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Jean Cras (1879-1932) was a remarkable man by anyone's measure. Twice a decorated hero of the Great War, this Rear-Admiral of the French navy, scientist, inventor and moral philosopher, was also a highly esteemed composer during his lifetime, enjoying the same stature and celebrity as Faure, Debussy and Ravel. Since his death, however, both Cras and his music have been almost completely overlooked. In this, the first critical biography of Cras, Paul-Andre Bempechat situates Henri Duparc's protege as a missing link between the French post-Romantic generation of composers and the Impressionists. The book explores, both historically and analytically, the methodology by which Cras evolved his eclectic brand of Impressionism, striking the delicate balance between Celtic folk idioms and exoticisms inspired by his travels. Cras' creative legacy extends beyond the world of music to the world of science. His five patented inventions include the navigational gyrocompass, which bears his name, still in use to this day by the French navy, coast guard and boating afficionados. Bempechat draws special attention to the humanist Jean Cras and his distinguished military career - he is credited with saving the Serbian army from extinction - drawing on primary source material such as family correspondence and wartime diaries to reaffirm this composer as a true Renaissance man of the twentieth century.

Delius was born in 1862, twenty-four years before the signing in 1886 of the Berne Convention, the international convention for the protection of literary and artistic works of which Great Britain was a founder member. During Delius's lifetime came the birth of the record industry, the development of exercising the performing right, the introduction of the mechanical right, and the advent of films and broadcasting. Robert Montgomery and Robert Threlfall chronicle Delius's dealings with his publishers and the Performing Right Society (PRS) through his copious correspondence. Virtually all of the very early letters have been lost, but his correspondence in German with Harmonie Verlag of Berlin, Tischer & Jagenberg of Cologne, and Universal Edition of Vienna is almost complete. This book provides a selection of translations of these letters, most of which have never been seen before, and offers a unique insight into how a leading twentieth-century composer earned his living from composition in the changing environment of the world of music. Some of the problems that Delius encountered were because the administrative procedures brought in by Berne were in their infancy. Equally important in building a picture of Delius's publishing affairs is the Delius file in the PRS archive, to which Jelka Delius wrote in English, and which contains both sides of the correspondence. The book also covers the period after Delius's death when the Delius Trust, as the legal representative of his estate, took over responsibility for administering copyrights and promoting his music. The book provides a valuable model for the methodology involved in presenting a history of music publishing. It will provide a useful springboard for scholars to look at other composers in terms of their published material and how this relates to the general dissemination of their work.

Anton Webern: A Research and Information Guide offers carefully selected and annotated sources regarding Webern from 1975 to present day, including sources on Webern's life, his music, and the interpretation and reception of his music. Along with this comprehensive annotated listing of print and online sources, the book discusses the history of research on Webern and includes a brief chronology of his life. It is a major reference tool for those interested in Webern and his music and valuable for researchers of 20th century music and the Second Viennese School.

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

West Side Story first became famous in Spain when the Robert Wise film opened there in 1962, the version remaining popular for decades. Brief international tours came to various cities in Spain in the 1980s, but their presence did not diminish memory of the film, which played a major influence on the country's first stage adaptation of the show in 1996. Directed by Ricard Reguant and produced in Barcelona by Focus, the production also toured. After another international tour played in three Spanish cities in summer 2009, the Madrid company SOM Produce mounted a rendition in 2018 directed and choreographed by Federico Barrios, the first Spanish stage version based on the original 1957 staging. This Element compares the adaptations of the 1996 and 2018 versions in detail, illuminating issues encountered when translating a musical for another culture.

First Published in 1998. Routledge is an imprint of Taylor & Francis, an informa company.

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

The authors examine the problems encountered by Denisov during composition, and give precise details of all his musical and literary works, his scientific studies, his notography and discography (with a complete bibliography), numerous musical examples, copies of documents and photographs. The book also contains significant bibliographical information and discusses the general trends in the development of modern music.
Edison Denisov is one of the greatest figures in the world of contemporary music. He has composed works in a variety of musical genres and his creative work in particular has strongly influenced the development of music in his native Russia and throughout the world. This book, written by two leading theorists of music, is the first study of Denisov to be written in English.

James Manns presents a readable and entertaining examination of the most serious questions posed by the arts and our relation to them. In a clear and engaging fashion, he explores the central issues in aesthetics: aesthetic judgment, the nature and role of criticism, the elusiveness of the concept of art, and communication through art, and he critically (but sympathetically) considers that principal theories of art that focus on expression, form, and representation. Through the use of extensive, entertaining, and current examples (including film), Manns conveys the solid basics relating to the history and development of aesthetic theories, tries out these various theories against the art of the last half century, then outlines his own view revolving around the artist's intention and the act of communication.

