This volume makes available Rodrigo's writings to English-speaking readers throughout the world. The generous selection reveals an outstanding critical mind, equally illuminating on the main developments in the history of classical music and its most important composers, from Bach and Mozart to Verdi and Puccini, as well as Rodrigo's contemporaries. Rodrigo's writings also cover many aspects of the culture and music of Spain and the country's major composers, as well as being an invaluable guide to an understanding and appreciation of Rodrigo's own works. The composer's style of writing is extremely varied: by turns incisive, eloquent, poetic, or delightfully humorous. Given the world-wide fame and popularity of his music, the availability in English of a large number of the composer's many articles and critical reviews will be of the greatest interest to musicians, scholars, music critics, and music-lovers alike.

Fanny Hensel: A Research and Information Guide provides scholars in Hensel studies with a resource to navigate the research surrounding the composer's over 450 musical works. As part of the larger blossoming of women's music history, new research in the 1980s and 1990s promoted an awareness of Hensel's output, in particular in the genres of the lied and the solo piano work. This research guide includes an introductory chapter, a summary paragraph at the beginning of each chapter, and annotations for more than 500 entries, focusing on scholarly works as well as selected articles from trade publications, catalogs, and Internet resources.

Presents a first analytical study that looks at the overarching designs of Benjamin Britten's John Donne, Thomas Hardy and William Blake solo song cycles. By questioning when a group of songs ought to be understood not merely as a collection, but as a cycle, Sly shows that Britten's personal selection and arrangement is indispensable to understanding these cycles' extra-musical communication. The Holy Sonnets of John Donne, Winter Words (poems by Hardy) and Songs and Proverbs of William Blake - composed in 1945, 1953 and 1965 respectively - each represent a philosophical exploration. The terrains set out by the three poets are distinct, but also engage one another in important and unexpected ways. Their cyclic architectures are expressed not only in their poetic arrangement, but in their musical settings. Key relationships and motive remain central for Britten. Keys convey a network of interconnections, create groupings of songs, and establish levels of tonal affinity or distance. Motive - often intervals that can fit into any melodic, harmonic or rhythmic context - is used to create aural affinities between or among individual songs. This book also offers a broader narrative revealing Britten's evolving philosophical convictions in post-war Britain. While it may not be the case that Britten intended any broader philosophical comment, the works together outline the cold and brittle state that emerges from loss and aligns with their composer's increasingly stark outlook on humanity.

Ralph Vaughan Williams: A Research and Information Guide presents the most extensive annotated bibliography of its subject yet produced. It offers comprehensive coverage of the English composer's prose works and accounts for over 1,000 secondary sources from all critical and scholarly eras. A single-numbering format and substantial indexes facilitate efficient searches of what is the most complete bibliography of Ralph Vaughan Williams since Neil Butterworth's guide to research was published by Garland in 1990.

The founding in 1777 of the Journal de Paris, France's first daily and distinctly commercial paper, represents an early use of disinformation as a tool for political gain, profit, and societal division. To attract a large readership and bar competition for C.W. Gluck's works at the Paris Opera, it launched a prolonged campaign of anonymous lies, mockery, and defamation against two prominent members of the Academie Francaise who wished the Opera to be open to all deserving composers but lacked a comparable daily forum with which to defend themselves. In this unique episode, music served as a smokescreen for nefarious activity. No musical knowledge is necessary to follow this purely political drama.

Before we recorded Infernal Love, I didn t know if I was coming or going. I developed quite a healthy drug habit and was drinking a bottle of Absolut vodka every day. I thought that if I gave up drinking, I d spend the next two weeks lying in bed and feeling sick. I decided to keep going and see if inspiration would hit - Andy Cairns, Therapy? So Much For The 30 Year Plan is the first ever book to detail the life of Therapy?, one of rock s boldest and most idiosyncratic acts. Written with the full co-operation of the band s current members frontman Andy Cairns, bassist Michael McKeegan, and drummer Neil Cooper this official biography explores the dizzying highs and crushing lows they have experienced while navigating a three-decade-long career. Featuring extensive interviews with the band and key figures from throughout their career, So Much For The 30 Year Plan offers insights into the band s origins in Northern Ireland during the Troubles, the backlash they received from the underground scene after signing to a major label, the birth of their million-selling 1994 album Troublegum, the full story behind their split with founding member Fyfe Ewing, and much more. Published to coincide with the band s 30th anniversary tour, this is essential reading for all Therapy? fans and for anyone with an interest in the alternative music of the era.

