A study on the influence which the German novelist Jean Paul Friedrich Richter had upon Robert Schumann's music. Robert Schumann frequently expressed his deep admiration for the novels of Jean Paul Friedrich Richter, the late-eighteenth-century German novelist, essayist, and satirist. Schumann imitated Jean Paul's prose style in his own fiction and music criticism, and said once that he learned "more counterpoint from Jean Paul than from my music teacher." Drawing on the recent, groundbreaking work in musico-literary analysis of scholars such as Anthony Newcomb,John Daverio, and Lawrence Kramer, Erika Reiman embarks on a comparative study of Jean Paul's five major novels and Schumann's piano cycles of the 1830s, many of which are staples in the repertoire of concert pianists today. The present study begins with a thorough review of Jean Paul's literary style, emphasizing the digressions, intertextuality, self-reflexivity, and otherworldliness that distinguish it. The similarly digressive style that Schumanndeveloped is then examined in his earliest works, including the enduring and highly original Carnaval [1835], and in cycles of the later 1830s, notably Davidsbundlertanze and Faschingsschwank aus Wien. Finally, an analysis of three one-movement works from 1838-39 reveals links with Jean Paul's exploration of the idyll, an ancient genre that had experienced an eighteenth-century revival. Throughout, the author attempts to keep inmind the actual sound and performed experience of the works, and suggests ways in which an awareness of Jean Paul's style might change the performance and hearing of the cycles. Erika Reiman, received her Ph.D. in Musicology from the University of Toronto [1999] and has taught at Brock University, Wilfrid Laurier University, the University of Guelph, and the University of Toronto; she is also active as a pianist and chamber musician.

A new collection with contributions from performing musicians and Grainger scholars and a detailed Catalogue of Works. In the thirty years since his Centenary in 1982 it has become even clearer that Percy Grainger [1882-1961] - composer, pianist and revolutionary - was a man born out of his time. Many of his ideas, both musical and social, sit farmore easily in our contemporary world. Those thirty years have also seen a notable expansion of interest in Grainger's music. Innumerable recordings have been made, including the first complete Grainger recording survey by Chandos in its monumental Grainger Edition. The growth of the internet has made it possible, as never before, for Grainger's music to be heard widely. The central theme of The New Percy Grainger Companion is to give information and help from established musicians for performing and listening to this life-celebrating repertoire. The Companion's fully detailed, up-to-date Catalogue of Works - the most complete of any existing catalogue - givesinvaluable assistance. Authoritative contextual chapters in the Companion offer some surprising new background information, together with thoughtful evaluations which signal a new twenty-first century perspective in Grainger scholarship. PENELOPE THWAITES is recognised internationally as a leading Grainger exponent. Her research, performances and extensive Grainger discography over four decades reflect a unique understanding of the manand his music. Contributors: BRIAN ALLISON, TERESA BALOUGH, ROGER COVELL, KAY DREYFUS, LEWIS FOREMAN, PAUL JACKSON, JAMES JUDD, JAMES KOEHNE, ASTRID BRITT KRAUTSCHNEIDER, BARRY PETER OULD, STEWART MANVILLE, MURRAY MCLACHLAN, TIMOTHY REYNISH, BRUCE CLUNIES ROSS, DESMOND SCOTT, PETER SCULTHORPE, GEOFFREY SIMON, RONALD STEVENSON, STEPHEN VARCOE, DAVID WALKER

The monograph concerns one of the most important trends in contemporary classical Polish music. The ‟new romanticism� represented the reaction to the crisis of the avant-garde in the 70s. It appeared in works by the ‟1933 generation� (Penderecki, Górecki, Kilar), ‟the Stalowa Wola generation� (Knapik, Lasoń, Krzanowski), and others. This music matched tradition with contemporary techniques and strong emotionalism. Its romantic dimension and seriousness were in sheer contrast to the ‟double-coding� of Postmodernism. It stemmed from the political situation in Poland during the ‟Iron Curtain� times. The book also focuses on the topic’s American (Schonberg, Rochberg) and European contexts. The author also analyzes 104 compositions and 30 interviews (incl. with Penderecki) to present an even fuller picture.

In this edition, Palmer provides fingering and offers suggestions for the performance of ornaments and other markings as revealed through the study of original sources. The introductory material includes a helpful discussion of ornamentation in Chopin's music.

