The Polish composer Henryk Górecki (born 1933) achieved world-wide renown in 1992 when his Third Symphony, written in 1976, was recorded on CD and became an international bestseller. It is now one of the best known musical compositions of recent years, yet Górecki's other music is still relatively little known. This study, the first detailed account of his works in any language, provides biographical information as background to the music, and is by a leading enthusiast for Górecki's music.

This study, the first of its kind on a work of Vaughan Williams, traces the genesis of the composer's enigmatic final symphony as documented in the surviving manuscripts. The latter reveal an underlying programme based on Hardy's Tess of the D'Urbervilles, and chart the composer's struggle to find the technical means by which to realize his most complex spiritual vision.

No. 1 Sunday Times Bestseller. 'Can't fail to move' The Sunday Times ALL AUTHOR PROCEEDS DONATED TO THE AMY WINEHOUSE FOUNDATION. As an artist, she had few peers. Her lyrical prowess and timeless contralto vocals made her an instant revelation when her debut album Frank was released in 2003. And as her star continued to rise it became evident that this seemingly delicate girl from north London was much more than just a precocious talent. Genius, inspiration, icon; there are many ways to describe Amy Winehouse, but it was her wit, charm and lust for life that cemented her place in the hearts of her fans. Here, using exclusive extracts from his own personal diaries, Amy's father and confidant Mitch celebrates what influenced his daughter. Documenting her early years from Sylvia Young to the Brit School, and the darker side of her life as she struggled to cope with her addictions under the glare of the media spotlight, he gives new insights. With never before seen photos, notes and drawings, this book brings together the many layers of Amy's life - the personal, the private and the public - to create an honest and intensely moving account of the life of the most talented recording artist of her generation.

Domenico Dragonetti (1763-1846) was the most famous double-bass player in history. He dominated the English musical world for just over half a century. This critical biography explores his extraordinary career as musician, composer, entrepreneur, and pedagogue.

Once regarded as Ireland's national bard, Thomas Moore's lasting reputation rests on the ten immensely popular collections of drawing-room songs known as the Irish Melodies, published between 1808 and 1834. Moore drew on anthologies of ancient music, breathing new life into the airs and bringing them before a global audience for the very first time. Recognizing the unique beauty of the airs as well as their symbolic significance, these qualities were often interwoven into the verses providing potent political commentary along with a new cultural perspective. At home and abroad, Moore's Melodies created a realm of influence that continued to define Irish culture for many decades to come. Notwithstanding the far-reaching appeal and success of the collections, Moore has only recently begun to receive serious attention from scholars. Una Hunt provides the first detailed study of Moore's Irish Melodies from a combined musical and literary standpoint by drawing on a practical understanding and an unrivalled performance experience of the songs. The initial two chapters contextualize Moore and his songs through a detailed examination of their sources and style while the following chapters concentrate on the collaborative work provided by the composers Sir John Stevenson and Henry Rowley Bishop. Chapters 5 and 6 reappraise musical sources and Moore's adaptation of these, supported and illustrated by the Table of Sources in the Appendix.

Gerald Finzi (1901-1956) was a British composer, editor, author, and outdoorsman/agrarian. Many of his works (a body of fewer than 50) are choral or solo vocal in nature. At the heart of his musical contributions is a unique blend of the metaphysical and mystical with a true love for everything English. Typical of many of the volumes in the Greenwood Press series, this work serves as an awareness tool, introducing an important 20th-century composer labeled variously as a miniaturist, a pastoral composer, and a minor Edwardian musician--but with a singular style that differed from his contemporaries' yet reflected in part the English tradition of Elgar, Parry, and Vaughan Williams in particular. Growing up with the music of these composers as models, Finzi quickly succeeded in the art of writing songs. His work is just now beginning to receive wider publicity through recordings and public performance. A set of 15 anecdotes contributed by major artists is assembled in this work, containing the artists' reactions to Finzi and his compositions.

This bio-bibliography catalogs more than 300 musical compositions of the prolific American composer, Daniel Pinkham. The compositions reflect PinkhaM's success at securing commissions from a variety of individuals and organizations, and span his entire career to date as composer, performer, and teacher. The volume commences with a biography, and then supplies a complete catalog of works and a selected listing of performances. A discography of commercially produced recordings follows, with numbers corresponding to those in the previous sections. The final section is a bibliography, which is divided into two parts. The first part lists references to general reviews of PinkhaM's work or reviews of more than one composition; the second part consists of reviews of specific pieces. As before, the pieces are cross-referenced to the preceding sections. The volume concludes with four appendixes: a list of works arranged chronologically by date of composition; an alphabetical list of works; the literary texts used in the works, listed by author; and biblical sources of the texts.