Kate Bush: the subject of murmured legend and one of the most idiosyncratic musicians of the modern era. Comprising fifty chapters or 'visions', Running Up That Hill is a multi-faceted biography of this famously elusive figure, viewing her life and work from fresh and illuminating angles. Featuring details from the author's one-to-one conversations with Kate, as well as vignettes of her key songs, albums, videos and concerts, this artful, candid and often brutally funny portrait introduces the reader to the refreshingly real Kate Bush. Along the way, the narrative also includes vivid reconstructions of transformative moments in her career and insights from the friends and collaborators closest to Kate, including her photographer brother John Carder Bush and fellow artists David Gilmour, John Lydon and Youth. Running Up That Hill is a vibrant and comprehensive re-examination of Kate Bush and her many creative landmarks.

The Original Portrayal of Mozart's Don Giovanni offers an original reading of Mozart's and Da Ponte's opera Don Giovanni, using as a lens the portrayal of the title role by its creator, the baritone Luigi Bassi (1766-1825). Although Bassi was coached in the role by the composer himself, his portrayal has never been studied in depth before, and this book presents a large number of new sources (first- and second-hand accounts), which allows us to reconstruct his performance scene by scene. The book confronts Bassi's portrayal with a study of the opera's early German reception and performance history, demonstrating how Don Giovanni as we know it today was not only created by Mozart, Da Ponte and Luigi Bassi but also by the early German adapters, translators, critics and performers who turned the title character into the arrogant and violent villain we still encounter in most of today's stage productions. Incorporating discussion of dramaturgical thinking of the late Enlightenment and the difficult moral problems that the opera raises, this is an important study for scholars and researchers from opera studies, theatre and performance studies, music history as well as conductors, directors and singers.

Neither Spem in alium, the widely acclaimed 'songe of fortie partes' by Thomas Tallis, nor Alessandro Striggio's forty-part Mass is the largest-scale counterpoint work in Western music. The actual winner is Gregorio Ballabene, a relatively unknown Roman maestro di cappella, a contemporary of Giovanni Paisiello, Joseph Haydn and Luigi Boccherini, who composed in forty-eight parts for twelve choirs. Ballabene's Mass has remained completely unstudied until today, even though the score survives in prominent collections. This study offers, for the first time, a historical and analytical perspective on this overlooked manifestation of a very individual musical intelligence.

John Taverner was the leading composer of church music under Henry VIII. His contributions to the mass and votive antiphon are varied, distinguished and sometimes innovative; he has left more important settings for the office than any of his predecessors, and even a little secular music survives. Hugh Benham, editor of Taverner's complete works for Early English Church Music, now provides the first full-length study of the composer for over twenty years. He places the music in context, with the help of biographical information, discussion of Taverner's place in society, and explanation of how each piece was used in the pre-Reformation church services. He investigates the musical language of Taverner's predecessors as background for a fresh examination and appraisal of the music in the course of which he traces similarities with the work of younger composers. Issues confronting the performer are considered, and the music is also approached from the listener's point of view, initially through close analytical inspection of the celebrated votive antiphon Gaude plurimum.