With his extensive three-volume investigation, the author has newly drawn the image of Gustav Mahler for our time. Should Mahler's symphonies really be categorized as "absolute music"? - Little-known manuscript sources contain significant hints to the contrary: programmatic titles and catchwords or phrases, mottos, literary allusions, associations, sighs, exclamations. Mahler fully understood his symphonies as "erlebte Musik", music of experience, as autobiography in notes, and as expressions of his "weltanschauung". All the symphonies, including the purely instrumental ones, can be traced back to programs that Mahler originally made public, but suppressed later on. A knowledge of the programmatic ideas provides access to a hitherto barely sensed interior metaphysical world that is of crucial importance for an adequate interpretation of the works. This first volume uncovers the complexity of relations between Mahler's wide-ranging reading and education, his aesthetics and his symphonic creation. About the German edition of this book: "One of the most thoroughgoing and comprehensive investigations of Gustav Mahler's work and world to date." (Norddeutscher Rundfunk) "The way in which Mahler's literary background, his education, and his aesthetic and philosophical maxims are presented here indeed opens up a new approach." (Die Musikforschung)

The Grateful Dead are perhaps the most legendary American rock band of all time. For thirty years, beginning in the hippie scene of San Francisco in 1965, they were a musical institution, the original jam band that broke new ground in so many ways. From the music to their live concert sound systems and fan recordings, they were forward-thinking champions of artistic control and outlaw artists who marched to the beat of their own drums. In Deal, Bill Kreutzmann, one of their founding members and drummer for every one of their over 2,300 concerts has written an unflinching and wild account of playing in the greatest improvisational band of all time. Everything a rock music fan would expect is here, but what sets this apart is Bill's incredible life of adventure that was at the heart of the Grateful Dead experience. This was a band that knew no limits and Bill lived life to the fullest, pushing the boundaries of drugs, drums and high times, through devastating tragedy and remarkable triumph. But at this book's beating heart is the music--theirs and others. Some of the greatest musicians and concerts were a part of the Grateful Dead's career, from sharing the stage with Janis Joplin, Bob Dylan, and The Who, to playing in the Acid Tests, The Monterey Pop Festival, Woodstock and Altamont. Bill's life is a chronicle of American music and pop culture history and his epic personal journey is one of sonic discovery and thrilling experiences.

Graham Collier's career in jazz lasted over five decades. He was a bassist, a band-leader, a composer, an educator and an author, who wrote extensively about the music. His working life was littered with `firsts'. Amongst his many achievements, he was the first British jazz musician to study at the Berklee School of music in Boston and the first to receive an Arts Council grant. In 1985, Collier began teaching at the Royal Academy of Music, where he later established the first full-time jazz degree course in the UK in 1987. Mosaics draws extensively on Collier's personal archive, as well as on interviews with fellow musicians, ex-students and colleagues from the Royal Academy of Music. It locates Collier and his work within the social and cultural changes which occurred during his life and, particularly, in relation to developments in British and European jazz of the 1960s and 70s. Collier's work as a composer-bandleader represented an attempt to resolve the paradoxes inherent in jazz between composition and improvisation, familiarity and spontaneity and change and tradition. In this regard, Mosaics compares Collier's work with other composers such as Duke Ellington, Charles Mingus, Gil Evans, Mike Westbrook, Stan Tracey, Barry Guy and Butch Morris. Throughout, Collier emerges as a contradictory figure falling between several different camps. He was never an out-and-out musical, cultural or political radical but rather an individualist continually forced to confront the contradictions in his own position - a musical outsider working within a marginalised area of cultural activity; a gay man operating in a very male area of the music business and within heterosexist culture in general; a man of working class origins stepping outside traditionally prescribed class boundaries; and a musician-composer seeking individual solutions to collective problems of aesthetic and ethical value.

Concerto Grosso no. 1 is one of Alfred Schnittke's best-known and most compelling works, sounding the surface of late Soviet life while resonating with contemporary compositional currents around the world such as postmodernism. It marked a decisive point in Schnittke's development of the approach he called polystylism, which aimed to contain in a single composition the wide range of contemporary musical styles, including "jazz, pop, rock, or serial music." Thanks to it and his other similar compositions, Schnittke became one of the most-performed and most-recorded living composers at the end of the twentieth century. Peter J. Schmelz's Alfred Schnittke's Concerto Grosso no. 1 represents the first accessible and comprehensive study of this composition. The novel structure of the book engages with the piece conceptually, historically, musically, and phenomenologically, with the six movements of the composition framing the six chapters. Augmenting and complicating the insights of existing English, Russian, and German publications on the Concerto Grosso no. 1, the book adds new information from underused primary sources, including Schnittke's unpublished correspondence and his many published interviews. It engages further with his sketches for the piece, and with contemporary Soviet musical criticism, resulting in a more objective, historical account of this rich, multifaceted composition, its influences, and its impact on music making in the USSR and worldwide.

