In November 2020, Depeche Mode were inducted into the Rock & Roll Hall of Fame, and Dave Gahan, accepting the honour, said: "I'd like to thank Anton Corbijn who thank God came in at the right time and actually made us look cool." Also in the fall of 2020, TASCHEN released the limited edition Depeche Mode by Anton Corbijn (81-18) signed by Depeche Mode and Anton Corbijn, and it became one of the fastest selling collector's editions in the publishing company's history. This equally epic, but more wallet friendly XL edition, is a testament to Corbijn's unique vision, and indeed "cool" as Gahan acknowledged so movingly in his speech; a detailed illustrated history of how Corbijn, who became in 1986 the band's de facto creative director, and helped cement Depeche Mode's reputation as the biggest cult band in the world. Featuring over 500 photographs from Corbijn's extensive archives, some never seen before, including formal and informal portraits from places such as Madrid, Hamburg, the California desert, Prague and Marrakech (some taken during the making of iconic videos such as "Enjoy the Silence" and "Personal Jesus"); a multitude of off-the-cuff, candid images; and stunning live shots from all their tours since 1988. In addition to the photographs, there are sketches and designs for stage sets and album covers, Corbijn's handwritten captions throughout the book, placing the reader right in the middle of the shoots, and an extended interview with the Dutch master. Created with the full collaboration of the band, who share some insights on working with Corbijn, Depeche Mode by Anton Corbijn (81-18) trumpets how one man's original aesthetic, that has encompassed all of their photography, most of their music videos, album graphics and set designs, helped shape the band's enduring popularity. Reflecting on his role in Depeche, Corbijn recalls in the book's introduction: "A lot of it came down to me, and I wanted it to be right for them. I wanted to think for them. To be great for them." This book is a tribute to the depth and breadth of that greatness, a celebration of one of the most creative and enduring collaborations in rock history.

Internationally known Welsh composer Alun Hoddinott has played a major role in the promotion of contemporary music in his country through his own prolific compositions--operas; orchestral, chamber, band, and solo instrumental pieces; choral music; songs; and incidental music--and as a professor of music at Cardiff University and artistic director of the Cardiff Festival of Twentieth-Century Music. This bio-bibliography includes a catalog of his works, classified by genre, which documents 278 compositions (plus numerous derived pieces) composed from 1946 to 1991, indicating commissioning, dedication, instrumentation, duration, manuscript information, publication, recordings, and premieres and selected performances.

The works catalog is cross-referenced to recordings in a discography section and to related items in an annotated bibliography, which includes a large number of reviews and writings by the composer. An introductory biography, appendices listing the musical compositions alphabetically and chronologically, and a general index complete the volume. Prepared with the full cooperation of Hoddinott, this is the first detailed publication on this important composer.

This is the first truly interdisciplinary collection devoted to the legacy of Richard Wagner to merge insights from Musicology and Music Theory with explorations of the composer's vast socio-cultural impact from such fields as History, German, and Disability Studies. The wide ranging topics include Glenn Gould's piano transcriptions, the value of naming musical themes in the music dramas, the status of Wagner in Israel, and the assignment of "Jewish" characteristics in both Wagner's music and polemics and, in recent years, to his descendant, musicologist Gottfried Wagner. Contributors include Robert Gauldin, Warren Darcy, Marc Weiner, and Paul Rose.

As a founding father of bebop and brilliant jazz improviser, Charlie Parker has secured a reputation and legacy second to none since his birth nearly 100 years ago. Because of his excellence as an improviser, however, his compositions - while admired and still played - have taken a back seat. In this exciting and timely new volume, author Henry Martin rebalances our understanding of Parker by spotlighting his significance as a jazz composer. Beginning with a review of Parker's life and musical training, Charlie Parker, Composer critically analyzes Parker's compositions, situating them within both his individual musicianship and early bebop style. Proposing that Parker composed up to 84 pieces, Martin examines their development and aesthetic qualities, their similarities and dissimilarities within a range of seven types of jazz composition. Also discussed are eight tunes credited to Parker but never performed by him, along with an evaluation of where - if at all - they fit in his oeuvre. Providing the first assessment of a major jazz composer's output in its entirety, Charlie Parker, Composer offers a thorough reexamination, through music-theoretical, historical, and philosophical lenses, of one of the most influential jazz musicians of all time.