James Manns presents a readable and entertaining examination of the most serious questions posed by the arts and our relation to them. In a clear and engaging fashion, he explores the central issues in aesthetics: aesthetic judgment, the nature and role of criticism, the elusiveness of the concept of art, and communication through art, and he critically (but sympathetically) considers that principal theories of art that focus on expression, form, and representation. Through the use of extensive, entertaining, and current examples (including film), Manns conveys the solid basics relating to the history and development of aesthetic theories, tries out these various theories against the art of the last half century, then outlines his own view revolving around the artist's intention and the act of communication.

One of the foremost composers of the twentieth century, Olivier Messiaen wrote widely on his music and on his beliefs. This is the first edition of his early journalism and provides both the original French text and an English translation. The writing in this volume dates from the 1930s, before the composer gained the international reputation that he and his music now enjoy. The pieces he wrote range from reviews of individual performances to essays on particular works or composers and articles that discuss more general themes such as sincerity of expression in music. Many of the articles included in this collection are new to the Messiaen bibliography, and others are available here for the first time in English. A number are, as Broad describes them, 'quietly shocking' in that they force us to reappraise certain aspects of the composer such as his role in La Jeune France, and his wider participation in the debates of his time. This edition, therefore, represents a new source for understanding Messiaen and provides a fascinating glimpse of the composer in the early part of his career.

Two crucial moments in the formation and disintegration of musical modernity and the musical canon occurred at the turn of the seventeenth and the first half of the twentieth century. Dr Ljubica Ilic provides a fresh and close look at these moments, exploring the ways musical compositions shift to and away from ideological structures identified with modernity. The focus is on European art music whose grand narrative, defined by tonality and teleological development, begins in the seventeenth century and ends with twentieth-century modernisms. This particular musical "language game" coincides with historical changes in the phenomenological understanding of space and selfhood. A key concept of the book concerns musical compositions that remain without proper conclusions: if the wholesome (musical) work is a manifestation of wholesome subjectivity, the pieces Ilic explores deny it, reflecting conflict of the individual with previous beliefs, with contexts, and even within the self as the basic modern condition. The musical work is, in this case, still bounded and well-defined, but fractured by the incapability or refusal to satisfactorily conclude: the implicit cut forced upon it changes the expected musical flow or - speaking in spatial terms - it influences the musical form. By using the metaphor of space, Ilic explores: how the existence of a separate self as a primary feature of Western modernity becomes negotiated through awareness of the subject's own independence and individuality; innerness as something entirely separate from its surroundings; and the collective space of social interaction. Seeing musical storytelling as a metaphoric representation of selfhood, and modernity as a historical continuum, Ilic examines the boundaries and relationships between the musical work, the subject, and modern European history.

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

Music is commonly felt to offer a valued experience, yet to put that experience into words is no easy task. Rather than view verbal representations of music as somehow secondary to the music itself, Literary Music argues that it is in such representations that our understanding of music and its meanings is constituted and explored. Focusing on recent fictional and theoretical texts, Stephen Benson proposes literature, narrative fiction in particular, as a singular form of musical performance. Literary Music concentrates not only on song and opera, those forms in which words and music overtly confront one another, but also on a small number of recurring ideas around which the literary and the musical interact, including voice, narrative, performance, and silence. The book considers a wide range of literary and theoretical texts, including those of Blanchot and Bakhtin, Kazuo Ishiguro, Vikram Seth, David Malouf and J.M. Coetzee. The musical forms discussed range from opera to the string quartet, together with individual works by Elgar, Strauss and Michael Berkeley. As such, Literary Music offers an informed interdisciplinary approach to the study of literature and music that participates in the lively theoretical debate on the status of meaning in music.

First Published in 1998. This book is a comprehensive annotated bibliography of writings about the life, times, and music of Jean Sibelius (1865-1957). Over 1,000 sources in 11 different languages are represented, from the earliest writings, which appeared in the 1890s, to studies published through 1994. Historical information and background are supplied together with an indication of the reliability of each source. Translations of studies into English, German, and French are noted, particularly important in a field where so many items are in Finnish and Swedish. Introductory essays to each section discuss Sibelius in different contexts: for example, vis--vis his contemporaries in Scandinavia, in relation to folk music, in reception history, and in the scholarly literature. Individual musical compositions have their own sections with bibliography. Comprehensive indexes cover the musical works, authors, and people and subjects mentioned.

