George Whitefield Chadwick was one of the most prolific composers that the United States ever produced. During a career that spanned over 50 years, he was considered the Dean of American Composers from the 1880s until after World War I. He composed in nearly every genre, including opera/stage works (seven), orchestral music (17 major works), songs (over 100), and dozens of choral and chamber works. Chadwick benefited from numerous performances of his music-particularly by the Boston Symphony Orchestra-and many of his works were published during his lifetime. He was also considered one of the foremost teachers of his era. He began teaching composition at the New England Conservatory of Music, and became its Dean in 1897, a post he held for more than 30 years. Chadwick and his music are currently enjoying a revival.

Radie Britain: A Bio-Bibliography is a concise biography which summarizes the major events in the prolific American composer's life, and describes the conditions under which her singular talent emerged. An in-depth interview with Britain herself gives the opportunity to hear her own personal thoughts on her life, music, and creative philosophy. Walter and Nancy Bailey give an exhaustive list of works and performances, each accompanied by significant information on the work or documented performance. Also included are Britain's compositions for orchestra and band; chamber ensemble; solo piano; piano duets; the harp; chorus and solo voice as well as her stage works. Authorized by Miss Britain and compiled with her help, this is a comprehensive guide to the work of a gifted musician. A bibliography of Britain's writings concludes the text along with reviews of her performances and other press materials. With its chronological arrangement, this bibliography traces Britain's musical evolution much like a second biography. An index to the entire volume is provided. Both chronological and alphabetical lists of works can be found in the appendixes.

In his introduction Mr. Foss gives us a short sketch of Delius; contributions by Rogber Quilter, Charles Kennedy and Percy Scott.

This volume in the Greenwood Press series, Bio-Bibliographies in Music, provides new details about the life and works of Polish composer Witold Lutoslawski. It includes a detailed catalogue of the composer's works and performances, including his film music, incidental music for the theatre, music for radio plays, and songs he composed under a pseudonym, as well as a bibliography, discography, and brief biographical sketch. His unique style was distinguished by an individual harmonic system controlled aleatory technique that he developed more fully during the 1960s and 1970s. The discography includes over 300 recordings and the bibliography includes writings the composer and a separate section for the writings about him, including concert and recording reviews, books, articles, dissertations, and interviews.

This research tool will appeal to Lutoslawski fans and to musicologists. Each section is cross-referenced throughout. An appendix provides an alphabetical list of all of the composer's works.

Early in his career, the composer Arnold Schoenberg maintained correspondence with many notable figures: Gustav Mahler, Heinrich Schenker, Guido Adler, Arnold Rose, Richard Strauss, Alexander Zemlinsky, and Anton von Webern, to name a few. In this volume of Oxford's Schoenberg in Words series, Ethan Haimo and Sabine Feisst present English translations of the entirety of Arnold Schoenberg's early correspondence, from the earliest extant letters in 1891 to those written in the aftermath of the controversial premieres of his String Quartet No. 1, Op. 7, and the Kammersymphonie, Op. 9. The letters provide a wealth of information on many of the crucial stages in Schoenberg's early career, offering invaluable insights into his daily life and working habits. New details emerge about his activities at Wolzogen's Buntes Theater in Berlin, his frequently confrontational interactions with his first publisher (Dreililien Verlag), the reactions of friends and critics to the premieres of his works, his role in the founding of the Vereinigung schaffender Tonkunstler, his activities as a teacher, and his (all too often unsuccessful) attempts to convince musicians to perform his music. Presented alongside the editors' extensive running commentary, the more than 300 letters in this volume create a vivid picture of the young Schoenberg and his times.