Yayoi Uno Everett focuses on four operas that helped shape the careers of the composers Osvaldo Golijov, Kaija Saariaho, John Adams, and Tan Dun, which represent a unique encounter of music and production through what Everett calls "multimodal narrative." Aspects of production design, the mechanics of stagecraft, and their interaction with music and sung texts contribute significantly to the semiotics of operatic storytelling. Everett's study draws on Northrop Frye's theories of myth, Lacanian psychoanalysis via Slavoj Zizek, Linda and Michael Hutcheon's notion of production, and musical semiotics found in Robert Hatten's concept of troping in order to provide original interpretive models for conceptualizing new operatic narratives.

The Sibelius Companion represents in its collected chapters the most advanced research in the field of Sibelius studies today. Since mid-century, so much new information has come to light that our understanding of both the man and his music has changed profoundly. These changes are fully represented in the present volume. Some of the topics examined, particularly the vocal music, including Luonnotar^, which is here given a brilliant and provocative analysis, have previously been neglected. Other chapters deal with more familiar works, such as the Second and the Seventh Symphonies, which are approached in the light of recent scholarship and fresh perspective. Readers will find new light on Sibelius's biography, the first English-language investigation ever done of Sibelius and Karelianism, pioneering sketch studies, new analytical methods for understanding the music, studies in reception history, an assessment of the state of Sibelious research with a rich bibliography, the most complete chronological catalogue of works available, and a full Register of Names that identifies in considerable detail over 100 individuals and organizations important in Sibelius's creative life. Written in an accessible style, newly researched and fully documented, ^IThe Sibelius Companion^R will interest scholars, students, and music enthusiasts alike.

During the 1940s, country music was rapidly evolving from traditional songs and string band styles to honky-tonk, western swing, and bluegrass, via radio, records, and film. The Blue Sky Boys, brothers Bill (1917-2008) and Earl (1919-1998) Bolick, resisted the trend, preferring to perform folk and parlor songs, southern hymns, and new compositions that enhanced their trademark intimacy and warmth. They were still in their teens when they became professional musicians to avoid laboring in Depression-era North Carolina cotton mills. Their instantly recognizable style was fully formed by 1936, when even their first records captured soulful harmonies accented with spare guitar and mandolin accompaniments. They inspired imitators, but none could duplicate the Blue Sky Boys' emotional appeal or their distinctive Catawba County accents. Even their last records in the 1970sretained their unique magical sound decades after other country brother duets had come and gone. In this absorbing account, Dick Spottswood combines excerpts from Bill Bolick's numerous spoken interviews and written accounts of his music, life, and career into a single narrative that presents much of the story in Bill's own voice. Spottswood reveals fascinating nuggets about broadcasting, recording, and surviving in the 1930s world of country music. He describes how the growing industry both aided and thwarted the Bolick brothers' career, and how World War II nearly finished it. The book features a complete, extensively annotated list of Blue Sky Boys songs, an updated discography that includes surviving unpublished records, and dozens of vintage photos and sheet music covers.

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.

The Oxford History of English Music, Volume 2 takes the story of English Music from c.1715 to the present day, following on from Volume 1, published in 1991. It discusses not only the music of major composers but that of many lesser figures, together with folk music, light and popular music, and the social and historical background.

The classical music of Iraq, known as Iraqi Maqam, features classical and vernacular poetry sung by a virtuoso soloist and accompanied by a small instrumental ensemble. It is a remarkably cosmopolitan art, sharing many features with neighboring classical traditions, particularly Iranian. Its repertoire consists of orally transmitted, multi-sectioned compositions, performed with some flexibility regarding ornamentation, arrangement and development. Focusing on the period between 1930-1980, this reference offers the first comprehensive view of the musical contents of the repertoire scalar structure, melodic materials and overall form through various tables and musical transcriptions. This reference consolidates information from prominent Iraqi sources and draws upon a selection of recordings by master musicians, including Rashid Qundarchi and Yusuf Omar. An introductory section provides a brief overview of pan-Middle Eastern modal theory along with an outline of the terminology, theory and practices specific to Iraqi Maqam. The main section of the work is a catalog of 40 maqams that constitute the central core of the contemporary repertoire. The Repertoire of Iraqi Maqam aims to foster a better musical understanding of a relatively little known tradition, promote further research, and enhance appreciative listening to this inspiring facet of Iraqi culture.