This first book-length study to focus on Peggy Glanville-Hicks, the important twentieth-century composer and critic who was born in Australia in 1912 and who established her reputation in the U.S. in the late 1940s and 1950s, documents the composer's music, performances, and critical writings, as well as the work of previous biographers, bibliographers, and interviewers. This volume, the most recent in Greenwood's respected series of research tools in the field of music, contains a comprehensive biography of the composer that draws on the writings and recollections of many of the composer's close friends and colleagues. Deborah Hayes' compilation of the great amount of material about Glanville-Hicks and her music found in journals, books, newspapers, dictionaries, and encyclopedias of music also contains alphabetical, chronological, and by-genre lists of works with details of first performances and other significant performances, a discography, and an annotated bibliography that includes abstracts and quotations from performance reviews. Bibliographic entries are keyed to lists of works, recordings, and performances. The work is indexed as well. The work is divided into six cross-referenced chapters beginning with a biography that gives a chronological account of the composer's life and examines recurring themes in her work. The second chapter lists 70 compositions in chronological order by year of composition, from 1931 to 1989, and includes information on publisher, duration, instrumentation, and commission. Premieres and other selected performances are indicated and references are given to recordings and to bibliographical items. A publishers directory, an alphabetical list of works, and a classified list complete the chapter which is followed by a discography of Glanville-Hicks' commercial recordings, both in and out of print. Chapter four's annotated listing of the composer's writings in chronological order from 1945 to 1989 documents the scope of her interests and provides a record of this period in American musical history in the words of a perceptive, articulate listener and active participant. Alphabetized by author and title, music reviews, performance reviews, feature articles, publicity items, and press announcements are listed with annotations in Chapter five. Items from all previous Glanville-Hicks bibliographies and from library clipping files and indexes are included no matter how brief the reference. A final chapter devoted to archival resources lists materials by library in alphabetical order by country and name. This informative and easy-to-use volume will be a necessary addition to the reference collections of college and university music libraries and would be useful for courses in Twentieth-Century Music, Opera, Art Song, Music of the U.S., American Studies, and Women's Studies.

A facsimile of a previously unpublished musical manuscript. Among the major composers of the Portuguese "Golden Age," Pedro de Cristo (c.1550-1618) is at present the least familiar to scholars and performers. This situation is largely due to the fact that his music was not published during his lifetime, but is preserved rather in manuscripts originating (for the most part) at the Monastery of Santa Cruz in Coimbra, where he spent most of his life. The present work is an edition of the contents on one of these manuscripts -- MM 33 in Coimbra University Library -- which was copied by Pedro de Cristo himself towards the end of the sixteenth-century. It is an invaluable source of authoritative readings of his music: principally Latin motets for four or five voices. Also 198 includes musical examples.

Exploring the personal and cultural experiences that have shaped the creative output of one of Australia's foremost composers, this fascinating study begins in a Russian enclave in northern China, progresses through student days in Sydney and San Francisco, and culminates with Sitsky's present position as Professor of Composition at The Australian National University in Canberra. The many influences on his work, including important professional and personal relationships with such eminent persons as the poet Gwen Harwood and the violinist Jan Sedivka, are discussed in detail as are the sources of much of the inspiration for Sitsky's compositions, now numbering close to 200. Of interest to scholars, students, and anyone interested in 20th-century music. In addition to presenting Sitsky's fascinating life story and expounding on the central position he has occupied for the past 40 years in Australia's musical culture, this important work provides for the first time comprehensive bibliographic references to all of Sitsky's compositions, his writing, his recordings, and his appearances as a pianist and lecturer on music. The book is a most valuable addition to any collection, for it is both a work of reference and a compelling story of the development of one of the most eclectic, visionary, and confronting artists of his generation.