The guitarist and composer Pat Metheny ranks among the most popular and innovative jazz musicians of all time. In Pat Metheny: The ECM Years, 1975-1984, Mervyn Cooke offers the first in-depth account of Metheny's early creative period, during which he recorded eleven stunningly varied albums for the pioneering European record label ECM (Edition of Contemporary Music). This impressive body of recordings encompasses both straight-ahead jazz playing with virtuosic small ensembles and the increasingly complex textures and structures of the Pat Metheny Group, a hugely successful band also notable for its creative exploration of advanced music technologies which were state-of-the-art at the time. Metheny's music in all its shapes and forms broke major new ground in its refusal to subscribe to either of the stylistic poles of bebop and jazz-rock fusion which prevailed in the late 1970s. Through a series of detailed analyses based on a substantial body of new transcriptions from the recordings, this study reveals the close interrelationship of improvisation and pre-composition which lies at the very heart of the music. Furthermore, these analyses vividly demonstrate how Metheny's music is often conditioned by a strongly linear narrative model: both its story-telling characteristics and atmospheric suggestiveness have sometimes been compared to those of film music, a genre in which the guitarist also became active during this early period. The melodic memorability for which Metheny's compositions and improvisations have long been world-renowned is shown to be just one important element in an unusually rich and flexible musical language that embraces influences as diverse as bebop, free jazz, rock, pop, country & western, Brazilian music, classical music, minimalism, and the avant-garde. These elements are melded into a uniquely distinctive soundworld which, above all, directly reflects Metheny's passionate belief in the need to refashion jazz in ways which can allow it to speak powerfully to each new generation of youthful listeners.

This volume presents the life and works of Robert Russell Bennett, whose prolific career as composer and arranger spanned much of the twentieth century. George J. Ferencz chronicles how Bennett's concert works, orchestrations, and commercial scores both reflected and enhanced the musical vitality of New York City, where he spent most of his professional life. Although Bennett enjoyed commercial success, his stylistic preferences embraced the classics, and Ferencz appropriately focuses his study on Bennett's original concert works rather than his popular scores. Ferencz introduces the artist with a lengthy biographical profile, followed by a complete list of works and selected performances which features compositions rather than arrangements in an effort to document those works most representative of Bennett's singular talent. All of Bennett's known commercial recordings are cataloged in the discography, and an annotated bibliography highlights writings about the composer and his works. Subsequent appendixes list commercial orchestrations and original scores for shows, film, and television, and a full index completes the work.

A symbol of Trinidadian culture, the steelband has made an extraordinary transformation since its origins-from junk metal to steel orchestra, and from disparaged underclass pastime to Trinidad and Tobago's national instrument. Now, Shannon Dudley gives the first discerning look at the musical thinking that ignited this transformation, and the way it articulates with Afro-Trinidadian tradition, carnival, colonial authority, and nationalist politics. Music from behind the Bridge tells the story of the steelband from the point of view of musicians who overcame disadvantages of poverty and prejudice with their extraordinary ambition. Literally referring to the poor neighborhoods nestled in the hills bordering Port of Spain to the East, "Behind the Bridge" is also a metaphor for conditions of social disadvantage and cultural resistance that shaped the steelband movement in the various Afro-Trinidadian communities where it first took root.
The book further explores the implications of the steelband's "nationalization" in post-independence Trinidad and Tobago, and contemporary steelband musicians' preoccupation with the formally adjudicated annual Panorama competition. In discussing the intersection of musical thinking, festivity, and politics, this book connects important questions about the history of the steelband to general questions about the relation between popular culture and nationalism.

Rethinking Britten offers a fresh portrait of one of the most widely performed composers of the 20th century. In twelve essays, a diverse group of contributors--both established authorities and leading younger voices--explore a significant portion of Benjamin Britten's extensive oeuvre across a range of genres, including opera, song cycle, and concert music. Well informed by earlier writings on the composer's professional career and private life, Rethinking Britten also uncovers many fresh lines of inquiry, from the Lord Chamberlain's last-minute censorship of the Rape of Lucretia libretto to psychoanalytic understandings of Britten's staging of gender roles; from the composer's delight in schoolboy humor to his operatic revival of Purcellian dance rhythms; from his creative responses to Cold-War-era internationalism to his dealings with BBC Television. Each essay blends awareness of overarching contexts with insights into particular expressive achievements. Balancing biographical, archival, and analytic commentary with cultural and historical criticism, Rethinking Britten broadens the interpretive context surrounding all phases of Britten's career and is essential reading for scholars and fans alike.

