In this thorough research guide to the career and music of Bill Dixon the author has documented how Dixon refined a sonically unique pan-tonal language of trumpet playing. As a trumpeter, composer, educator, and theoretician, Bill Dixon has politically and musically influenced many phases of the development of Black music in the second half of the 20th century. This authoritative guide details information about the life and music of Bill Dixon. Bill Dixon comments throughout the text on the familiar and unfamiliar aspects of his career as it unfolds between performances and recordings. The recollections of those who have collaborated with Bill Dixon over the years supplement the thorough research here presented on the life and career of Bill Dixon and, additionally, the New York avant garde artistic sphere in which he worked. Bill Dixon has refined a sonically unique pan-tonal language of trumpet playing. As a trumpeter, composer, educator, and theoretician, Bill Dixon has politically and musically influenced many phases of the development of Black music in the second half of the 20th century. This authoritative guide details information about the life and music of Bill Dixon. Bill Dixon comments throughout the text on the familiar and unfamiliar aspects of his career as it unfolds between performances and recordings. The recollections of those who have collaborated with Bill Dixon over the years supplement the thorough research here presented on the life and career of Bill Dixon and subsequently, on the New York avant garde artistic sphere in which he worked. Music and music history scholars, especially those interested in jazz and Black music, will be attracted to the wealth of information provided, often from primary sources, on Bill Dixon and Black music through the 50s, 60s, and 70s. The discography included encompasses issued and non-issued recordings as well as listings for every known Bill Dixon performance. Collaborations with dancers, directors, filmmakers and painters, among others, are also documented.

Karel Husa is a Czechoslovakian-American composer and educator who has made important contributions to modern musical literature. Especially well known for his compositions for wind band, Husa is also in constant demand as a guest conductor and lecturer throughout the musical world. This volume provides a complete guide to his compositions and to recordings of his work, together with a full bibliography. Following a brief biography is a list of Husa's compositions, arranged by genre. Each entry includes the date of composition, duration of the work, and the performance medium, as well as details relating to the commission, premiere, and publication. The discography of commercially produced recordings of Husa's music is arranged alphabetically and supplies information on label and label number, date of issue, contents, and performers. The bibliography is comprehensive, listing writings by and about Husa and annotating each work cited. Systematic cross-referencing is used throughout the book. A convenient resource for musicians and musicologists, this bio-bibliography is an appropriate choice for music and academic libraries.

Funeral Games in Honor of Arthur Vincent Lourie explores the varied aesthetic impulses and ever-evolving personal motivations of Russian composer Arthur Lourie. A St. Petersburg native allied with the Futurist movement and profoundly sympathetic to Silver Age decadence, Lourie was swept away by the Revolution; he surfaced as a Communist commissar of music before landing in Europe and America, where his career foundered. Making his way by serving others, he became Stravinsky's right-hand man, Serge Koussevitsky's ghostwriter, and philosopher Jacques Maritain's muse. Lourie left his mark on the poems of Anna Akhmatova, on the neoclassical aesthetics of Stravinsky, on Eurasianism, and on Maritain's NeoThomist musings about music. Lourie serves as a flawless lens through which aspects of Silver Age Russia, early Bolshevik rule, and the cultural space of exile come into sharper focus. But this interdisciplinary collection of essays, edited by musicologists Klara Moricz and Simon Morrison, also looks at Lourie himself as an artist and intellectual in his own right. Much of the aesthetic and technical discussion concerns his grandly eulogistic opera The Blackamoor of Peter the Great, understood as both a belated Symbolist work and as a NeoThomist exercise. Despite the importance Lourie attached to the opera as his masterwork, Blackamoor has never been performed, its fate thus serving as an emblem of Lourie's own. Yet even if Lourie seems to have been destined to be but a footnote in the pages of music history, he looms large in studies of emigration and cultural memory. Here Lourie's life, like his last opera, is presented as a meditation on the circumstances and psychology of exile. Ultimately, these essays recover a lost realm of musical and aesthetic possibilities-a Russia that Lourie, and the world, saw disappear.