Although Beyonce Knowles is not yet 30, the sensual superstar has already succeeded on many levels: as a dancer, singer, composer, model, music producer, video director and actress. Like rap star/entrepreneur Jay-Z, with whom Beyonce recently married, she has evolved into a businesswoman, who with her designer-mother, Tina Knowles, markets Beyonce's personal fashion line, House of Dereon. The multi-talented, global entertainer lends her name and image to many commercial and philanthropic ventures. She is the spokeswoman for L'Oreal and appears in ads for Pepsi and Ford.

This biography tells the story of a young, talented woman's meteoric rise in the entertainment industry. From a shy, demure Catholic schoolgirl growing up in Houston, Texas, Beyonce Knowles eventually morphed into the first African-American woman to win the Songwriter of the Year Award from the American Society of Composers, Authors and Publishers Pop Music Awards. The once-shy suburban schoolgirl has gone far beyond her original dream of becoming a first-rate musician and vocalist. With the assistance of her manager-father--former Xerox executive Mathew Knowles--and as lead singer of the R&B girl group Destiny's Child (the world's all-time bestselling female group), Beyonce has won 10 Grammy Awards and two Golden Globe nominations. Her albums have reached more than 20 million people worldwide, and she has become a cultural icon to music lovers everywhere as well as a role model for young women. Author Janice Arenofsky gives students and general readers alike an insightful look at a music and fashion icon who has a unique niche in popular culture today. Complete with photos, a timeline, and a thorough bibliography.

Georges Barrere (1876-1944) holds a preeminent place in the history of American flute playing. Best known for two of the landmark works that were written for him--the Poem of Charles Tomlinson Griffes and Density 21.5 by Edgard Varese--he was the most prominent early exemplar of the Paris Conservatoire tradition in the United States and set a new standard for American woodwind performance.
Barrere's story is a musical tale of two cities, and this book uses his life as a window onto musical life in Belle Epoque Paris and twentieth-century New York. Recurrent themes are the interactions of composers and performers; the promotion of new music; the management, personnel, and repertoire of symphony orchestras; the economic and social status of the orchestral and solo musician, including the increasing power of musicians' unions; the role of patronage, particularly women patrons; and the growth of chamber music as a professional performance medium.
A student of Paul Taffanel at the Paris Conservatoire, by age eighteen Barrere premiered the landmark Prelude to the Afternoon of a Faun. He went on to become solo flutist of the Concerts Colonne and to found the Societe Moderne d'Instruments a Vent, a pioneering woodwind ensemble that premiered 61 works for 40 composers in its first ten years. Invited by Walter Damrosch to become principal flute of the New York Symphony in 1905, he founded the woodwind department at the Institute of Musical Art (later Juilliard). His many ensembles toured the United States, building new audiences for chamber music and promoting French repertoire as well as new American music. Toff narrates Barrere's relationships with the finest musicians and artists ofhis day, among them Isadora Duncan, Yvette Guilbert, Andre Caplet, Paul Hindemith, Albert Roussel, Wallingford Riegger, and Henry Brant. The appendices of the book, which list his 170 premieres and the 50 works dedicated to Barrere, are a resource for a new generation of performers.
Based on extensive archival research and oral histories in both France and the United States, this is the first biography of Barrere. It is being published in conjunction with the centennial of his arrival in the United States in May 1905.

A TAROT DECK FOR MUSIC LOVERS with the biggest stars representing the cards' meanings AN ACCESSIBLE ENTRY TO TAROT or an exciting new addition to a card collection CULT FAVOURITES AND BIG STARS: there's something for fans of every genre STUNNING ILLUSTRATIONS with more to find on every reading INCLUDES A BOOKLET that unpacks the meanings of the cards and explains how to conduct your own readings Tune into your inner wisdom with this unique tarot deck inspired by cult music icons. Inside you'll find musicians who perfectly encapsulate the tarot card meanings: Lorde is the Fool, Prince is the Emperor and David Byrne is the Hermit. The 78 cards work as a fully functional tarot deck, and the kit also includes a booklet with more information about the musicians, as well as information on how to interpret the cards and conduct your own readings.