While acknowledging that Pierre Boulez is not a philosopher, and that he is wary of the potential misuse of philosophy with regard to music, this study investigates a series of philosophically charged terms and concepts which he uses in discussion of his music. Campbell examines significant encounters which link Boulez to the work of a number of important philosophers and thinkers, including Adorno, Levi-Strauss, Eco and Deleuze. Relating Boulez's music and ideas to broader currents of thought, the book illuminates a number of affinities linking music and philosophy, and also literature and visual art. These connections facilitate enhanced understanding of post-war modernist music and Boulez's distinctive approach to composition. Drawing on a wide range of previously unpublished documentary sources and providing musical analysis of a number of key scores, the book traces the changing musical, philosophical and intellectual currents which inform Boulez's work."

Mordechai Gebirtig was one of the most influential and popular writers of Yiddish songs and poems. Born in 1877, he became a prolific poet and song writer, using everything he saw, heard and knew about people. His legacy, therefore, is not only one of melodies and lyrics, but also a treatise on Jewish life in Poland under the benign neglect of the Austrians, the ever growing hostility of the Poles, and finally, the terror of the Germans, who destroyed the people, their culture, and, to a great measure, their memory. Schneider's book for the first time brings his work to an English-speaking audience, offering a collection of all of his major works, complete with the scores, transliterated Yiddish text, and English translation. Her book offers a rare insight into the world of Eastern European Jews, their culture, and their music.

Gebirtig's most famous song Es Brent--It's Burning--was written in response to a 1936 pogrom. It became a stirring hymn for the survivors of the Holocaust, who felt that the words suited their own situation very well. Gebirtig himself was shot in the Cracow Ghetto in June 1942. Neither he nor any of his close family survived the war. However, as this volume shows, his songs and poems remain an enduring voice for a Jewish community nearly lost to the Nazis. They constitute a precious legacy for anyone interested in the world of Eastern Europe Jews, their culture, and their music.

William Howard Schuman, a celebrated figure in 20th-century music, was a composer and a copious writer on music and music education. Early on, as a composer, he received the attention of several musicians and writers such as Nathan Broder, Elliott Carter, and Leonard Bernstein. He was the recipient of numerous prestigious awards, including the Pulitzer Prize, a Guggenheim Fellowship, and the New York Music Critics Circle Award. After teaching at Sarah Lawrence College from 1935 to 1945 and serving as president of the Juilliard School from 1945 to 1962, Schuman assumed the presidency of Lincoln Center, where he successfully implemented that institution's artistic programs. Schuman, who composed in several genres, is perhaps best known for his orchestral compositions and choral music. This reference work provides a biography and a thorough catalog and guide to Schuman's writings and compositions and to the current research available on this gifted and multi-talented musician. An invaluable resource to music scholars interested in William Schuman's career, five sections provide accessible detailed information: a biography, works and performances, discography, bibliography, and bibliography of writings by Schuman. The biography traces Schuman's life and career with an emphasis on illustrating his compositional activity. The bibliography includes books, dissertations, articles, and reviews that chronicle Schuman's activities from his days as a young composer to his death in 1992. An author index, index of compositions, and general index complete this in-depth reference on William Schuman.

The tenth-century Old English lament and twentieth-century blues song each speak the language of a distinct poetic tradition, yet the voices are remarkably similar in their emotive expression of loneliness. This innovative study juxtaposes the texts of each corpus to explore the features that characterize their vocal poetics. McGeachy examines how the texts evoke the dynamic of performance and explores the role of recording--in manuscript and on 78 rpm record--in establishing the distinctive formulas of each genre. Featured are a study of blues artist Robert Johnson's work and a comparison of two anthologies: the Exeter Book and the Folkways "Anthology of American Folk Music."