In the bleak cage of the Soviet Union, a brilliant pianist, inspired by the music of Olivier Messiaen, survived and triumphed. This is his story, told partly in his own words. Interlacing material from previously unknown Russian archives, original recordings, photographs, and essays, Gregory Haimovsky: A Pianist's Odyssey to Freedom is the story of an extraordinary Russian concert pianist who, fighting the cultural prohibitions of the USSR, eventually succeeded in performing and recording major works by the prominent French composer Olivier Messiaen. At the lowest point of his life, expelled from Moscow and exiled to a small provincial city, Haimovsky discovered Messiaen's oeuvre uncatalogued and hidden in the library of the Union of Soviet Composers. Haimovsky's intense studies and Soviet premieres of these banned compositions healed and liberated his mind, spirit, and artistic imagination. Messiaen's music also deepened and fueled Haimovsky's fierce personal and musical opposition to Soviet political and cultural doctrines. Told partly in Haimovsky's own words and supplemented by interviews with several performers who worked with him between 1960 and 1972 as well as stories from his correspondence with major Russian artists, writers, and musicians of the time, Marissa Silverman's vivid narrative sheds new light on relationships between twentieth-century Russian music, Soviet politics, and the culture wars that raged during and after Stalin's barbaric rule. Marissa Silverman is Associate Professor of Music at the John J. Cali School of Music, Montclair State University.

Charles Ives, perhaps the quintessential American composer of the twentieth century, drew on his childhood experiences in a small New England town in his music. Through his close relationship with his father, George, a Civil War bandmaster, Ives developed a powerful feeling for nineteenth-century rural America. This book--the first full-scale psychoanalytic biography of a major composer--examines the lives of the two men and shows how a knowledge of their relationship as father and son, teacher and pupil, is central to an understanding of Ives's work. Stuart Feder, a psychoanalyst with training in musicology, demonstrates that George exerted so pervasive an influence on Charles's creative life that Ives's music may be seen as the result of an unconscious fantasy of posthumous collaboration between father and son. The music bears George's mark, not only in its incorporation of hymn tunes, parlor ballads, Civil War marches, and other homely sources that derived from his youth, but also in its use of technical musical devices attributed to George. Moreover, the span of Ives's creative life reveals another connection to his father: Charles's musical productivity began to wane in his forties, as he approached the age at which his father died. Dr. Feder examines the influence of George's teaching and storytelling on Charles's years as a composer. Ives's later decline is traced psychologically and medically. Using Ives's music as an essential part of his data, Dr. Feder demonstrates how music can illuminate and be expressive of the inner life of its creator.

Experimentations provides a detailed historical and theoretical analysis of the first three decades of experimental composer John Cage's aesthetic production (ca. 1940-1972). Paying particular attention to Cage's inter- and cross-disciplinary engagements with the visual arts and architecture during this period, the book sheds new light on some of Cage's most controversial and influential innovations, such as the use of noise, chance techniques, indeterminacy, electronic technologies, and computerization, as well as upon lesser known but important ideas and strategies such as transparency, multiplicity, virtuality, and actualization. Ultimately, it traces the development of Cage's avant-garde aesthetic and political project as it transformed from the emulation of historical avant-garde precedents such as futurism and the Bauhaus, to the development of important precedents for the post-World War II movements of happenings and Fluxus, to its ultimate abandonment in the aftermath of problems encountered in the vast, multimedia composition HPSCHD (1967-69).

I'm just a cosmic yob, I suppose.

I change every day. I'm not outrageous. I'm David Bowie.

I'm an instant star. Just add water and stir.

Genre-hopping, gender-bending: Bowie has never been afraid to push the boundaries. Whether masquerading as an alien, a spaceman or a goblin king, this rock 'n' roll hero was a true visionary. The death of the Man Who Fell to Earth shook fans around the world, but his influence lives on.

Pocket Bowie Wisdom is full of insights into music, identity, fame, love and creativity from one of the most pioneering musicians of all time.

This collection of quotes makes a perfect gift for the Bowie fan in your life.