In this collection of beautifully crafted autobiographical vignettes that encompasses everything from the people Jay Farrar has met and the places he's journeyed over 20 years as a traveling musician, to his formative childhood experiences, to his parents' cultural identity as Missouri Ozarks.
As a child, he marveled at the eccentric habits and mannerisms of his father, though it has taken over 40 years to fully appreciate his guidance. Recollections of Farrar's father are prominent throughout the stories. Ultimately, it is music and musicians that are given the most space and the final word since music has been the creative impetus and driving force for the past 35 years of his life.
In writing these stories, he found a natural inclination to focus on very specific experiences; a method analogous to the songwriting process. The highlights and pivotal experiences from that musical journey are all represented as the binding thread in these stories--if life is a movie, then these stories are the still frames.

Widely acclaimed since its first publication, this completely revised and updated fourteenth edition has been compiled under the consultant editorship of two of the world's most eminent musical lexicographers. The International Biographical Centre has once again been fortunate in acquiring the services of David Cummings of London, England and Dennis McIntire of Indianapolis, Indiana, who have spent almost two years in producing the most detailed and accurate reference work of its kind.

With an addition of 1,000 names since the last edition, and with all existing entries updated, this valuable reference contains biographical details of over 8,000 entrants. Entrants include contemporary composers, singers, arrangers, writers, soloists, orchestral players and managers, plus all others connected with the fields of classical and light classical music. In addition, exclusive information is provided on up-and-coming musicians currently emerging onto the music scene. An Appendices Section lists opera companies and also includes music awards, orchestras and conservatories worldwide.

Over sixty years after his death in 1931, Vincent d'Indy is still a much misunderstood and maligned figure in French music. Previous biographers have left a portrait of the academic figure par excellence, who turned the seemingly inspired and selfless inspiration of his master Cesar Franck into a cold and authoritarian pedagogical system. This new study re-examines the evidence, reveals a much more psychologically complex and turbulent character, and finds that d'Indy was a tireless propagandist for a spiritual revival of French musical civilization. Yet he was fully aware of the social and intellectual problems of the secular Third Republic which militated against his Dante-inspired Catholic humanism, embodied in the work of the Schola Cantorum, the Paris institution founded by d'Indy to reform the practice of sacred music. Far from being a pure reactionary, his outlook was in reality remarkably progressive, manifest in his revivals of early music, notably Monteverdi's Orfeo, his encouragement of Debussy, and his willingness to engage - often pugnaciously - with the latest musical manifestations of Richard Strauss, Stravinsky, Schoenberg, and Varese. His own compositions likewise contain passages of astonishingly bold invention and modernistic effects, all too easily overlooked.

One of Hollywood's first openly Latin stars, Jennifer Lopez has held fast to her New York Bronx roots, while rising above them to become the highest paid Latina actress in history. Her expansive body of work-ranging from film, music, and dance to television production and fashion-has broken down long-standing racial barriers and earned her a place in "Forbes"' 2007 list of the Top 20 Richest Women in Entertainment. In spite of several box office and a dramatic personal life that has made her the frequent target of tabloid gossip, this determined artist has managed to retain her place at the top of her field and stands poised to make more significant contributions to the entertainment industry.

Since bursting into the spotlight with her portrayal of deceased Latin superstar Selena in 1997, Jennifer Lopez has captivated the public eye and carved a niche for herself among Hollywood's elite. One of Hollywood's first openly Latin stars, Jennifer Lopez has held fast to her New York Bronx roots, while rising above them to become the highest paid Latina actress in history. Her expansive body of work-ranging from film, music, and dance to television production and fashion-has broken down long-standing racial barriers and earned her a place in "Forbes"' 2007 list of the Top 20 Richest Women in Entertainment. Her dramatic personal life-highlighted by a relationship with bad-boy Sean Puffy Combs, two divorces, a highly-publicized broken engagement to Ben Affleck, and marriage to Latin singer Marc Anthony-has earned her as much attention as her career and made her a frequent subject of tabloid gossip. Negative press and several box office flops, however, have done little to diminish J.Lo's popularity. This determined artist has managed hold her place at the top of her field and stand poised to make more important contributions to the entertainment industry.

