Now in Paperback! Music Melting Round: A History of Music in the United States provides a colorful introduction for students and nonspecialists alike to the scope of musical styles and venues in America from colonial to contemporary times. Covering all aspects of music, including classical, ragtime, blues, jazz, popular, minstrel shows, and music on radio and television and in film, the text also contains a variety of photographs and illustrations, three time lines presenting highlights in American history, the arts, and music, an appendix of basic musical concepts, a glossary, and two indexes. Cloth edition 1-880157-17-9 previously published in 1995 by Ardsley House. Instructor's Manual 1-880157-18-7 available upon request.

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.

This book presents the musician in dialog with a Polish-Canadian musicologist and three of his Dutch friends and collaborators, Reinbert de Leeuw, Elmer Schoenberger and Frits van der Waa. Topics include his artistic evolution, his relationship to minimalism, his prevalent interest in mysticism and meaning, the use of quotation and writing for the stage and an introduction to his musical language.

By exploring the relationship between music and the moving image in film narrative, David Neumeyer shows that film music is not conceptually separate from sound or dialogue, but that all three are manipulated and continually interact in the larger acoustical world of the sound track. In a medium in which the image has traditionally trumped sound, Neumeyer turns our attention to the voice as the mechanism through which narrative (dialog, speech) and sound (sound effects, music) come together. Complemented by music examples, illustrations, and contributions by James Buhler, Meaning and Interpretation of Music in Cinema is the capstone of Neumeyer's 25-year project in the analysis and interpretation of music in film.

This study is the first to consider all three of Rachmaninoff's careers in detail. After surveying his place in Russian musical history and his creative activity, the author examines, with musical examples, each working chronological order against the background of the composer's life. Among the the many subjects upon which new light is shed are the operas, the songs, and the religious music. Rachmaninoff's remarkable career as a pianist, his style of playing and repertoire are analysed along with his historically important contribution to the gramophone and his work for the reproducing piano. The book includes a survey of his activity as a conductor. There are extensive references to Russian sources and the first appearance of a complete Rachmaninoff disconography is included. This book is the only comprehensive study in any language of the three aspects of Rachmaninoff's musical career and is a stimulating read for music lovers everywhere.

Green's study is more than a biography of an Anglo-African composer.The first comprehensive study of Coleridge-Taylor's life for almost a century, it reveals how class-ridden Britain could embrace even the most unlikely of cultural icons.

The first large-scale study of the music of Herbert Howells, prodigiously gifted musician and favourite student of the notoriously hard-to-please Sir Charles Villiers Stanford. Herbert Howells (1892-1983) was a prodigiously gifted musician and the favourite student of the notoriously hard-to-please Sir Charles Villiers Stanford. Throughout his long life, he was one of the country's most prominent composers, writing extensively in all genres except the symphony and opera. Yet today he is known mostly for his church music, and there is as yet relatively little serious study of his work. This book is the first large-scale study of Howells's music, affording both detailed consideration of individual works and a broad survey of general characteristics and issues. Its coverage is wide-ranging, addressing all aspects of the composer's prolific output and probing many of the issues that it raises. The essays are gathered in five sections: Howells the Stylist examines one of the most striking aspect of the composer's music, its strongly characterised personal voice; Howells the VocalComposer addresses both his well-known contribution to church music and his less familiar, but also important, contribution to the genre of solo song; Howells the Instrumental Composer shows that he was no less accomplished for his work in genres without words, for which, in fact, he first made his name; Howells the Modern considers the composer's rather overlooked contribution to the development of a modern voice for British music; and Howells in Mourning explores the important impact of his son's death on his life and work. The composer that emerges from these studies is a complex figure: technically fluent but prone to revision and self-doubt; innovative but also conservative; a composer with an improvisational sense of flow who had a firm grasp of musical form; an exponent of British musical style who owed as much to continental influence as to his national heritage. This volume, comprising a collection of outstanding essays by established writers and emergent scholars, opens up the range of Howells's achievement to a wider audience, both professional and amateur. PHILLIP COOKE is Lecturer in Composition at theUniversity of Aberdeen. DAVID MAW is Tutor and Research Fellow in Music at Oriel College, Oxford, holding Lectureships also at Christ Church, The Queen's and Trinity Colleges. CONTRIBUTORS: Byron Adams, Paul Andrews, Graham Barber, Jonathan Clinch, Phillip A. Cooke, Jeremy Dibble, Lewis Foreman, Fabian Huss, David Maw, Diane Nolan Cooke, Lionel Pike, Paul Spicer, Jonathan White. Foreword by John Rutter.