Wolfgang Flur was a member of Kraftwerk from 1973 to 1987, contributing to albums such as Autobahn (1974), Radioaktivitat (1975), Trans-Europa Express (1977), Die Mensch-Maschine (1978), Computerwelt (1981) and Electric Cafe (1986). He continues to record music with his solo album Eloquence being released in 2015.

No single American could personify what Henry Luce called the American Century but Isaac Stern came closer than most. Despite modest origins as the child of Jewish immigrants in San Francisco, by the early 1940s talent and practice had brought him a Carnegie Hall debut, critical acclaim and the attention of the legendary Sol Hurok. As America came of age, so too did Stern. He would go on to make music on five continents, records in formats from 78 rpm to digital, friends as different as Frank Sinatra and Isaiah Berlin, and policy from Carnegie Hall to Washington, Jerusalem and Shanghai. He also loaned instruments to young players, brokered gigs for Soviet emigres and replied in person to inquiring fans. Wide-ranging yet intimate, The Lives of Isaac Stern is a portrait of an artist and musical statesman who left a profound musical and cultural legacy.

In Women of Influence in Contemporary Music: Nine American Composers, Michael K. Slayton has collected essays, which focus on women who have made significant contributions to American music: Elizabeth Austin, Susan Botti, Gabriela Lena Frank, Jennifer Higdon, Libby Larsen, Tania Leon, Cindy McTee, Marga Richter, and Judith Shatin. While these composers have much in common, not least of all dedication to their art, their individual stories reveal different impulses in American music. Their works reflect the shifting societal landscapes in the United States over the last seven decades, as well as different stylistic approaches to writing music. Each chapter includes a biography of the composer, an interview, and a detailed analysis of one major composition. The composers openly reflect on their individual journeys, in which they have discovered respective musical languages and have found success during different times in history. Because few music books focus solely on female composers, Women of Influence in Contemporary Music offers a rare glimpse into the styles and attitudes of gifted women and their work.

The Who were one of the most memorable and influential of the 1960s British Invasion bands-memorable because of their loudness and because they destroyed instruments during performances, and influential because of their success in crafting "Power Pop" singles like "My Generation" and "I Can See for Miles," long-playing albums Live at Leeds and Who's Next, and the "rock operas" Tommy and Quadrophenia. The themes that principal songwriter Pete Townshend imparted into The Who's music drew upon the group's mostly working-class London upbringings and early Mod audiences: frustration, angst, irony, and a youthful inclination to lash out. Like some of his rock and roll contemporaries, Townshend was also affected by religious ideas coming from India and the existential dread he felt about the possibility of nuclear war. During a career that spanned three decades, The Who gave their fans and rock critics a lot to think about. The remarkable depth and breadth of The Who's music and their story as one of the most exciting and provocative rock bands over the last half-century are the subjects of the philosophical explorations in this collection.

Hawai'i's legendary jazz musician Gabe Baltazar Jr. has thrilled audiences since the late 1940s with his powerful and passionate playing. In this, the first book on his life and career, Gabe takes readers through the highs, lows, and in-betweens on the long road to becoming one of the very few Asian Americans who has achieved worldwide acclaim as a jazz artist. At a young age Gabe was encouraged by his father, an accomplished musician, to take up the clarinet and saxophone. As a teenager during World War II, Gabe performed with the Royal Hawaiian Band but spent his weekends playing in swing bands. After establishing himself in the West Coast jazz scene, in 1960 he rose to prominence as lead alto saxophonist of the Stan Kenton Orchestra. Following a four-year stint with Kenton, Gabe worked as a valued studio musician, recording with Dizzy Gillespie, Oliver Nelson, and James Moody, among others. In 1969 he returned to Honolulu and went on to become Hawai?i's premier jazz artist, a role he admirably fulfilled for over forty years. At 82, Gabe remains active in jazz education and still performs regularly. Gabe's memorable encounters with some of the greatest names in jazz and popular entertainment will delight music fans, while readers of Hawai'i and Asian-American life-writing will find in this work a fond record of days past told with humour and heart.