Hollywood journalist Kathleen Tracy explores Jennifer Lopez as both an individual and an entertainer, chronicling the triumphs and pitfalls of her groundbreaking career and intriguing personal life. Complete with a chronology of significant events, illustrations, and a bibliography of print and electronic resources, this detailed biography is ideal for general readers looking to learn more about their favorite star or for students researching the role of race in America's entertainment business.

Adam and the Ants were formed in London by Hornsey Art College student Stuart Goddard in 1976 following an early Sex Pistols' gig. The band's devastating combination of Punk sensibility, heroic imagery and tribal rhythms saw them become one of the most iconic acts of the 1980s. Pioneers of the music video, the band achieved three top 20 albums which spawned 9 top 40 singles including 'Cartrouble', 'Kings of the Wild Frontier', 'Antmusic', 'Dog Eat Dog', 'Antrap' and the number 1 smash hits 'Stand and Deliver!' and 'Prince Charming'. Coinciding with the 40th anniversary of Adam Ant's first solo number 1 single 'Goody two Shoes', Mark N. Redmayne's unofficial biography draws upon painstaking research and interviews with ex Ants and key personnel to document how Adam rose from the ashes of Punk to become the first pop star of the 1980s. In 2022, Adam Ant continues to play to devoted Antpeople of all ages around the world - this is both his and our story.

(Unlocking the Masters). No composer has ever achieved the amazing progression that Haydn has. He invented the string quartet as we know it today, became "the Father of the Symphony," and founded the greatest school in the history of music. His life was one of ceaseless experimentation and invention, of problems surmounted and challenges met. In this book, No. 6 in the Amadeus Press Unlocking the Masters series, David Hurwitz acquaints readers with Haydn's innovative melodic creativity, his revolutionary use of musical form, and important characteristics of his personal style, including his genius for writing in minor keys and creating comedy in his music. In addition to Haydn's principal instrumental works, Hurwitz explores Haydn's vocal music and instrumental masterpieces that fall outside the mainstream. Four appendixes list all of his symphonies, string quartets, piano sonatas, and piano trios. Two Universal Records CDs provide over two and a half hours of music keyed to pieces described in the book.

From bestselling biographer Sean Smith comes the fascinating and tumultuous true story behind Sir Tom Jones, the nation's treasure, sage of The Voice and living music legend. Celebrating his 75th birthday this year, Tom Jones' life has been an unforgettable rollercoaster ride. From starting out in a little Welsh mining town where he married his sweetheart at just 16, who could have known that seven years later he would go on to become a major musical hit that would propel him to Bel Air? Through intimate interviews, Smith uncovers all this and more, including the years Tom spent as little more than a Vegas lounge singer, before being rediscovered in the late '80s and becoming a maestro on the music scene once again. As revealing as it is entertaining, this is the definitive story of a great talent who is showing no signs of slowing down.

Heinrich Schenker ranks among the most important figures in the development of western music theory in the twentieth century. His approach to the analysis of music permeates nearly every aspect of the field and continues to this day to be a topic of great interest among music theorists, historians, composers and performers. In his four volume work, Die letzen Sonaten von Beethoven: Kritische Ausgabe mit Einfuhrung und Erlauterung (The Last Piano Sonatas by Beethoven: Critical edition with Introduction and Commentary) Schenker presented editions of Beethoven's Opp. 109, 110, 111 and 101 that were, at the time, unprecedented in their faithfulness to such authoritative sources as Beethoven's autograph manuscripts. He included a movement-by-movement and section-by-section discussion of form and content that grew increasingly penetrating from one volume to the next as the musical theory for which he is now known was developed, alongside inspired and detailed suggestions for the performance of each section of each work. In Beethoven's Last Piano Sonatas: An Edition, with Elucidation, noted Schenker scholar John Rothgeb presents the first English language edition and translation of these important works. Rothgeb builds upon Schenker's text, adding explanations of certain points in the commentary, references to corrections and other remarks entered by Schenker in his personal copies of the volumes, and graphic presentations of several passages (a practice that became standard in Schenker's own analytical work later in his career). Making these seminal works accessible to English speaking scholars and students for the first time, Beethoven's Last Piano Sonatas is an essential reference for music theorists, historians, performers, and composers alike.