The Spanish Republican exile of 1939 impacted music as much as it did literature and academia, with well-known figures such as Adolfo Salazar and Roberto Gerhard forced to leave Spain. Exile is typically regarded as a discontinuity - an irreparable dissociation between the home country and the host country. Spanish exiled composers, however, were never totally cut off from the musical life of Francoist Spain (1939-1975), be it through private correspondence, public performances of their work, honorary appointments and invitations from Francoist institutions, or a physical return to Spanish soil. Music and Exile in Francoist Spain analyses the connections of Spanish exiled composers with their homeland throughout 1939-1975. Taking the diversity and heterogeneity of the Spanish Republican exile as its starting point, the volume presents extended comparative case studies in order to broaden and advance current conceptions of, and debates surrounding, exile in musicology and Spanish studies. In doing so, it significantly furthers academic research on individual composers including Salvador Bacarisse, Julian Bautista, Roberto Gerhard, Rodolfo Halffter, Julian Orbon and Adolfo Salazar. As the first English-language monograph to explore the exiled composers from the perspectives of historiography, music criticism, performance and correspondence, Eva Moreda Rodriguez's vivid reconception of the role of place and nation in twentieth-century music history will be of particular interest for scholars of Spanish music, Spanish Republican history, and exile and displacement more broadly.

This is a critical bibliography of choral compositions accessible to the high school choir, representing major composers and stylistic trends during this century. The 1990 edition of the bibliography includes over 360 titles, providing a convenient sourcebook for secondary school choral directors, choral methods classes, and collegiate choral directors to use in building repertoire for their programs.

John Antill (1904-1986) was one of the foremost composers of Australia's post-colonial period. Although a relatively prolific and much esteemed composer in Australia, Antill's wider reputation is sustained chiefly by his famous ballet Corroboree - a work which was perceived to bring an authentic Australian musical style before both a national and international audience for the first time. Through Sir Eugene Goossens' championship, the work was heard by enthusiastic audiences in Australia, Britain, Europe and the USA, and was, for many years, the best-known work of any Australian-born and resident composer. Indeed it has remained, for both Australian and overseas audiences, an Australian musical icon. David Symons traces Antill's development as a composer from his early, pre-Corroboree works, which display a late Romantic to post-impressionist style, through an analysis of the virile, dissonant, primitivist idiom of his magnum opus, to an examination of his later output of theatrical, orchestral and vocal/choral works. The book provides comprehensive and valuable insight into Antill's musical output, at the same time focussing on more detailed analyses of his major works which have reached public performances and/or recordings. In this way the book not only presents a developmental picture of Antill's works, but also demonstrates why they have made him one of Australia's most prominent musical creators of the post-colonial period.

The Polish composer Karol Szymanowski is one of the most fascinating musical figures of the early twentieth century. His works included four symphonies, two violin concertos, the operas Hagith and King Roger, the ballet-pantomime Harnasie, the oratorio Stabat Mater, as well as numerous piano, violin, vocal and choral compositions. The profile and popularity of Szymanowski's music outside Poland has never been higher and continues to grow. The Szymanowski Companion constitutes the most significant and comprehensive reference source to the composer in English. Edited by two of the leading scholars in the field, Paul Cadrin and Stephen Downes, the collection consists of over 50 contributions from an international array of contributors, including recognized Polish experts. The Companion thus provides a systematic, authoritative and up-to-date compilation of information concerning the composer's life, thought and works.