Unique among the various types of impersonation entertainers, a tribute artist concentrates on only a few of a famous singer's notable characteristics in order to effectively evoke that performer through song. This book explores the elements of tribute performance through case studies of performers who pay homage to legendary singers like Elvis Presley, Buddy Holly, Johnny Cash and Jerry Lee Lewis. Drawing on original interviews with tribute artists, biographical profiles chronicle performers' early careers, musical influences and their lives on the road. A few performers even reflect on their friendships with musical titans like Fats Domino, Jerry Lee Lewis and The Crickets. Forty tribute artists are profiled, including winners of the Ultimate Elvis Tribute Artist Contest, Million Dollar Quartet alumni and several European performers.

Thea Musgrave ranks among the world's foremost living composers, and is widely known for the warmth, humor, and theatrical qualities of her music. Donald L. Hixon has prepared the first and only substantial bibliographical treatment of the composer, and the only complete listing of her works, with the assistance of Musgrave herself. The volume includes a brief biography; a complete list of her works and premieres, together with other notable selected performances, classified by genre and arranged alphabetically by title; a discography of commercially produced recordings; and an annotated bibliography of writings by and about Musgrave and her music. In addition, appendixes provide alphabetical and chronological access to the composer's music. An index of names and titles completes the volume.

Sir Elton Hercules John has enjoyed a phenomenal career filled with success, excess and achievement. His farewell tour was announced as more than 300 dates across all corners of the glode for years. Illness, Covid-19 and other extenuating circumstances conspired to prolong it, but the Farewell Yellow Brick Road Tour concerts have sold out everywhere as fans take their opportunity to see this unique artist for possibly the last time live on stage. The Little Guide to Elton John celebrates the career, music and character of one of the most interesting, colourful, engaging and interesting popular musicians ever. The book reviews his career and countless highs, and recognizes his many record-breaking achievements, in music, in his charity work and farther afield.

A lovingly thorough dissection of every album and every track ever released by David Bowie over the span of his nearly 50 year career, David Bowie All the Songs follows the musician from his self-titled debut album released in 1967 all the way through Blackstar, his final album. Delving deep into Bowie's past and featuring new commentary and archival interviews with a wide range of models, actors, musicians, producers, and recording executives who all worked with and knew the so-called "Thin White Duke", David Bowie All the Songs charts the musician's course from a young upstart in 1960s London to a musical behemoth who collaborated with everyone from Queen Latifah and Bing Crosby, to Mick Jagger and Arcade Fire. This one-of-a-kind book draws upon years of research in order to recount how each song was written, composed, and recorded, down to the instruments used and the people who played them. Featuring hundreds of vivid photographs that celebrate one of music's most visually arresting performers, David Bowie All the Songs is a must-have book for any true fan of classic rock.

The latest book in the bestselling All the Songs series, this is the most in-depth exploration of Springsteen's songs ever written. Spanning nearly 50 years of albums, EPs, B-sides, and more, read the full story behind every single song that The Boss has ever released. Moving chronologically through Springsteen's long career, expert authors Margotin and Guesdon explore everything there is to know about every single song. No stone is left unturned across 670 pages, from the inspiration behind the lyrics and melody to the recording process and even the musicians and producers who worked on each track. Uncover the stories behind the music in this truly definitive book - a must-have for every Springsteen fan.

Earthy, sexy, and vivacious, the life of beloved country singer, Patsy Cline, who soared from obscurity to international fame to tragic death in just thirty short years, is explored in colorful and poignant detail. An innovator--and even a hell-raiser--Cline broke all the boys' club barriers of Nashville's music business in the 1950s and brought a new Nashville sound to the nation with her pop hits and torch ballads like "Walking After Midnight," "I Fall to Pieces" and "Crazy." She is the subject of a major Hollywood movie and countless articles, and her albums are still selling 45 years after her death. Ellis Nassour was the very first to write about Cline and did so with the cooperation of the stars who knew and loved her--including Jimmy Dean, Jan Howard, Brenda Lee, Loretta Lynn, Roger Miller, Dottie West, and Faron Young. He was the only writer to interview Cline's mother and husbands. This updated edition features not only a complete discography and a host of never-before-published photographs, but includes an afterword that details controversial claims about her birth, the battle between Cline's siblings for her possessions, the amazing influence Cline had on a new generation of singers and, in Cline's own words from letters to a devoted friend, her excitement as her career soared to new heights and her marriage descended to new depths.