Every recorded performance of Mahler shymphonies--and Das Lied--from 1924 until press time! What a labor and how sorely needed! Music Journal In the past 25 years a revival of interest in the music of Gustav Mahler has resulted in nearly 300 new recordings of his symphonies. The breadth and complexity of these works, together with the plethora of recent releases, signals the need for a guide that will be useful both to novice and the experienced collector. Lewis M. Smoley's book fills this need, providing critical analysis and specific recording information for all known recordings of Mahler's symphonies as well as indexes by conductor, orchestra, and label. The result of extensive research, this volume includes many recordings that have not appeared in previous listings. Recording made around the world from 1924 through 1986 are treated in chapters devoted to each of the 11 symphonies--including Das Lied von der Erde and the unfinished 10th. Listings are arranged alphabetically under the name of the conductor and analyzed in terms of quality of performance, specific interpretation and interpretive styles, and sonics. Recordings of special merit are noted. Entries supply information about reissues as well as original pressings, type of recording, and alternative versions of some of the scores. Cross-referenced indexes list conductor, orchestra, vocal soloists, chorus, and record label for the recordings discussed. The foreword and preface place Mahler's recorded symphonies in perspective and discuss some of the interpretive and textual issues that continue to be debated. This single-volume guide is appropriate for both the average listener and the serious enthusiast, and will also be a valuable addition to the collections of music schools and conservatories.

Smith explores Pete Townshend's artistic struggle between his own creative impulses and those of the commercial public. Faced with a modern version of the minstrel's dilemma, Townshend, early in his career, ignored his creative instincts to satisfy commercial agendas. After his success, he slowly withdrew to resolve his conflict between creativity and commercialism. Townshend's creative vision unfolds against the conflicts and compromises battled with the entertainment industry. A common theme, that of the seeker, weaves throughout the various phases of Townshend's career and highlights his own quest for complete artistic expression free from compromise.

In "The Minstrel's Dilemma," Townshend is shown as a musician confronting the same battles begun by early minstrels and later fought by composers such as Beethoven and Mozart. He is referred to as a rock auteur, creating music that reflects his personal experiences and creative views. He is called a seeker, in search of artistic freedom toward personal expression. And at the end of his thirty-year struggle he is a true artist, able to live up to audience expectation while attending to his own artistic impulses.

The BBC Proms is the world's biggest and longest-running classical music festival and one of the jewels in the crown for the BBC. Held every summer at the Royal Albert Hall in London, it is one of the strongest brand names in the music world and attracts a glittering array of artists and orchestras. Whether you're a first-time visitor or an experienced Prommer, watching at home or listening on radio or online, the BBC Proms Guide will be an excellent companion to a remarkable summer of music, which you can treasure and return to in years to come. Filled with the latest programme details and illuminating articles by leading experts, journalists and writers, the BBC Proms Guide gives a wide-ranging insight into the performers and repertoire, as well as thought-provoking opinion pieces about audiences, music and music-making. The contents for 2021 include a specially commissioned short story by award-winning author Chibundu Onuzo; an exploration of music and silence by author, commentator and broadcaster Will Self; a celebration of the history and influence of the iconic Royal Albert Hall 150 years after its opening by historian, author, curator and television presenter Lucy Worsley; a tribute to anniversary composer Igor Stravinsky; and an article spotlighting the remarkable Kanneh-Mason siblings (spearheaded by royal-wedding cellist Sheku).

Peggy Lee holds a special place in the history of American popular and jazz music. From her birth on May 26, 1920, to her final recording on August 26, 1995, to the New Yorker's obituary from February of 2002, this chronological record covers every moment of her professional life. Detailed entries describe recordings (both albums and songs), radio and television appearances, her work in films, and her songwriting efforts, drawing from interviews with Lee and others, nightclub and concert reviews, and a wealth of other sources. Appendices list CD releases of Lee's recordings and the songs she composed. Illustrated with many rare photographs.