Paul Hindemith: A Research and Information Guide is an annotated bibliography concerning both the nature of primary sources related to the composer and the scope and significance of the secondary sources which deal with him, his compositions, and his influence as a musician and teacher. The second edition includes research published since the publication of the first edition and provides electronic resources.

The study of music within multimedia contexts has become an increasingly active area of scholarly research. However, the application of such studies to musical genres outside the 'classical' film canon, or in television and other media remains largely unexplored in any detail. Tristian Evans demonstrates how postminimal music interacts with other media forms, focusing on the film music by Philip Glass, but also taking into account works by other composers such as Steve Reich, Terry Riley, John Adams and others inspired by minimalist and postminimal practices. Additionally, Evans develops innovative ways of analysing this music, based on an interdisciplinary approach, and draws on research from areas that include philosophy, linguistics and film theory. The book offers one of the first in-depth studies of Philip Glass's music for film, considering The Hours and Dracula, Naqoyqatsi, Notes on a Scandal and Watchmen, while examining re-applications of the music in new cinematic and televisual contexts. The book will appeal to musicologists but also to those working in the fields of film music, cultural studies, media studies and multimedia.

Both in opera studies and in most operatic works, the singing body is often taken for granted. In Postopera: Reinventing the Voice-Body, Jelena Novak reintroduces an awareness of the physicality of the singing body to opera studies. Arguing that the voice-body relationship itself is a producer of meaning, she furthermore posits this relationship as one of the major driving forces in recent opera. She takes as her focus six contemporary operas - La Belle et la Bete (Philip Glass), Writing to Vermeer (Louis Andriessen, Peter Greenaway), Three Tales (Steve Reich, Beryl Korot), One (Michel van der Aa), Homeland (Laurie Anderson), and La Commedia (Louis Andriessen, Hal Hartley) - which she terms 'postoperas'. These pieces are sites for creative exploration, where the boundaries of the opera world are stretched. Central to this is the impact of new media, a de-synchronization between image and sound, or a redefinition of body-voice-gender relationships. Novak dissects the singing body as a set of rules, protocols, effects, and strategies. That dissection shows how the singing body acts within the world of opera, what interventions it makes, and how it constitutes opera's meanings.

Coined in 1992 by composer/saxophonist John Zorn, "Radical Jewish Culture," or RJC, became the banner under which many artists in Zorn's circle performed, produced, and circulated their music. New York's downtown music scene, part of the once-grungy Lower East Side, has long been the site of cultural innovation. It is within this environment that Zorn and his circle sought to combine, as a form of social and cultural critique, the unconventional, uncategorizable nature of downtown music with sounds that were recognizably Jewish. Out of this movement arose bands, like Hasidic New Wave and Hanukkah Bush, whose eclectic styles encompassed neo-klezmer, hardcore and acid rock, neo-Yiddish cabaret, free verse, free jazz, and electronica. Though relatively fleeting in rock history, the "RJC moment" produced a six-year burst of conversations, writing, and music--including festivals, international concerts, and nearly two hundred new recordings. During a decade of research, Tamar Barzel became a frequent visitor at clubs, post-club hangouts, musicians' dining rooms, coffee shops, and archives. Her book describes the way RJC forged a new vision of Jewish identity in the contemporary world, one that sought to restore the bond between past and present, to interrogate the limits of racial and gender categories, and to display the tensions between secularism and observance, traditional values and contemporary concerns.