This fresh interpretation explains how an untutored musician changed music while at the same time playing an inadvertent role in the youth rebellion that has shaped the Baby Boomer generation into the 21st century. Elvis Aaron Presley was born in a two-room house in Tupelo, MS, on January 8, 1935. He died at his Memphis home, Graceland, on August 16, 1977. In those 42 years, Elvis made an indelible impression on pop culture the world over. Elvis Presley, Reluctant Rebel: His Life and Our Times probes both the man and his influence, delving deeply into the personality of its protagonist, his needs and motivations, and the social and musical forces that shaped his career. Elvis's musical talents and liabilities are explored, as are his records, films, and live performances and his relationship with his manager, Colonel Tom Parker, whom he allowed to manipulate him as a money-making machine. Readers will learn about Elvis's personal life, his devotion to conventional religious and political beliefs, and his decline into self-destruction and death. Finally, the book explores Elvis's impact on the musical and racial revolutions of the 1950s and 1960s, his legacy, and his importance in shaping a generation of Baby Boomers. Photographs A bibliography

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.

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.

Reflecting the growth of international interest in Elgar's music, this collection of essays brings together leading scholars from the UK and the USA, and covers the broadest range of analytical approaches to his music. It is perhaps in textual analysis and criticism that Elgar studies are showing their most remarkable growth. In this volume, analysts and theorists place Elgar at the centre of research into late-tonal music theory - particularly Schenkerian and neo-Riemannian - and the continually burgeoning area of musical hermeneutics. Through study of published scores and recently discovered sketches, different contributions explore Elgar's musical language and treatment of symphonic form, and themes in his music such as empire, race, the pastoral and idyllic, mourning, and loss. The essays cover the entire range of current thinking on Elgar's music, and have wide ramifications for future approaches to music of the early twentieth century.

To tell the story of Morris Day is to tell the story of Prince. Not because they were inseparable or because their paths never diverged, but because, even when their paths did diverge, they always intersected again. Each artist lifted the other up, pushing one another to be something bigger and better than they thought themselves capable of. There was plenty of one-upmanship and some (un)healthy competition, but the respect Day and Prince had for one another never wavered, from the time they met in junior high until His Royal Badness's untimely death in 2016. In telling his own story and writing about Prince, Day turns Prince into the narrative's Greek chorus. Prince is there to protect his legacy, argue with Morris's interpretation of events, and continue the dialogue that started when both musicians were in their early teens. Because of their lifelong friendship emotional intimacy, the founder and still current leader of The Time is the one man who can pull this off, and in so doing shed a new light on Prince and the culture from which the Minneapolis funk scene was born. On Time recounts Day's fight to overcome cocaine addiction, his search for meaning in both music and romance, and his subsequent second-act success by once again leading The Time, whose music is his lifeblood and soul. Day's book is a comprehensive, free-wheeling extension of his music--the ride is wild and the funk unfiltered.

Compulsively readable interviews with the great American composer and his friends and colleagues, including Aaron Copland, Virgil Thomson, and Leontyne Price. Samuel Barber is one of America's most popular classical composers. His widely beloved works include "Adagio for Strings" and Knoxville: Summer of 1915 . The main source for Samuel Barber Remembered: A Centenary Tribute is a panoply of vivid and eminently readable interviews by Peter Dickinson for a BBC Radio 3 documentary in 1981. The interviewees include Barber's friends, fellow composers, and performers, notably Gian Carlo Menotti, Aaron Copland, William Schuman, Virgil Thomson, soprano Leontyne Price, and pianist John Browning. The book also includes three of the very few interviews extant with Barber himself. Dickinson contributes substantial chapters on Barber's early life and on Barber's reception in England. The book has a foreword by the distinguished composer and admirer of Barber, John Corigliano. Peter Dickinson, British composer and pianist, has written or editednumerous books about twentieth-century music, including CageTalk: Dialogues with and about John Cage (University of Rochester Press) and three books published by Boydell Press: The Music of Lennox Berkeley; Copland Connotations; and Lord Berners: Composer, Writer, Painter.

