composers of a postmodern persuasion and from prominent scholars associated with the 'new musicology'. Yet these critiques have failed to dampen its ongoing resilience. The picture of modernism has considerably broadened and diversified, and has remained a pivotal focus of debate well into the twenty-first century. This Research Companion does not seek to limit what musical modernism might be. At the same time, it resists any dilution of the term that would see its indiscriminate application to practically any and all music of a certain period. In addition to addressing issues already well established in modernist studies such as aesthetics, history, institutions, place, diaspora, cosmopolitanism, production and performance, communication technologies and the interface with postmodernism, this volume also explores topics that are less established; among them: modernism and affect, modernism and comedy, modernism versus the 'contemporary', and the crucial distinction between modernism in popular culture and a 'popular modernism', a modernism of the people. In doing so, this text seeks to define modernism in music by probing its margins as much as by restating its supposed essence.

Tatjana Goldberg reveals the extent to which gender and socially constructed identity influenced female violinists' 'separate but unequal' status in a great male-dominated virtuoso lineage by focussing on the few that stood out: the American Maud Powell (1867-1920), Australian-born Alma Moodie (1898-1943), and the British Marie Hall (1884-1956). Despite breaking down traditional gender-based patriarchal social and cultural norms, becoming celebrated soloists, and greatly contributing towards violin works and the early recording industry (Powell and Hall), they received little historical recognition. Goldberg provides a more complete picture of their artistic achievements and the impact they had on audiences.

This book assesses the influence and reception of many different forms of guitar playing upon the classical guitar and more specifically through the prism of John Williams. Beginning with an examination of Andres Segovia and his influence upon Williams' life's work, a further three incisive chapters cover key areas such as performance, perception, education and construction, considering social and cultural contexts of the guitar over the past century. A final chapter on new directions in classical guitar examines the change in reception of the instrument from the mid-1970s to the present day, and Williams' impact upon what might be termed 'standard classical guitar repertoire'. With in-depth discussion of the cultural and perceptual impact of Williams' more daring crossover projects and numerous musical examples, this is an informative reference for all classical guitar practitioners, as well as scholars and researchers of guitar studies, reception studies, cultural musicology and performance studies. An online lecture by the author and a transcript of the author's interview with John Williams are also available as e-resources.

Between 1955 and 1975 music theatre became a central preoccupation for European composers digesting the consequences of the revolutionary experiments in musical language that followed the end of the Second World War. The 'new music theatre' wrought multiple, significant transformations, serving as a crucible for the experimental rethinking of theatrical traditions, artistic genres, the conventions of performance, and the composer's relation to society. This volume brings together leading specialists from across Europe to offer a new appraisal of the genre. It is structured according to six themes that investigate: the relation of new music theatre to earlier and contemporaneous theories of drama; the use of new technologies; the relation of new music theatre to progressive politics; the role of new venues and environments; the advancement of new conceptions of the performer; and the challenges that new music theatre lays down for music analysis. Contributing authors address canonical works by composers such as Berio, Birtwistle, Henze, Kagel, Ligeti, Nono, and Zimmermann, but also expand the field to figures and artistic developments not regularly represented in existing music histories. Particular attention is given to new music theatre as a site of intense exchange - between practitioners of different art forms, across national borders, and with diverse mediating institutions.

Discussion concerning the 'musicality' of Samuel Beckett's writing now constitutes a familiar critical trope in Beckett Studies, one that continues to be informed by the still-emerging evidence of Beckett's engagement with music throughout his personal and literary life, and by the ongoing interest of musicians in Beckett's work. In Beckett's drama and prose writings, the relationship with music plays out in implicit and explicit ways. Several of his works incorporate canonical music by composers such as Schubert and Beethoven. Other works integrate music as a compositional element, in dialogue or tension with text and image, while others adopt rhythm, repetition and pause to the extent that the texts themselves appear to be 'scored'. But what, precisely, does it mean to say that a piece of prose or writing for theatre, radio or screen, is 'musical'? The essays included in this book explore a number of ways in which Beckett's writings engage with and are engaged by musicality, discussing familiar and less familiar works by Beckett in detail. Ranging from the scholarly to the personal in their respective modes of response, and informed by approaches from performance and musicology, literary studies, philosophy, musical composition and creative practice, these essays provide a critical examination of the ways we might comprehend musicality as a definitive and often overlooked attribute throughout Beckett's work.