Coined in 1992 by composer/saxophonist John Zorn, "Radical Jewish Culture," or RJC, became the banner under which many artists in Zorn's circle performed, produced, and circulated their music. New York's downtown music scene, part of the once-grungy Lower East Side, has long been the site of cultural innovation. It is within this environment that Zorn and his circle sought to combine, as a form of social and cultural critique, the unconventional, uncategorizable nature of downtown music with sounds that were recognizably Jewish. Out of this movement arose bands, like Hasidic New Wave and Hanukkah Bush, whose eclectic styles encompassed neo-klezmer, hardcore and acid rock, neo-Yiddish cabaret, free verse, free jazz, and electronica. Though relatively fleeting in rock history, the "RJC moment" produced a six-year burst of conversations, writing, and music--including festivals, international concerts, and nearly two hundred new recordings. During a decade of research, Tamar Barzel became a frequent visitor at clubs, post-club hangouts, musicians' dining rooms, coffee shops, and archives. Her book describes the way RJC forged a new vision of Jewish identity in the contemporary world, one that sought to restore the bond between past and present, to interrogate the limits of racial and gender categories, and to display the tensions between secularism and observance, traditional values and contemporary concerns.

This book studies recent music in the western classical tradition, offering a critique of current analytical/theoretical approaches and proposing alternatives. The critique addresses the present fringe status of recent music sometimes described as crossover, postmodern, post-classical, post-minimalist, etc. and demonstrates that existing descriptive languages and analytical approaches do not provide adequate tools to address this music in positive and productive terms. Existing tools and concepts were developed primarily in the mid-20th century in tandem with the high modernist compositional aesthetic, and they have changed little since then. The aesthetics of music composition, on the other hand, have been in constant transformation. Lochhead proposes new ways to conceive musical works, their structurings of musical experience and time, and the procedures and goals of analytic close reading. These tools define investigative procedures that engage the multiple perspectives of composers, performers, and listeners, and that generate conceptual modes unique to each work. In action, they rebuild a conceptual, methodological, and experiential place for recent music. These new approaches are demonstrated in analyses of four pieces: Kaija Saariaho's Lonh (1996), Sofia Gubaidulina's Second String Quartet (1987), Stacy Garrop's String Quartet no.2, Demons and Angels (2004-05), and Anna Clyne's "Choke" (2004). This book defies the prediction of classical music's death, and will be of interest to scholars and musicians of classical music, and those interested in music theory, musicology, and aural culture.

Enrique Granados (1867-1916) is one of the most compelling figures of the late-Romantic period in music. During his return voyage to Spain after the premiere of his opera Goyescas at New York's Metropolitan Opera in 1916, a German submarine torpedoed the ship on which he and his wife were sailing, and they perished in the waters of the English Channel. His death was mourned on both sides of the Atlantic as a stunning loss to the music world, for he had died at the pinnacle of his career, and his late works held the promise of greater things to come.
Granados was among the leading pianists of his time, and his eloquence at the keyboard inspired critics to dub him the "poet of the piano." In Enrique Granados: Poet of the Piano, Walter Aaron Clark offers the first substantive study in English of this virtuoso pianist, composer, and music pedagogue. While providing detailed analyses of his major works for voice, piano, and the stage, Clark argues that Granados's art represented a unifying presence on the cultural landscape of Spain during a period of imperial decline, political unrest, and economic transformation. Drawing on newly discovered documents, Clark explores the cultural spheres in which Granados moved, particularly of Castile and Catalonia. Granados's best-known music was inspired by the art of Francisco Goya, especially the Goyescas suite for solo piano that became the basis for the opera. These pieces evoked the colorful and dramatic world that Goya inhabited and depicted in his art. Granados's fascination with Goya's Madrid set him apart from fellow nationalists Albeniz and Falla, who drew their principal inspiration from Andalusia. Though he was resolutely apolitical, Granados's attraction to Castile antagonized some Catalan nationalists, who resented Castilian domination. Yet Granados also made important contributions to Catalan musical theater and was a prominent figure in the modernist movement in Barcelona.
Clark also explores the personal pressures that shaped Granados's music. His passionate affair with a wealthy socialite created domestic tensions, but it was also a source of inspiration for Goyescas. Persistent financial difficulties forced him to devote time to teaching at the expense of composition, though as a result Granados made considerable contributions to piano pedagogy and music education in Barcelona through the music academy he founded there.
While Granados's tragic and early demise casts a pall over his life story, Clark ultimately reveals an artist of remarkable versatility and individuality and sheds new light on his enduring significance.