Unlike much of the literature on Venezuela in the Chavez period, this book shifts focus away from 'top down' perspectives to examine how Venezuelan folksinger Ali Primera (1942-1985) became intertwined with Venezuelan politics, both during his lifetime and posthumously. Ali's 'Necessary Songs' offered cultural resources that enabled Chavez to connect with pre-existing patterns of grassroots activism in ways that resonated deeply with the poor and marginalised masses. Official support for Ali's legacy led the songs to be used in new ways in the Chavez period, as Venezuelans actively engaged with them to redefine themselves in relation to the state and to reach new understandings of their place within a changed society. This book is essential reading not only for those interested in popular music and politics, but for all those seeking to better understand how Chavez was able to successfully identify himself so profoundly with the Venezuelan masses, and they with him.

Leo Black, a pupil of Rubbra in the 1950s, presents a full-scale study of his symphonies (the first for fifteen years). A biographical sketch throws light on legends about the BBC and Rubbra; there are full programme notes on each symphony, with accounts of important non-symphonic works. The music of Edmund Rubbra (1901-1986) has been unjustly neglected - arguably because its wide-ranging nature makes it difficult to categorise. He is perhaps best known as a symphonist; his eleven symphonies covered a period of musical and political upheaval [1934 - 1980], the first four reflecting the uneasy later 1930s, with a second global conflict no longer avoidable. The immediately-post-war ones document new emotional depths and his conversion, whilethe final symphonies show a man still in search of peace and reconciliation, overlooked by the world but certain he was on the right path. Leo Black, a pupil of Rubbra at Oxford in the 1950s, here presents a sympatheticfull-scale study of these works (the first for some fifteen years). A succinct biographical sketch throws light on legends about the BBC and Rubbra; there are full programme notes on each symphony, with shorter accounts of important non-symphonic works, in particular a 'triptych' of concertos from the 1950s and major liturgical pieces composed around the time of the Second Vatican Council, after Rubbra's conversion to Catholicism. He also deals with the vexed question of Rubbra's mysticism. LEO BLACK is a former BBC chief producer for music and author of the highly-acclaimed Franz Schubert: Music and Belief [2003].

"...unparalleled behind-the-scenes glimpse into life on the road with Duran Duran." - Classic Pop "Denis got to see a different side of the machine - he saw the cogs going around, and there were times when that wasn't popular with everybody ... Once we saw the photographs, however, we were able to appreciate the potency of it." Simon Le Bon With chart hits charts like 'Girls on Film', 'Hungry like a Wolf', 'Rio' and 'The Reflex' and pioneering music videos, Duran Duran cemented their place as indisputable icons of the '80s New Romantic music scene. Having sold over 100 million records, they continue to be one of the UK's most popular bands. Eternally evolving, always innovating, their fanbase spans the globe. Containing hundreds of exquisitely restored photographs taken mostly during the North American and Japanese legs of the band's record-breaking 1984 Sing Blue Silver tour, Careless Memories provides an unparalleled visual history of Duran Duran's ascent to the top, with commentary from the band members themselves. Denis O'Regan joined the band in France, where they were filming their New Moon On Monday video, and stayed with them until the end of the tour. His unprecedented access to the band gives the Careless Memories book an insight into the lives of Simon, Nick, John, Roger and Andy as they won hearts around the world. It documents the excitement of the shows and the hysteria and mayhem that surrounded them. For Duran Duran fans, Careless Memories is a 224 page backstage pass that captures the band at the peak of their powers and their fame.

'With disarming candour and courage, Martha tells us of finding her own voice and peace as a working artist and mother. Her story is made more unique because of the remarkably gifted musical family she was born into' EMMYLOU HARRIS Born into music royalty, daughter of Kate McGarrigle and Loudon Wainwright III and sister to singer Rufus Wainwright, Martha grew up in a world filled with incomparable folk legends. With the same emotional honesty that has come to define her music Martha describes her tumultuous public-facing journey from awkward, earnest and ultimately rebellious daughter, through her intense competition and ultimate alliance with her brother, Rufus, to the heartbreaking loss of their mother and finally discovering her voice as an artist. With candour and grace she writes of becoming a mother herself and making peace with her past struggles with Kate and her younger self. Ultimately, this book offers a thoughtful and deeply personal look into the extraordinary life of one of the most talented singer-songwriters in music today.