"The book... includes... valuable essays and interviews, which movebeyond the scholarly controversy to sketch a nuanced picture of Shostakovich's lifeunder a totalitarian regime.... The 'Casebook' contributors compellingly warn ofreplacing one mask with another, one black-and-white myth with its simpleinversion." -- New York Times

..". an important andreadable collection.... It presents a devastating critique of Volkov's claims andscholarly practices in Testimony." -- New York Review ofBooks

A Shostakovich Casebook brings together 25 essays, interviews, newspaper articles, and reviews -- many newly available since thecollapse of the Soviet Union -- to create a volume of essential reading andcutting-edge scholarship in Russian music studies. The contributors include MalcolmH. Brown, Laurel Fay, Irina Antonovna Shostakovich, and Richard Taruskin.

For the past four decades, the concept of hypermeter has been routinely applied to eighteenth-century music. But was this concept familiar in the eighteenth century? If so, how is it reflected in writings of eighteenth-century music theorists? And how does it relate to their discussion of phrase structure? In this book, a follow-up to the award-winning Metric Manipulations in Haydn and Mozart, author Danuta Mirka unearthes a number of cues that point to eighteenth-century recognition of what today is called hypermeter, and retraces the line of tradition that led from eighteenth-century music theory to the emergence of the modern concept of hypermeter in the twentieth century. Mirka describes the proto-theory of hypermeter developed by German music theorists, recounts the recent history of this concept in American music theory, evaluates contributions made to it by authors working within different theoretical traditions, and introduces a dynamic model of hypermeter which allows the analyst to trace the effect of hypermetric manipulations in real time. This model is applied in analyses of Haydn's and Mozart's chamber music for strings, which shed a new light upon this celebrated repertoire, but the aim of this book goes far beyond an analytical survey of specific compositions. Rather, it is to offer a systematic classification of hypermetrical irregularities in relation to phrase structure and to give a comprehensive account of the ways in which phrase structure and hypermeter were described by eighteenth-century music theorists, conceived by eighteenth-century composers, and perceived by eighteenth-century listeners.

Matteo Carcassi's 25 Melodic and Progressive Studies, Op. 60, is a collection of etudes considered essential for the serious classical guitar student. It offers wonderful insights into musical and technical ideas of one of guitar's most prominent figures.

Between early 1806 and early 1807, Ludwig van Beethoven completed a remarkable series of instrumental works. But critics have struggled to reconcile the music of this banner year with Beethoven's "heroic style," the paradigm through which his middle-period works have typically been understood. Drawing on theories of mediation and a wealth of primary sources, Beethoven 1806 explores the specific contexts in which the music of this year was conceived, composed, and heard. As author Mark Ferraguto argues, understanding this music depends on appreciating the relationships that it both creates and reflects. Not only did Beethoven depend on patrons, performers, publishers, critics, and audiences to earn a living, but he also tailored his compositions to suit particular sensibilities, proclivities, and technologies.

A leading cultural theorist and musicologist opens up new possibilities for understanding mainstream Western art music--the "classical" music composed between the eighteenth and early twentieth centuries that is, for many, losing both its prestige and its appeal. When this music is regarded esoterically, removed from real-world interests, it increasingly sounds more evasive than transcendent. Now Lawrence Kramer shows how classical music can take on new meaning and new life when approached from postmodernist standpoints. Kramer draws out the musical implications of contemporary efforts to understand reason, language, and subjectivity in relation to concrete human activities rather than to universal principles. Extending the rethinking of musical expression begun in his earlier Music as Cultural Practice, he regards music not only as an object that invites aesthetic reception but also as an activity that vitally shapes the personal, social, and cultural identities of its listeners. In language accessible to nonspecialists but informative to specialists, Kramer provides an original account of the postmodernist ethos, explains its relationship to music, and explores that relationship in a series of case studies ranging from Haydn and Mendelssohn to Ives and Ravel.

For many today Johann Sebastian Bach and Wolfgang Amadeus Mozart stand as towering representatives of European music of the eighteenth century, composers whose works reflect intellectual, religious, and aesthetic trends of the period. Research on their compositions continues in many ways to shape our broader understanding of eighteenth-century musical thought and its contexts. This collection of essays by leading authorities in the field offers a variety of new perspectives on the two composers, as well as some of their important contemporaries, Haydn in particular. Addressing topics as diverse as the historiography of eighteenth-century music, concepts of time and musical form, the idea of the musical work and its relation to publishing practices, compositional process, and performance practice, these essays together constitute a major contribution to eighteenth-century studies.

This book had its origin in a conference that took place at the Music Department of Harvard University on September 23 25, 2005, to honor Professor Christoph Wolff, Adams University Professor at Harvard University.