Singing the Body Electric explores the relationship between the human voice and technology, offering startling insights into the ways in which technological mediation affects our understanding of the voice, and more generally, the human body. From the phonautograph to magnetic tape and now to digital sampling, Miriama Young visits particular musical and literary works that define a century-and-a-half of recorded sound. She discusses the way in which the human voice is captured, transformed or synthesised through technology. This includes the sampled voice, the mechanical voice, the technologically modified voice, the pliable voice of the digital era, and the phenomenon by which humans mimic the sounding traits of the machine. The book draws from key electro-vocal works spanning a range of genres - from Luciano Berio's Thema: Omaggio a Joyce to Radiohead, from Alvin Lucier's I Am Sitting in a Room, to Bjoerk, and from Pierre Henry's Variations on a Door and a Sigh to Christian Marclay's Maria Callas. In essence, this book transcends time and musical style to reflect on the way in which the machine transforms our experience of the voice. The chapters are interpolated by conversations with five composers who work creatively with the voice and technology: Trevor Wishart, Katharine Norman, Paul Lansky, Eduardo Miranda and Bora Yoon. This book is an interdisciplinary enterprise that combines music aesthetics and musical analysis with literature and philosophy.

Leonard Bernstein: A Research and Information Guide is an annotated bibliography and research guide on this popular American composer and conductor. It includes annotations on Bernstein's writings, performances, educational work, and major secondary sources. Also included are a biographical sketch, lists of compositions and arrangements, as well as lists of recordings and video. The second edition is updated to include research since the 1st edition was published in 2001, as well as online resources.

Most classical musicians, whether in orchestral or ensemble situations, will have to face a piece by composers such as Ligeti, Messiaen, Varese or Xenakis, while improvisers face music influenced by Dave Holland, Steve Coleman, Aka Moon, Weather Report, Irakere or elements from the Balkans, India, Africa or Cuba. Rafael Reina argues that today's music demands a new approach to rhythmical training, a training that will provide musicians with the necessary tools to face, with accuracy, more varied and complex rhythmical concepts, while keeping the emotional content. Reina uses the architecture of the South Indian Karnatic rhythmical system to enhance and radically change the teaching of rhythmical solfege at a higher education level and demonstrates how this learning can influence the creation and interpretation of complex contemporary classical and jazz music. The book is designed for classical and jazz performers as well as creators, be they composers or improvisers, and is a clear and complete guide that will enable future solfege teachers and students to use these techniques and their methodology to greatly improve their rhythmical skills. An accompanying website of audio examples helps to explain each technique. For examples of composed and improvised pieces by students who have studied this book, as well as concerts by highly acclaimed karnatic musicians, please copy this link to your browser: http://www.contemporary-music-through-non-western-techniques.com/pages/1587-video-recordings

Hundreds of the letters that Gustav Mahler addressed to his parents and siblings survive, yet they have remained virtually unknown. Now, for the first time Mahler scholar Stephen McClatchie presents over 500 of these letters in a clear, lively translation in The Mahler Family Letters. Drawn primarily from the Mahler-Rose Collection at the University of Western Ontario, the volume presents a complete, well-rounded view of the family's correspondence.
Spanning the mid 1880s through 1910, the letters record the excitement of a young man with a bourgeoning career as a conductor and provide a glimpse into his day-to-day activities rehearsing and conducting operas and concerts in Budapeast and Hamburg, and composing his first symphonies and songs. On the private side, they document his parents' illnesses and deaths and the struggles of his siblings Alois, Justine, Otto, and Emma. The letters also give Mahler's insightful impressions of contemporaries such as Johannes Brahms, Richard Strauss, and Hans von Bulow, as well as his personal feelings about significant events, such as his first big success--the completion of Carl Maria von Weber's Die drei Pintos in 1889. In the fall of 1894, the character of the letters changes when Justine and Emma come to live with Mahler in Hamburg and then Vienna, removing the need to communicate by letter about quotidian matters. At this point, the letters relay noteworthy events such as Mahler's campaign to be named Director of the Vienna Court Opera, his conducting tours throughout Europe, and his courtship of Alma Schindler.
The Mahler Family Letters provides a vital, nuanced source of information about Mahler's life, his personality, and hisrelationships. McClatchie has generously annotated each letter, contextualizing and clarifying contemporary historical references and Mahler family acquaintances, and created an indispensable resource for all Mahlerists, 19th-century musicologists, and historians of 19th-century Germany and Austria.