This collection is a tribute to the talent, teaching, and humanism of Alfred Einstein, whose scholarship and criticisms affirm his position as one of the foremost musicologists of the twentieth century. Written by a former student of Einstein's, this portrait draws on the influences and events that shaped his life and work as a Jewish scholar in pre-Nazi Germany and that necessitated his emigration to the United States. Dower provides more than one hundred examples of his criticisms that document the music of Germany and the United States in the second quarter of this century and that demonstrate the art of music criticism at its best. Included is a chronology that is based on information provided by Einstein's daughter, Eva. Her insight into her father's personal life is combined with Catherine Dower's careful chronological documentation of Einstein's professional endeavors, provide a unique evaluation of a critic whose research produced valuable musical discoveries and whose writings always recognized the important relationship between music and its cultural background. The study affords further access to Einstein's writings by identifying the locations of Einstein collections in numerous libraries throughout the United States.

This generously illustrated selection of fifty reviews and essays, written between 1914 and 1962 by thirty American critics, draws together some of the best, most influential, and most interesting writing on Montemezzi, revealing for the first time the full depth of his impact in the United States, the country to which he moved in 1939.

"Francis Poulenc: A Bio-Bibliography" is a thorough presentation of the works of this often performed and critically appreciated 20th-century composer. George R. Keck traces events in Poulenc's life and offers a list of works and performances with the primary focus on those facts and influences which contributed to the development of the composer's distinctive musical style. Included in the text is a substantial discography as well as annotated entries by and about the composer which cover every phase of his career and affirm Poulenc's place in 20th-century music.

The highly selective annotated bibliography comprises the major portion of the text. Since Keck's documentation of the development of Poulenc's style covers only representative works, he includes a list of all of Poulenc's compositions, arranged both alphabetically and chronologically, in the two appendixes. A complete index of names, places, and titles concludes the book.

Malcolm Arnold's music encompassed a variety of forms from opera and ballet through orchestral and chamber music to film scores. His most famous film score, for which he won an Oscar award in 1957, is The Bridge on the River Kwai. In 1953 he was commissioned to compose Homage to the Queen, a ballet to celebrate the coronation of Queen Elizabeth II. Arnold was knighted by the Queen in 1993 in honor of his contributions to English music. As with the other volumes in the Greenwood Bio-Bibliographies in Music series, this work includes a brief biography, discography, complete list of works and performances, and an annotated bibliography. Music scholars, musicians, and those with an interest in the music of Malcolm Arnold will appreciate the extensive information gathered in this one volume. Since Malcolm Arnold has retired from composing, this book features the most complete list of his compositions, including some of his newly discovered early works. The works are listed alphabetically within genre. The author also provides a chronological listing of the works through which trends and developments in Arnold's compositions may be traced. Sir Malcolm Arnold's input with the project assures the accuracy and completeness of this bio-bibliography.

Carl Ruggles (1876-1971) was the epitome of the New England iconoclast. A composer of the American avant-garde movement, he wrote, in a very concise and dissonant style, a small body of truly unique musical works. He lived to be 95, composing to the very end of his life, but left behind a mere eight sanctioned works which he had rewritten and refined over decades. In the 1920s, he was at the focal point of ultra-modern music-making. Since there is currently a renewed interest in his work, this bio-bibliography is timely and needed, and of interest to scholars, students, and performers.

During the 1920s, had Edgard Varese or Charles Ives been asked to name America's greatest living composer, the response would have been Carl Ruggles. Forty years later, such eminent experts on American music as Nicolas Slonimsky, Virgil Thomson, and Aaron Copland would each describe Ruggles as our most technically refined composer. Ruggles, with Varese and Ives, was the standard-bearer of the atonal movement in this century's third decade. With the rise of American realism, he slipped out of the public eye. Recent years have seen a resurgence of performances of his works and research on his music; consequently, there is a need for this timely bio-bibliography.