Arturo Toscanini (1867-1957) was famed for his dedication, photographic memory, explosive temper and impassioned performances. At times he dominated La Scala, the Metropolitan Opera, the New York Philharmonic, and the Bayreuth, Salzburg and Lucerne festivals. His reforms influenced generations of musicians, and his opposition to Nazism and Fascism made him a model for artists of conscience. With unprecedented access to the conductor's archives, Harvey Sachs has written a new biography positioning Toscanini's musical career and sometimes scandalous life against the currents of history. Set in Italy, across Europe, the Americas and in Palestine, with portraits of Verdi, Puccini, Caruso, Mussolini and others, Toscanini soars in its exploration of genius, music and moral courage.

"A history of cool." — Airmail "Without a doubt she is the great reference of photography in the Hip Hop Culture, with photos that are already the history of contemporary culture of the 20th century." — Staf Magazine "In over 240 pages, the book encapsulates the spirit of history-making generations and their influence on fashion and wider visual culture." — The Luupe Covering four decades of photography, this book serves as a stunning snapshot of Beckman’s significance in the world of art, photojournalism, music, fashion, and popular culture – but most prevalently, it’s a testament to her unique ability to extract beauty from the outliers of society. With written contributions from Beckman’s peers including academia’s Jason King, Chair of NYU’s Clive Davis Institute of Recorded Music & Vivien Goldman Author & Professor at NYU; journalists Vikki Tobak, and co-founder of PAPER, Kim Hastreiter; visual artist Cey Adams; music legends Sting, Run DMC, Paul Weller, Salt-n-Pepa, Belinda Carlisle, and Slick Rick; and fashion’s Dapper Dan, Dior’s Maria Grazia Chiuri, Levi’s Chad Hinson – Rebels: From Punk to Dior showcases Janette Beckman’s influence in her realm. In addition to publishing five books, Janette Beckman’s work has been exhibited in galleries worldwide and is included in the permanent collections of the Smithsonian National Museum of African American History and Culture, the Museum of the City of New York, and the British National Portrait Gallery. She is represented by the Fahey Klein Gallery.

It is extremely detailed, with a particularly impressive range of references, including some quite obscure material that is nevertheless relevant. It would appeal chiefly to researchers of Beethoven and the Classical period in music. It would also appeal to scholars and students investigating the reception history of Ancient Greece and Rome in the 18th-19th century.

Jim Cregan's career as a rock guitarist, songwriter and producer has spanned over fifty years, touring and recording albums with stars such as Elton John, Cat Stevens, Family, Willie Nelson, Steve Harley and Cockney Rebel, Joe Cocker, The Gypsy Kings, and Katie Melua. However, he is perhaps best known for his forty-year association with Rod Stewart, not only as his guitarist but also being best friends and godfathers to each other's children. In his autobiography Jim Cregan lifts the lid on his extraordinary life, recounting his experiences with music's biggest stars, from his first band at the age of 14 playing in youth clubs in Poole to performing in front of 350,000 people in Rio de Janeiro. In And on Guitar . . . Cregan holds nothing back: from his early life and anecdotes about his family to shenanigans on the road and extraordinary tales of hedonism, love and loss, his stories feature a Who's Who of music's biggest stars.

Musician, novelist, poet, actor: Nick Cave (b. 1957) is a Renaissance man. His wide-ranging artistic output always uncompromising, hypnotic, and intense is defined by an extraordinary gift for storytelling. In Nick Cave: Mercy on Me, Reinhard Kleist employs a cast of characters drawn from Cave's music and writing to tell the story of a formidable artist and influencer. Kleist paints an expressive and enthralling portrait of Cave's childhood in Australia; his early years fronting The Birthday Party; the sublime highs of his success with The Bad Seeds; and the crippling lows of his battle with heroin. Capturing everything from Cave's frenzied performances in Berlin to the tender moments he spent with love and muse Anita Lane, Kleist's graphic biography, like Cave's songs, is by turns electrifying, sentimental, morbid, and comic but always engrossing.