A true icon of American popular culture, songwriter and entertainer Bob Dylan was a catalyst for changing social currents in the 1960s. His songs of the 60s, such as "Blowin' in the Wind," immediately conjure up an era even for those too young to have witnessed it. Although he often shuns the public eye and has dropped out of sight for long periods in his career, Dylan continues to write and perform and remains influential on the popular music scene. Unswerving in his antiwar stance, he shocked audiences of the February 1991 Grammy Awards ceremony, at which he was honored with a lifetime achievement award, by singing his "Masters of War" during Operation Desert Storm.

Elusive to biographers, Dylan has inspired relatively few substantive accounts, although much has been written about his music. The present study presents an accurate summary of his life and an analysis of his pivotal role in popular music. His more than 400 songs and other writings, recordings, concert tours, and film and television appearances are all fully documented, as are bootleg recordings and recordings of his music by other singers. Presented in a lively manner with much anecdotal material, the facts and the myths about Dylan and the strengths and weaknesses of writings about him are carefully assessed in this one-volume source on the man and his work.

Complicated Game offers a unique insight into the work of one of Britain's most original and influential songwriters-and an unprecedentedly revealing and instructive guide to how songs and records are made. Developed from a series of interviews conducted over many months, this fascinating book explores in detail some thirty XTC songs-including well-known singles such as 'Senses Working Overtime' and the controversial 'Dear God'-from throughout the group's thirty-year career. It casts new light on the writing of lyrics, the construction of melodies and arrangements, the process of recording, and the workings of the?music industry. But it is also filled with anecdotes about Partridge, his XTC bandmates, and their adventures around the world, all told with the songwriter's legendary humour. The book also includes pages from Partridge's songwriting notebooks and reproductions of his original artwork designs, as well as a guide to Andy Partridge's Swindon and a foreword by Steven Wilson, the guitarist, songwriter, and record producer best known as the founder and leader of Porcupine Tree.

Growing up in Huntsville, Alabama, during the first quarter of the 20th century, Alabama-born organist and composer Lee Orville Erwin, like many of the 20th century s great American composers, spent time studying in Paris. From 1930 until 1931 Erwin studied in France with organist Andre Marchal and the harmony teachers Jean Verd and Nadia Boulanger. This formative experience greatly shaped his compositional style and aesthetic. Upon returning to the United States, Erwin began his lengthy career in radio and television working with Arthur Godfrey. In 1967, Erwin was commissioned by the American Theater Organ Society to compose organ music for the Gloria Swanson film Queen Kelly. It was this film that led his career back into the consoles of the great American theater organs. He toured extensively, playing thousands of concerts of organ music during silent film showings. He thus ushered in the silent film revival, continuing the genre of live music performance accompanying film. Erwin, believing that cue sheets originally compiled for these films during the silent film era were full of the musical cliche s of the 1920s, composed new scores to over 100 silent films. An American Organist in Paris presents Lee Orville Erwin's letters from France to his family in 1930-1931. In these letters, Erwin recounts his daily experiences and encounters with some of the 20th century's greatest musicians and teachers. He writes of his lessons with Marchal, Verd, and Boulanger and dinner parties with Olivier Messiaen. Erwin's letters not only provide the singular experiences of a young musician but also reflect the common experiences shared by the multitude of American composers who studied in France during this time. These letters are extensively footnoted to provide clarity and background information of the locations and personalities discussed. A biographical chapter on Erwin, which outlines his extensive musical career and impact on the silent film music revival in the 20th century, is also included. This book will serve as a unique glimpse into the life of one of America's most prolific composers for the theater organ.

How Tammy Wynette channeled the conflicts of her life into her music and performance. With hits such as "Stand By Your Man" and "Golden Ring," Tammy Wynette was an icon of American domesticity and femininity. But there were other sides to the first lady of country. Steacy Easton places the complications of Wynette's music and her biography in sharp-edged relief, exploring how she made her sometimes-tumultuous life into her work, a transformation that was itself art. Wynette created a persona of high femininity to match the themes she sang about-fawning devotion, redemption in heterosexual romance, the heartbreak of loneliness. Behind the scenes, her life was marked by persistent class anxieties; despite wealth and fame, she kept her beautician's license. Easton argues that the struggle to meet expectations of southernness, womanhood, and southern womanhood, finds subtle expression in Wynette's performance of "Apartment #9"-and it's because of these vocal subtleties that it came to be called the saddest song ever written. Wynette similarly took on elements of camp and political critique in her artistry, demonstrating an underappreciated genius. Why Tammy Wynette Matters reveals a musician who doubled back on herself, her facade of earnestness cracked by a melodrama that weaponized femininity and upended feminist expectations, while scoring twenty number-one hits.