This book challenges the assumption that Franz Schubert (1797-1828), best known for the lyricism of his songs, symphonies and chamber music, lacked comparable talent for drama. It is commonly assumed that Franz Schubert (1797-1828), best known for the lyricism of his songs, symphonies, and chamber music, lacked comparable talent for drama. Challenging this view, Drama in the Music of Franz Schubert provides a timely re-evaluation of Schubert's operatic works, while demonstrating previously unsuspected locations of dramatic innovation in his vocal and instrumental music. The volume draws on a range of critical approaches and techniques, including semiotics, topic theory, literary criticism, narratology, and Schenkerian analysis, to situate Schubertian drama within its musical and cultural-historical context. In so doing, the study broadens the boundaries of what might be considered 'dramatic' within the composer's music and offers new perspectives for its analysis and interpretation. Drama in the Music of Franz Schubert will be of interest to musicologists, music theorists, composers, and performers, as well as scholars working in cultural studies, theatre, and aesthetics. JOE DAVIES is College Lecturer in Music at Lady Margaret Hall, University of Oxford. JAMES WILLIAM SOBASKIE is Associate Professor of Music at Mississippi State University. Contributors: Brian Black, Lorraine Byrne Bodley, Joe Davies, Xavier Hascher, Marjorie Hirsch, Anne Hyland, Christine Martin, Clive McClelland, James William Sobaskie, Lauri Suurpaa, Laura Tunbridge, Susan Wollenberg, Susan Youens

Songs For The Morning Band is a work in three movements for bands at the grade one and a half level. The first movement is entitled The Answered Question (with a nod to Mr. Ives). This movement makes use of the question and answer technique. The second movement, An Inuit Lullaby, is a setting of an old Inuit folksong from the Cape Dorset region of the Canadian Arctic. The third and final movement, Entrance Of The Colourful Clowns, is a depiction of circus clowns entering the centre ring under the big tent of a circus.

A great new arrangement of this powerful work is perfect for trombone quintet. Originally for organ, this very chromatic work lends itself well to a choir of trombones. This arrangement is rated difficult because the technical demands and range are fairly substantial. This is a great work for a professional quintet to use in a concert, recital or as a recording project. Watch for more fantastic trombone choir arrangements from Don Sweete.

Employs an innovative approach by "stages" to offer a unified vision of European Romanticism over the half-century of its growth and decline. Romanticism was a truly European phenomenon, extending roughly from the French Revolution to the 1848 revolutions and embracing not only literature and drama but also music and visual arts. Because of Romanticism's vast scope, most treatments have restricted themselves to single countries or to specific forms, notably literature, art, or music. This book takes a wider view by considering in each of six chapters representative examples of works - from across Europe and across a range of the arts - that were created in a single year. For instance, in the first chapter, focusing on the year 1798, Beethoven's Pathetique sonata, Wordsworth and Coleridge's Lyrical Ballads,Tieck's novel Franz Sternbalds Wanderungen, and Goya's painting El sueno de la razon. The following chapters treat works from the years 1808, 1818, 1828, 1838, and 1848. This approach by "stages" makes it possible to determine characteristics of six stages of Romanticism in its historical and intellectual context and to note the conspicuous differences between these stages as European Romanticism developed-for example, the waxing and waning of religious themes, the shifting visions of landscape, the gradual ironic detachment from early Romanticism. In sum, the volume offers a unified vision of European Romanticism in all its aesthetic forms over the half-centuryof its growth and decline. Theodore Ziolkowski is Professor Emeritus of German and Comparative Literature, Princeton University.

"All practising musicians with an interest in the baroque owe it tothemselves to be exposed to the ideas contained in this book." --Continuo

"This is a book from an excellent musician in theearly field who turns out also to be a most persistent scholar... " -- EarlyMusic

..". the book offers a vast quantity of data from awide range of sources.... George Houle is to be congratulated for his honestpresentation of the entire spectrum." -- Music EducatorsJournal

The treatment of meter in performance has evolveddramatically since 1600. Here is a practical guide for the performer, with manyquotations from early manuals and treatises, and abundant examples.

This pathbreaking work reveals the pivotal role of music--musical works and musical culture--in debates about society, self, and culture that forged European modernity through the "long nineteenth century." Michael Steinberg argues that, from the late 1700s to the early 1900s, music not only reflected but also embodied modern subjectivity as it increasingly engaged and criticized old regimes of power, belief, and representation. His purview ranges from Mozart to Mahler, and from the sacred to the secular, including opera as well as symphonic and solo instrumental music.

Defining subjectivity as the experience rather than the position of the "I," Steinberg argues that music's embodiment of subjectivity involved its apparent capacity to "listen" to itself, its past, its desires. Nineteenth-century music, in particular music from a north German Protestant sphere, inspired introspection in a way that the music and art of previous periods, notably the Catholic baroque with its emphasis on the visual, did not.

The book analyzes musical subjectivity initially from Mozart through Mendelssohn, then seeks it, in its central chapter, in those aspects of Wagner that contradict his own ideological imperialism, before finally uncovering its survival in the post-Wagnerian recovery from musical and other ideologies.

Engagingly written yet theoretically sophisticated, "Listening to Reason" represents a startlingly original corrective to cultural history's long-standing inhibition to engage with music while presenting a powerful alternative vision of the modern.

Music examples and charts illustrate the analyses, and each essay is fully annotated by the editor. in some cases, the results of the original research by the editor or by others working in the field are published here for the first time. Much of the material has never before appeared in English.

A score embodying the best available musical text.

Historical background what is known of the circumstances surrounding the origin of the work, including (where relevant) original source material.

A detailed analysis of the music, by the editor of the volume or another well-known scholar.

Other significant analytic essays and critical comments, exposing the student to a variety of opinions about the music."

The complete suite, including: Cordoba * Andalucia * Alhambra * Gitanerias * Guadalquivir * Malaguena.

A critical survey of Viennese treatises on harmony and their influence on the work of a number of 18th to 20th century composers.