Women's Music for the Screen: Diverse Narratives in Sound shines a long-overdue light on the works and lives of female-identifying screen composers. Bringing together composer profiles, exclusive interview excerpts, and industry case studies, this volume showcases their achievements and reflects on the systemic gender biases women have faced in an industry that has long excluded them. Across 16 essays, an international array of contributors present a wealth of research data, biographical content, and musical analysis of film, television, and video game scores to understand how the industry excludes women, the consequences of these deficits, and why such inequities persist - and to document women's rich contributions to screen music in diverse styles and genres. The chapters amplify the voices of women composers including Bebe Barron, Delia Derbyshire, Wendy Carlos, Anne Dudley, Rachel Portman, Hildur Gudnadottir, Mica Levi, Winifred Phillips, and more. From the mid-twentieth century to the present, and from classic Hollywood scores to pioneering electronic music, these are the stories and achievements of the women who have managed to forge successful careers in a male-dominated arena. Suitable for researchers, educators, and students alike, Women's Music for the Screen urges the screen music industry to consider these sounds and stories in a way it hasn't before: as voices that more accurately reflect the world we all share.

See the film Hallelujah: Leonard Cohen, A Journey, A Song from Sony Pictures Classics This "thoughtful and illuminating" (The New York Times) work of music journalism is an unforgettable, fascinating, and unexpected account of one of the most performed and beloved songs in pop history-Leonard Cohen's heartrending "Hallelujah." Featuring a new foreword and afterword by the author. When Leonard Cohen first wrote and recorded the song "Hallelujah," it attracted little attention or airplay, dismissed by both fans and critics alike. Today, it is one of the most recorded songs in history, having been covered by a variety of music icons including Celine Dion, Bon Jovi, Willie Nelson, and, most famously, Jeff Buckley. It's been featured on soundtracks as diverse as Shrek to The West Wing. And in the days after major tragedies, it has brought comfort to thousands after being featured in the MTV 9/11 tribute video and the telethon for the 2010 Haitian earthquake. So how did one relatively unknown song become an unofficial international anthem for human triumph and tragedy, one which each successive generation feels they have discovered and claimed as uniquely their own? Through in-depth interviews and expansive research, longtime music journalist Alan Light follows the captivating and improbable journey of "Hallelujah" to the heart of popular culture. Discover how great songs come to be, and how we as listeners have the endless ability to project a succession of meanings onto a cultural artifact, forever reinterpreting art through the lens of current events and the latest trends. "A combination mystery tale, detective story, pop critique, and sacred psalm of its own" (Daily News, New York),The Holy or the Broken is a revelatory and masterful exploration of the overwhelming power of music.

Philip Glass and Robert Wilson's most celebrated collaboration, the landmark opera Einstein on the Beach, had its premiere at the Avignon Festival in 1976. During its initial European tour, Metropolitan Opera premiere, and revivals in 1984 and 1992, Einstein provoked opposed reactions from both audiences and critics. Today, Einstein is well on the way itself to becoming a canonized avant-garde work, and it is widely acknowledged as a profoundly significant moment in the history of opera or musical theater. Einstein created waves that for many years crashed against the shores of traditional thinking concerning the nature and creative potential of audiovisual expression. Reaching beyond opera, its influence was felt in audiovisual culture in general: in contemporary avant-garde music, performance art, avant-garde cinema, popular film, popular music, advertising, dance, theater, and many other expressive, commercial, and cultural spheres. Inspired by the 2012-2015 series of performances that re-contextualized this unique work as part of the present-day nexus of theoretical, political, and social concerns, the editors and contributors of this book take these new performances as a pretext for far-reaching interdisciplinary reflection and dialogue. Essays range from those that focus on the human scale and agencies involved in productions to the mechanical and post-human character of the opera's expressive substance. A further valuable dimension is the inclusion of material taken from several recent interviews with creative collaborators Philip Glass, Robert Wilson, and Lucinda Childs, each of these sections comprising knee plays, or short intermezzo sections resembling those found in the opera Einstein on the Beach itself. The book additionally features a foreword written by the influential musicologist and cultural theorist Susan McClary and an interview with film and theater luminary Peter Greenaway, as well as a short chapter of reminiscences written by the singer-songwriter Suzanne Vega.