Esteemed by many of his most distinguished contemporaries, including Arnold Schoenberg, Alexander Zemlinsky (1871-1942) was a protege of Brahms and Mahler. Despite this, he was overshadowed by the composers of the second Viennese school, and for many years after his death was remembered merely as the brother-in-law of Schoenberg. But with centenary celebrations of Zemlinsky's birth, scholars began a careful examination of his works and realized they had discovered a forgotten master. Zemlinsky's wonderful melodic gift was manifested in operas, choral works, chamber music, and symphonic pieces, but was realized most fully in his more than one hundred songs.

In this important new study--the first such work in English--Lorraine Gorrell focuses on these songs, revealing the ways in which they represented a bridge between the 19th-century romantic lied and the 20th-century avant-garde. Of interest to scholars studying both the German art song and the development of the second Viennese school, Gorrell's work uses Zemlinsky's songs as a lens through which to examine an important, highly influential musical figure.

Dual natures comprised Chopin's personality. On one hand, he was a highly creative romantic idealist and on the other, a realist trying to cope with the world at large. Documentary evidence illustrates the disparities in his personality as a reflection of these two diverse aspects of his psyche. Of special interest are five previously unpublished letters in English and the unfolding of Chopin's controversial relationships with Tytus Woyciechowski, Julian Fontana, George Sand, and Solange Sand. This critical portrayal of Chopin's personality traces his journeys and experiences from Warsaw to Paris and reveals, among other characteristics and traits, Chopin's developmental problems during his adolescence, his unattractive behavior in his relationship with Julian Fontana, and George Sand's unrequited love for Chopin. The culture of the time and the atmosphere surrounding Chopin's relationships emerge in the detailed evidence presented.

The book is divided into two parts. The first is relevant to Chopin's youth in Warsaw. His relationship with Tytus Woyciechowski during the formative years in Warsaw significantly impacted Chopin's emotional development. The second part of the book focuses on Chopin's adult years in Paris including his liaison with George Sand, which is considered through her daughter, Solange, and four friends and acquaintances common to both Sand and Chopin. The text is extensively annotated and this research of Chopin's life and personality will appeal to both the Chopin scholar and enthusiast. It will also be of interest to students of French Romantic literature, Romantic music, and Polish music of the nineteenth century.

Schubert's Workshop offers a fresh study of the composer's compositional technique and its development, rooted in the author's experience of realising performing versions of Franz Schubert's unfinished works. Through close examination of Schubert's use of technical and structural devices, Brian Newbould demonstrates that Schubert was much more technically innovative than has been supposed, and argues that the composer's technical discoveries constitute a rich legacy of specific influences on later composers. Providing rich new insights into the creative practice of one of the major figures of classical music, this two-volume study reframes our understanding of Schubert as an innovator who constantly pushed at the frontiers of style and expression.

Elinor Remick Warren's distinguished career as a composer, concert pianist, and accompanist for renowned singers spanned seventy-five years of American musical history. She began writing music in 1904 at age four. Her first published composition, a song, was accepted by G. Schirmer in 1916. Thereafter, her compositions appeared regularly through 1990. Her full oeuvre is cataloged here along with performance information, discography, and review and critical commentary, all of which is carefully documented, cross-referenced, and indexed. A biographical sketch is supplemented by a long interview conducted by the author with Warren four years before the composer's death in 1991. Among the useful appendixes are textual sources for Warren's many vocal compositions.

The first in-depth study of David Bowie’s music videos across a sustained period takes on interweaving storyworlds of an iconic career. Remarkable for their capacity to conjure elaborate imagery, Bowie’s videos provide fascinating exemplars of the artistry and remediation of music video. When their construction is examined across several years, they appear as time-travelling vessels, transporting kooky characters and strange story-world components across time and space. By charting Bowie’s creative and collaborative process across five distinct phases, David Bowie and the Art of Music Video shows how he played a vital role in establishing music video as an artform. Filling a gap in the existing literature, this book shines a light on the significant contributions of directors such as Mick Rock, Stanley Dorfman and David Mallet, each of whom taught Bowie much about how to use the form. By examining Bowie's collaborative process, his use of surrealist strategies and his integration of avant-garde art with popular music and media, the book provides a history of music video in relation to the broader fields of audiovisual media, visual music and art.