This pathbreaking study reveals Purcell's extensive use of symmetry and reversal in his much-loved trio sonatas, and shows how these hidden structural processes make his music multilayered and appealing. Purcell's trio sonatas are among the cornerstones of Baroque chamber music. The composer himself unassumingly described them as "a just imitation of the most famed Italian masters." However, analysis of their underlying structuresreveals that Purcell's modesty hides a highly original blend of Italian models, complex English traditional compositional devices, and his own near obsession with compositional and contrapuntal technique. Alon Schab'spathbreaking Sonatas of Henry Purcell: Rhetoric and Reversal begins with an overview of the two sets of sonatas and their sources, their movement types, and some of the basic compositional and rhetorical procedures they demonstrate. The book's main part highlights several covert structures that are not necessarily heard but are consistent and played an important part in the compositional process. Symmetry, both temporal and spatial, governs much ofthese underlying structures. Beneath the surface of his studies in Italian style, Purcell created intricate correspondences between the micro and macro levels of the works, as well as unities of proportions and, above all, impressive mirrorlike structures. Schab's book opens an important window to seventeenth-century compositional technique and offers further evidence of Purcell's use of advanced compositional techniques in works that aimed to be pleasurable for the amateur and excitingly thought-provoking for the professional. Alon Schab is a lecturer at the University of Haifa.

Dave Brubeck's Time Out ranks among the most popular, successful, and influential jazz albums of all time. Released by Columbia in 1959 alongside such other landmark albums as Miles Davis's Kind of Blue and Charles Mingus's Mingus Ah Um, Time Out became the first jazz album to be certified platinum, while its featured track, "Take Five" became the first jazz single to surpass one million copies sold. In addition to its commercial successes, the album is widely recognized as a pioneering endeavor into the use of odd meters in jazz. With its opening track, "Blue Rondo a la Turk" written in 9/8, its hit single "Take Five" in 5/4, and equally innovative plays on the more common 3/4 and 4/4 meters on other tracks, Take Five has played an important role in the development of modern jazz. In this book, author Stephen A. Crist draws on nearly ten years of archival research to offer the most thorough examination to date of this seminal jazz album. Supplementing his research with interviews with key individuals, including Brubeck's widow Iola and daughter Catherine, as well as interviews conducted with Brubeck himself prior to his passing in 2012, Crist paints a complete picture of the album's origins, creation, and legacy. Couching careful analysis of each of the album's seven tracks within historical and cultural context, he offers fascinating insights into the composition and development of some of the albums best known songs. From Brubeck's 1958 State Department-sponsored tour of Turkey during which he first encountered the aksak rhythms that would from the basis of "Blue Rondo a la Turk" to the backstage jam session that laid the seeds for "Take Five", Crist sheds an exciting new light on one of the most significant albums in jazz history.

When Cream broke up in 1968 it was by no means a foregone conclusion that it would be Eric Clapton who would enjoy continued commercial success. After all, it was Jack Bruce who had the looks, and who co-wrote and sang all the band's major hits, including "Sunshine of Your Love", "I Feel Free" and "White Room". But he was a singular talent who wanted to be a pioneer, not just a pop star, and he was never happy resting on his reputation. Cream split in their prime but their influence endured, and when they reformed in 2005 tickets were selling for nearly GBP 2000 on e-bay. In the 40 years since Cream split Bruce has continued his musical adventures with the likes of John McLaughlin, Billy Cobham, Carla Bley and Mick Taylor, never quite achieving the success and recognition he deserves. It has been an often troubled life - heroin addiction, management rip-offs, family tragedy, and a failed liver transplant, all of which he speaks about frankly in this book, telling a story that is sometimes funny, sometimes bleak, and always honest.