When everything fell apart for Lynn Melnick, she went to Dollywood. It was perhaps an unusual refuge. The theme park, partly owned by and wholly named for Dolly Parton, celebrates a country music legend who grew up in church and in poverty in rural Tennessee. Yet Dollywood is exactly where Melnick—a poet, urbanite, and daughter of a middle-class Jewish family—needed to be. Because Melnick, like the musician she adores, is a survivor. In this bracing memoir, Melnick explores Parton’s dual identities as feminist icon and objectified sex symbol—identities that reflect the author’s own fraught history with rape culture and the grueling effort to reclaim her voice in the wake of loss and trauma. Each chapter engages with the artistry and cultural impact of one of Parton’s songs, as Melnick reckons with violence, creativity, parenting, abortion, sex work, love, and the consolations and cruelties of religion. Guided by Parton’s music, Melnick walks the slow path to recovery in the company of those who came before her and stand with her, as trauma is an experience both unique and universal. Candid and discerning, I’ve Had to Think Up a Way to Survive is at once a memoir and a love song—a story about one life and about an artist who has brought life to millions.

The Rolling Stones' Beggars Banquet is one of the seminal albums in rock history. Arguably it not only marks the advent of the 'mature' sound of the Rolling Stones but lays out a new blueprint for an approach to blues-based rock music that would endure for several decades. From its title to the dark themes that pervade some of its songs, Beggars Banquet reflected and helped define a moment marked by violence, decay, and upheaval. It marked a move away from the artistic sonic flourishes of psychedelic rock towards an embrace of foundational streams of American music - blues, country - that had always underpinned the music of the Stones but assumed new primacy in their music after 1968. This move coincided with, and anticipated, the 'roots' moves that many leading popular music artists made as the 1960s turned toward a new decade; but unlike many of their peers whose music grew more 'soft' and subdued as they embraced traditional styles, the music and attitude of the Stones only grew harder and more menacing, and their status as representatives of the dark underside of the 60s rock counterculture assumed new solidity. For the Rolling Stones, the 1960s ended and the 1970s began with the release of this album in 1968.

Music scholarship has been rethinking its understanding of Franz Schubert and his work. How might our modern aesthetic values and historical knowledge of Schubert's life affect how we interpret his music? Schubert's Instrumental Music and Poetics of Interpretation demonstrates how updated analysis of Schubert and his instrumental works reveals expressive meaning. In six chapters, each devoted to one or two of Schubert's pieces, René Rusch explores alternate forms of unity and coherence, offers critical assessments of biographical and intertextual influence, investigates narrative, and addresses the gendering of the composer and his music. Rusch's comparative analyses and interpretations address four significant areas of scholarly focus in Schubert studies, including his use of chromaticism, his unique forms, the impact of events in his own life, and the influence of Beethoven. Drawing from a range of philosophical, hermeneutic, historical, biographical, theoretical, and analytical sources, Schubert's Instrumental Music and Poetics of Interpretation offers readers a unique and innovative foray into the poetics of contemporary analysis of Schubert's instrumental music and develops new ways to engage with his repertoire.

Yes: A Visual Biography I: 1968 - 1981 documents the progressive rock pioneer's first twelve years from the release of their eponymous debut album through to 1980's Drama: A suitable name for a band whose career has been full of drama as documented in Popoff's narrative that charts Yes's ups and downs as the band glided out of the sixties with a full-on assault on the seventies music scene that saw them become one of the biggest global acts-selling out venues around the world from New York's Madison Square Garden to London's Wembley Arena. Popoff takes you on a journey from the early days of the band with original members Chris Squire, Jon Anderson, Bill Bruford, Peter Banks and Tony Kaye; to the hugely successful seventies when the likes of Steve Howe, Patrick Moraz, Rick Wakeman and Alan White all added their individual stamps on the band's identity. Then the surprise union with The Buggles that saw Yes enter the eighties a world apart from the way they had entered the seventies but continuing to delight their legion of fans.