1963 ä tail fins were in sock hops were hot and a fairytale white knight was president. That summer sixteen year-old singer Lesley Gore released her debut single It's My Party propelling her to Number One on the charts. For the next several years the crowned Princess of Pop dominated the radio with a string of hits including Judy's Turn to Cry She's A Fool Sunshine Lollipops & Rainbows and the rousing anthem for independence You Don't Own Me making her the most successful and influential solo female artist of the 60s. But beneath the bubblegum fa§ade was a girl squirming against social and professional pressures to simply be herself and to forge a future where she could write and perform music beyond the trappings of teenage angst and love triangles. Assembled over five years of research and interviews this is the first and long overdue biography of Lesley Gore one of pop music's pioneering Mothers which chronicles her meteoric rise to fame her devastating fall from popularity and struggle for relevance in the 1970s and her reemergence as a powerful songwriter political activist and camp icon. The biography includes behind-the-scenes stories about the making of her hit records debunks or clarifies popular myths about her career and places her remarkable life and times within a historical context to reveal how her music was both impacted by and contributed to each decade of her astounding fifty-year career.

As recommended by USA Today and excerpted on Rolling Stone.com! More than forty years after breaking up, The Beatles remain the biggest-selling and most influential group in the history of popular music. Fans endlessly replay their songs, craving more, while thousands of cover versions of their songs have been recorded and performed. Band biographies, pop music histories, song books, and academic titles on the Fab Four clutter shelves. But never has there been a definitive guide to the finest songs of The Beatles after they called it quits. Still the Greatest is a love song to the songwriting and recording achievements of Paul, John, George, and Ringo after each struck out on his own. In this creative history, Jackson selects the best songs in each solo career and organizes them into fantasy albums they might have formed had the legendary group stayed together. This romp through the post-Beatles history of each artist delves into the circumstances behind the composition, recording, and reception of each work, offering a refreshing take on how spectacular much of The Beatles' second act truly is. Jackson assesses the more than seventy albums and nine hundred songs the four collectively released, selecting the creme de la creme of their output. Still the Greatest brims with facts (release dates, writing and performing credits, and information about production techniques) and insightful analyses of the music and lyrics. In telling the stories behind the songs, Jackson recounts the remarkable influence the Post Fab Four continued to have long after the big split. Both a handy reference and an engrossing cover-to-cover read, Still the Greatest is an invaluable companion for those who thought it all ended with the 1970 album Let It Be.

Designed for general readers and scholars, this study explores the Lutheran commentary in Bach's St. John Passion and suggests that fostering hostility to Jews is not its subject or purpose. Also included are a literal, annotated translation of the libretto and an appendix discussing anti-Judaism and Bach's other works.

In lucid and engaging style, Stinson explores Bach's 'Great Eighteen' Organ Chorales - among Bach's most celebrated works for organ - from a wide range of historical and analytical perspectives, including the models used by Bach in conceiving the individual pieces, his subsequent compilation of these works into a collection, and his compositional process as preserved by the autograph manuscript. Stinson also considers various issues of performance practice, and provides the first comprehensive examination of the music's reception, its dissemination in manuscript and printed form, and its influence on such composers as Mendelssohn, Schumann, and Brahms.

I m not offended by all the dumb blonde jokes because I know I m notdumb and I m not blonde either. Don t get so busy making a living that you forget to make a life. People are always asking me in interviews, What do you think of foreign affairs? I just say, I ve had a few. Dolly Parton or the Dolly Lama, as she has been called is renowned for her hilarious quotes, witty one-liners, and self-deprecating humor.In "Pocket Dolly Wisdom," the Queen of Country s best quotes have been compiled into a handy pocket-sized edition, perfect for reading on the go. So if you re feeling blue, need a laugh, a hug, or some solid Southern advice, this is the book for you. From love to diets, life advice, and more, there s something for every Dolly fan."