Unaccountably, Percy Grainger has remained on the margins of both American music history and twentieth-century modernism. This volume reveals the well-known composer of popular gems to be a self-described 'hyper-modernist' who composed works of uncompromising dissonance, challenged the conventions of folk song collection and adaptation, re-visioned the modern orchestra, experimented with 'ego-less' composition and designed electronic machines intended to supersede human application. Grainger was far from being a self-sufficient maverick working in isolation. Through contact with innovators such as Ferrucio Busoni, Leon Theremin and Henry Cowell; promotion of the music of modern French and Spanish schools; appreciation of vernacular, jazz and folk musics; as well as with the study and transcription of non-Western music; he contested received ideas and proposed many radical new approaches. By reappraising Grainger's social and historical connectedness and exploring the variety of aspects of modernity seen in his activities in the British, American and Australian contexts, the authors create a profile of a composer, propagandist and visionary whose modernist aesthetic paralleled that of the most advanced composers of his day, and, in some cases, anticipated their practical experiments.

Biographical insights into two outstanding musical personalities and commentary on the vitality of the British musical scene of the period. The letters that passed, on an almost daily basis, between the composers Howard Ferguson and Gerald Finzi provide not only a fascinating commentary on the British musical scene of the period 1926-1956, but also what amounts to a unique dual-biography of two remarkable, though very different, personalities. Their lives, their loves, their enthusiasms and their prejudices are laid bare with a rare degree of candour, so that we learn not only what it was liketo be witness to an art that was enjoying an unprecedented explosion of creative vitality, but also how they came to explore and consolidate their own exceptional talents. Biographical background narratives provide links that make clear what intimate correspondents inevitably take for granted, and explanations are given for references that the passage of time has made obscure. Their lives are thus revealed in all their diversity - tragedy and comedy, achievement and frustration, justifiable pride and unreasoning prejudice playing equal parts in this absorbing tale of two outstanding musical personalities of the twentieth century.

Sir Andrzej Panufnik was born in Warsaw and studied in the newly independent Poland in the 1930s, as well as in Vienna and Paris just before the outbreak of the Second World War. During the German occupation he formed a piano duo with his friend and fellow composer Witold LutosA'awski, and they performed in cafes around Warsaw. After the war, Panufnik quickly established himself as a leading Polish composer, and as a conductor he played a significant role in the re-establishment of first the KrakA(3)w and then the Warsaw Philharmonic. Although he was considered Poland's leading composer for some years after the war, Panufnik was subsequently put under intolerable pressure both musically and politically. Frustrated by the continuing rejection of his compositions and the unending political demands inflicted on him by the country's post-war Communist regime, he made a daring escape to England in 1954. He briefly became Principal Conductor of the City of Birmingham Symphony Orchestra, a post he relinquished after two years to devote all his time to composition. His works were in demand by major figures such as Leopold Stokowski who conducted the first performances of Sinfonia Elegiaca, KatyA" Epitaph and Universal Prayer, Yehudi Menuhin who commissioned the Violin Concerto, Seiji Ozawa in Boston and Sir Georg Solti in Chicago who both commissioned symphonies for the centenaries of their famous orchestras; also Mstislav Rostropovich with the London Symphony Orchestra, who together commissioned the Cello Concerto. Beata BolesA'awska has written the first book on the life and artistic output of Panufnik, setting his significance alongside the political and cultural scene of twentieth-century Europe. The account of the composer's life is based on numerous archival documents, as well as the personal accounts contributed by his family and friends. Panufnik's compositional style and techniques are also analysed. This book will be of interest not only to those devoted