Guns N' Roses emerged from Los Angeles in the 1980s to become a global rock'n'roll phenomenon, selling in total more than 100 million albums. Three decades on, Guns N' Roses are once again headline news around the world - with the return of iconic guitarist Slash marking the end of his bitter 20-year feud with singer Axl Rose. When Guns N' Roses' debut album Appetite For Destruction was released in 1987, the band were so out of control that their record company stated: "They'll make it - if they live." And yet, somehow, they did. Appetite For Destruction became the biggest selling debut in the history of American music, and songs such as "Sweet Child O' Mine", "Welcome To The Jungle" and "Paradise City" became era-defining classics. Known as The Most Dangerous Band In The World, Guns N' Roses' success continued into the 1990s with the albums Use Your Illusion I and II, but by the end of that decade only singer Axl Rose remained from the original line up. This book follows the complete story of Guns N' Roses: the highs and lows, the triumphs and failures, the fights, the excess, and the great music that shook the world. Now, with Axl and Slash reunited - along with another member of the band's classic line-up, Duff McKagan - Guns N' Roses are set to make history once again with one of the biggest tours ever. The story continues...

This book delves into a critical and comprehensive analysis of Mtukudzi's legacy, as an outstanding musician who anchored his music on cultural identity specifically through the artistic manipulation of language. As a cultural worker, his remit extended beyond performance. This raised his stature to the levels of such African music icons as Fela Kuti of Nigeria, Salif Keita of Mali and Miriam Makeba/Hugh Masekela of South Africa, all towering giants in African musical performance. This volume examines how Mtukudzi artistically manipulated language to convey a timeless message of cultural identity, fighting for the respect of rights for women, children and all. It unpacks how Mtukudzi subtly uses language to put across political views that speak truth to power, harnessing Zimbabwean language to articulate and promote the nation's cultural heritage and to advocate for societal development and the promotion of rights of vulnerable groups. The chapters in this volume are a mix of interdisciplinary Zimbabwean scholars of linguistics, performance studies, religion, history, communication and media studies, unravelling Mtukudzi as a fighter for human rights and justice who subtly critiqued political systems and practices. It concludes that Mtukudzi strove to be a cultural worker who used the power of language through music to contribute towards the rehabilitation of a battered African identity.

This is the first major reference work on this important choral composer. As is usual for volumes in this valuable series, the book is clearly printed and well bound, and it is highly recommended for undergraduate and graduate music collections as well as for public libraries serving communities with active choral societies. Choice When Randall Thompson died in 1984, America lost one of its most distinguished musicians. At the time of his death, it was already apparent that an assessment of his varied contributions to our musical life in the context of his contemporary generation was sorely needed. Randall Thompson: A Bio-Bibliography is the first comprehensive study of Thompson's oeuvre since his death. The volume is organized into five parts, beginning with a substantial biography written by David Francis Urrows, Thompson's final student and amanuensis. Urrows presents new information on Thompson's youth, his study in Italy and the influence of Malipiero on his work, his educational and compositional philosophy, and his role in the emergence of American music from the influence of European models. Benser's most complete catalog of works compiled to date follows. This vital list includes previously unpublished compositions, particularly those newly made available by Thompson's longtime publisher, E. C. Schirmer, and new recordings made by Bay Cities Music. A sampling of prose writings by Thompson offers a eclectic overview. The complete, extensively annotated bibliography, discography, and two appendixes that list Thompson's compositions chronologically and alphabetically complete this study. Music libraries will want to add this volume to their collections. It will also be an invaluable reference for choral directors, program note annotators, and American music enthusiasts.