Music in the Women's Institute has become stereotyped by the ritualistic singing of Jerusalem at monthly meetings. Indeed, Jerusalem has had an important role within the organization, and provides a valuable means within which to assess the organization's relationship with women's suffrage and the importance of rurality in the Women's Institute's identity. However, this book looks beyond Jerusalem by examining the full range of music making within the organization and locates its significance within a wider historical-cultural context. The Institute's promotion of conducting - a regular part of its musical activity since the 1930s - is discussed within the context of embodying overtly feminist sentiments. Lorna Gibson concludes that a redefinition of the term 'feminism' is needed and the concept of 'gendered spheres' of conducting provides a useful means of understanding the Institute's policy. The organization's promotion of folk song is also examined and reveals the Institute's contribution to the Folk Revival, as well as providing a valuable context within which to understand the National Federation's first music commission, Ralph Vaughan Williams's Folk Songs of the Four Seasons (1950). This work, and the Institute's second commission, Malcolm Williamson's The Brilliant and the Dark (1969), are examined with the context of the organization's music policy. In addition to discussing the background to the works, issues of critical reception are addressed. The book concludes with an Epilogue about the National Society Choir (later known as the Avalon Singers), which tested the organization's commitment to amateur music making. The book is the result of meticulous work undertaken in the archives of the National Federation, the BBC Written Archives Centre, the V&A archives, the Britten-Pears Library, the Ralph Vaughan Williams Library, the Women's Library and the Newspaper Library.

The experimental composer John Cage (1912-1992) is best known for his works in percussion, prepared piano and electronic music, but he is also acknowledged to be one of the most significant figures in 20th century theatre. In Cage's theatre composition there is a blurring of the distinctions between music, dance, literature, art and everyday life. Here, William Fetterman examines the majority of those compositions by Cage which are audial as well as visual in content, beginning with his first work in this genre in 1952 and continuing through to 1992. Information for this study has come from material discovered among the unpublished scores and notes of Cage and his frequent collaborator David Tudor, as well as the author's interviews with Cage and individuals associated with his work, including Merce Cunningham, Bonnie Bird, Caroline Richards, and Ellsworth Snyder. The book also contains notation and illustrations of performances of Cage's work.

This collection of original essays is in tribute to the work of Derek Scott on the occasion of his sixtieth birthday. As one of the leading lights in Critical Musicology, Scott has helped shape the epistemological direction for music research since the late 1980s. There is no doubt that the path taken by the critical musicologist has been a tricky one, leading to new conceptions, interactions, and heated debates during the past two decades. Changes in musicology during the closing decades of the twentieth century prompted the establishment of new sets of theoretical methods that probed at the social and cultural relevance of music, as much as its self-referentiality. All the scholars contributing to this book have played a role in the general paradigmatic shift that ensued in the wake of Kerman's call for change in the 1980s. Setting out to address a range of approaches to theorizing music and promulgating modes of analysis across a wide range of repertories, the essays in this collection can be read as a coming of age of critical musicology through its active dialogue with other disciplines such as sociology, feminism, ethnomusicology, history, anthropology, philosophy, cultural studies, aesthetics, media studies, film music studies, and gender studies. The volume provides music researchers and graduate students with an up-to-date authoritative reference to all matters dealing with the state of critical musicology today.

Technology revolutionised the ways that music was produced in the twentieth century. As that century drew to a close and a new century begins a new revolution in roles is underway. The separate categories of composer, performer, distributor and listener are being challenged, while the sounds of the world itself become available for musical use. All kinds of sounds are now brought into the remit of composition, enabling the music of others to be sampled (or plundered), including that of unwitting musicians from non-western cultures. This sound world may appear contradictory - stimulating and invigorating as well as exploitative and destructive. This book addresses some of the issues now posed by the brave new world of music produced with technology.

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

The first book devoted to the composer Charles Villiers Stanford (1852-1924) since 1935, this survey provides the fullest account of his life and the most detailed appraisal of his music to date. Renowned in his own lifetime for the rapid rate at which he produced new works, Stanford was also an important conductor and teacher. Paul Rodmell assesses these different roles and considers what Stanford's legacy to British music has been. Born and brought up in Dublin, Stanford studied at Cambridge and was later appointed Professor of Music there. His Irish lineage remained significant to him throughout his life, and this little-studied aspect of his character is examined here in detail for the first time. A man about whom no-one who met him could feel indifferent, Stanford made friends and enemies in equal numbers. Rodmell charts these relationships with people and institutions such as Richter, Parry and the Royal College of Music, and discusses how they influenced Stanford's career. Perhaps not the most popular of teachers, Stanford nevertheless coached a generation of composers who were to revitalize British music, amongst them Coleridge-Taylor, Ireland, Vaughan-Williams, Holst, Bridge and Howells. While their musical styles may not be obviously indebted to Stanford's, it is clear that, without him, British music of the first half of the twentieth century might have taken a very different course.