Irwin Bazelon, one of the most original figures in American music in the second half of the 20th century, devoted his life to the art of composition. He was also well known for his musical compositions for films, television, commercials, and documentaries. His music was inspired by his experiences in the fast-paced environments of Chicago and New York. This major bibliography presents a biographical sketch, which details the influence of city life on the composer's artistic creativity, a catalogue of his compositions and performances, and a discography. A bibliography includes excerpts from the composer's lectures and other unpublished writings.

This thorough research tool will appeal to scholars of 20th-century music and to Bazelon fans. An archive of the composer's collections is included, and the separate book sections are cross-referenced throughout.

Since its original publication in 1930, Henry Cowell's New Musical Resources has become recognised as one of the few seminal technical studies to be written by a twentieth-century composer. In 1971, Virgil Thomson hailed it as 'a classic'. Cowell aimed to 'point out the influence the overtone series has exerted on music throughout its history, how many musical materials of all ages are related to it, and how ... a large palette of musical materials can be assembled'. In this respect Cowell was anticipating many of the ideas to be realized in electronic music by Stockhausen and others. For this 1996 edition, David Nicholls has provided an explanatory essay and annotations to Cowell's text. The essay traces the sources for the book and attempts to place Cowell's theories in the broader context of musical modernism.

At the dawn of the twenty-first century, the Nor-tec phenomenon emerged from the border city of Tijuana, and through modern Internet technology quickly conquered a global audience. Marketed as a kind of "ethnic" electronic dance music, Nor-tec samples sounds of traditional music from the north of Mexico, transforming these sounds through computer technology used in European and American techno music and electronica. Mostly middle-class artists in their thirties, and with few exceptions all from Tijuana, Nor-tec musicians tend to avoid the mainstream music industry's channels, distributing works instead through the underground, global means of the Internet, enabling a loyal international following to grow rapidly. Perched on the border between Mexico and the United States, Tijuana has media links to both countries, with peoples, currencies, and cultural goods -perhaps especially music- from both sides circulating intensely within the city. Tijuana's older residents and their more mobile, cosmopolitan-minded children thus engage in a constant struggle with identity and nationality, appropriation and authenticity. Nor-tec music in its very composition encapsulates this city's struggle. It resonates with issues felt on the global level, while holding vastly different meanings to the variety of communities that embrace it. In Nor-tec Rifa!, Alejandro L. Madrid crafts a fascinating account of this music and the city that fostered its birth. With an impressive hybrid of musicology, ethnomusicology, cultural and performance studies, urbanism, and border studies, Nor-tec Rifa! offers compelling insights into the cultural production of Nor-tec as it stems from ortena, banda, and grupera traditions. The book is also amongst the first to offer detailed accounts of Nor-tec music's composition process.

The biography of a fascinating cultural hero, Rene Blum and the Ballets Russes uncovers the events in the life of the enigmatic and brilliant writer and producer who perished in the Holocaust. Brother of Leon Blum, the first socialist prime minister of France, Rene Blum was a passionate and prominent litterateur. He was the editor of the chic literary journal Gil Blas where he met such celebrated figures as Claude Debussy, Pierre Bonnard, Edouard Vuillard, Andre Gide, and Paul Valery. As author Judith Chazin-Bennahum's research illustrates, Blum actually arranged for the publication of Proust's Swann's Way. But Blum's accomplishments and legacy do not end there: after enlisting in World War I, he won the Croix de Guerre and became a national hero. And Blum resurrected the Ballets Russes de Monte Carlo after Diaghilev's death. Tragically, he was arrested in 1941 during a roundup of Jewish intellectuals and ultimately sent to Auschwitz.
Based on a treasure trove of previously undiscovered letters and documents, this thoroughly researched narrative not only tells the poignant story of Blum's life but also illustrates Blum's central role in the development of dance in the United States. Indeed, Blum's efforts to save his ballet company eventually helped to bring many of the world's greatest dancers and choreographers--among them Fokine, Balanchine, and Nijinska--to American ballet stages, shaping the path of dance in the United States for years to come."