This collection of essays by scholars of nineteenth- and early twentieth-century French music has been assembled in homage to the influential and inspirational French musicologist FranAois Lesure who died in 2001. Lesure's immense erudition was legendary and spanned music from the sixteenth to the twentieth century. Two French composers who were particular foci in his scholarship were Berlioz and Debussy and this collection is based on scholarship around these two composers and the sources, contexts and legacies relating to their work.

THE NEW YORK TIMES BESTSELLER 'A virtuosic memoir . . . elegant, frank and well-structured, that entirely resists cliche . . . The concert pianist's account of striving for musical mastery sits alongside a stirring coming of age narrative . . . readable for both diehard classical music fans and complete newcomers alike . . . A rare feat.' - The Guardian 'Jeremy Denk's writing is as engaged and probing as his playing. Every Good Boy Does Fine hits the spot - a scintillating account of his way into music' - Ian Bostridge A uniquely illuminating memoir of the making of a musician, in which renowned pianist Jeremy Denk explores what he learned from his teachers about classical music: its forms, its power, its meaning - and what it can teach us about ourselves. In this searching and funny memoir, based on his popular New Yorker article, renowned pianist Jeremy Denk traces an implausible journey. Life is difficult enough as a precocious, temperamental, and insufferable six-year-old piano prodigy in New Jersey. But then a family meltdown forces a move to New Mexico, far from classical music's nerve centers, and he has to please a new taskmaster while navigating cacti, and the perils of junior high school. Escaping from New Mexico at last, he meets a bewildering cast of college music teachers, ranging from boring to profound, and experiences a series of humiliations and triumphs, to find his way as one of the world's greatest living pianists, a MacArthur 'Genius,' and a frequent performer at Carnegie Hall. There are few writers working today who are willing to eloquently explore both the joys and miseries of artistic practice. Hours of daily repetition, mystifying early advice, pressure from parents and teachers who drove him on - an ongoing battle of talent against two enemies: boredom and insecurity. As we meet various teachers, with cruel and kind streaks, Denk composes a fraught love letter to the act of teaching. He brings you behind the scenes, to look at what motivates both student and teacher, locked in a complicated and psychologically perilous relationship. In Every Good Boy Does Fine, Denk explores how classical music is relevant to 'real life,' despite its distance in time. He dives into pieces and composers that have shaped him - Bach, Mozart, Schubert, and Brahms, among others - and gives unusual lessons on melody, harmony, and rhythm. Why and how do these fundamental elements have such a visceral effect on us? He tries to sum up many of the lessons he has received, to repay the debt of all his amazing teachers; to remind us that music is our creation, and that we need to keep asking questions about its purpose. 'Denk . . . has written a book that shows what it's like to be a pianist, but also what it's like to be Jeremy Denk. As if that were not enough, it is also about the elements of music, and beyond that an account of the ways in which music and life mirror each other. It is a book like none other . . . Denk weaves invisible threads connecting life and art into something very close to musical form.' Simon Callow, The New York Review of Books

Erik Satie (1866-1925) was a quirky, innovative and enigmatic composer whose impact has spread far beyond the musical world. As an artist active in several spheres - from cabaret to religion, from calligraphy to poetry and playwriting - and collaborator with some of the leading avant-garde figures of the day, including Cocteau, Picasso, Diaghilev and Rene Clair, he was one of few genuinely cross-disciplinary composers. His artistic activity, during a tumultuous time in the Parisian art world, situates him in an especially exciting period, and his friendships with Debussy, Stravinsky and others place him at the centre of French musical life. He was a unique figure whose art is immediately recognisable, whatever the medium he employed. Erik Satie: Music, Art and Literature explores many aspects of Satie's creativity to give a full picture of this most multifaceted of composers. The focus is on Satie's philosophy and psychology revealed through his music; Satie's interest in and participation in artistic media other than music, and Satie's collaborations with other artists. This book is therefore essential reading for anyone interested in the French musical and cultural scene of the late nineteenth and early twentieth century.