Leslie Bassett is a 20th-century composer, lecturer, university professor, and winner of many awards, including a Pulitzer Prize. He is unique among contemporary composers because he has written for many categories of music: brass, band and wind ensemble, chamber, choral, solo voice, instrumental solo, orchestra, organ, and piano. A favorite with students, he has also endeared himself as a guest composer at festivals and symposia in many states for over 30 years. This volume collects for the first time the widely scattered source materials on Bassett and thus documents his preeminence in the history and development of contemporary American music.

The biographical section of this volume first sketches Bassett's life and career and then gives an evaluative description of the progression of his musical compositions. To give a feeling for his music, illustrations of selected scores accompany some of the discussion. Next is a classified list of works arranged in alphabetical order and divided into 11 categories of performance, followed by a discography. The bibliography is annotated; there is a separate section for reviews of performances and concerts. Also included is an appendix that gives a chronological list of guest composer appearances, featuring festivals, symposia, and major educational events. Three other appendices round out the thorough coverage of source materials that have until now been difficult to see as a whole. Here they are readily accessible; thus, the book becomes a ready reference for the study of this acknowledged master of music.

Following the second World War, Olivier Messiaen, previously known primarily for his religious music, composed three works inspired by the medieval love story of Tristan and Iseult: "Harawi," "Turangal DEGREESD"la-symphonie," and "Cinq rechants." Though the song cycle, symphony, and choral work each consider their source story in a different way, the three compositions are tied closely together by theme and musical technique. This new study is the only full-length consideration of this most significant work, applying literary techniques of stylistic analysis and source study as well as musical analysis of Messiaen's aesthetics and form.

As Audrey Ekdahl Davidson shows, Messiaen's work was informed by more than just the mythic tale at its center. The twelve songs in "Harawi" are indebted to Peruvian melodies, and rhythmically they reveal the influence of the Hindu musical theory that the composer encountered at the Paris Conservatory. "Turangal DEGREESD"la-symphonie" continues and expands the use of these complex rhythmic structures to create a form that expresses elements of the Tristan story as filtered through Wagner's famous operatic depiction. And in "Cinq rechants," Messiaen produced a set of choral pieces that use surrealistic texts joined to music that is related structurally to the "rechants" of the sixteenth-century composer Claude le Jeune. Davidson's examination of these works reveals both their interrelatedness and their many layers of musical and textual meaning.

Some of the most popular works of nineteenth-century music were labeled either "Hungarian" or "Gypsy" in style, including many of the best-known and least-respected of Liszt's compositions. In the early twentieth century, Bela Bartok and his colleagues questioned not only the Hungarianness but also the good taste of that style. Bartok argued that it should be discarded in favor of a national style based in the "genuine" folk music of the rural peasantry. Between the heyday of the nineteenth-century Hungarian-Gypsy style and its replacement by a new paradigm of "authentic" national style was a vigorous decades-long debate-one little known inside or outside Hungary-over what it meant to be Hungarian, European, and modern.
Redefining Hungarian Music from Liszt to Bartok traces the historical process that defined the conventions of Hungarian-Gypsy style. Author Lynn M. Hooker frames her study around the 1911 celebration of Liszt's centennial. In so doing, she analyzes Liszt's problematic role as a Hungarian-born composer and leader of Hungarian art music who spent most of his life outside of Hungary and questioned whether Hungary's national music was more the creation of Hungarians or Roma (Gypsies). The themes of race and nation that emerge in the discussion of Liszt are further developed in an analysis of discourse on Hungarian national music throughout the Hungarian press in the late nineteenth and early twentieth centuries. Showing how the "discovery" of "genuine" folk music by Bartok and Kodaly, often depicted as a purely "scientific" matter, responds directly to concerns raised by earlier writers about the "problem of Hungarian music," Hooker argues that the innovations of Bartok and Kodaly and their circle are not so much in correcting a flawed concept of the national as in using the idea of national authenticity to open up freedom for composers to explore more stylistic options, including the exploration of modernist musical language. Meticulously researched and elegantly written, Redefining Hungarian Music from Liszt to Bartok is essential reading for musicologists, musicians, and concertgoers alike."