First as a journalist and then a publicist at Warner Brothers Records for nearly twenty years, Barbara Charone has experienced, first-hand, the changes in the cultural landscape. Access All Areas is a personal, insightful and humorous memoir packed with stories of being on the cultural frontline, from first writing press releases on a typewriter driven by Tip Ex, then as a press officer for heavy metal bands taking the bus up to Donnington Festival with coffee, croissants and the much more popular sulfate. To taking on Madonna, an unknown girl from Detroit, and telling Smash Hits 'you don't have to run the piece if the single doesn't chart', and becoming a true pioneer in music, Charone continues to work with the biggest names in music, including Depeche Mode, Robert Plant, Foo Fighters and Mark Ronson at her agency MBCPR. The story of how a music-loving, budding journalist from a Chicago suburb became the defining music publicist of her generation, Access All Areas is a time capsule of the last fifty years, told through the lens of music.

The life's work of two of British music's most unique and timeless artists, with an introduction by Jarvis Cocker. Whenever an aspiring musician asks me about songwriting I point them towards Robert and Alfie. Their work is so unusual, so perceptive, so playful and so grown-up. I don't think there's anyone to compare. If you want songs that touch your mind as well as your heart, these are the best. Wide distribution of this book could improve the state of music dramatically. - Brian Eno *** Selected and arranged by the authors themselves, and featuring an introduction by Jarvis Cocker, Side by Side presents the lyrics, poems, writings and drawings of innovative musician Robert Wyatt and his creative partner, English painter and songwriter Alfie Benge. As a founding member of influential English rock bands Soft Machine and Matching Mole, and with a solo career which has lasted for over forty years and seen him collaborate with a diverse range of artists including Bjork, Brian Eno, Carla Bley, Paul Weller and David Gilmour, his own music remains unclassifiably personal. Alfie Benge is a visual artist, songwriter and pioneering music manager, having managed Robert's career for fifty years. She is also married to Robert. Since 1982 they have collaborated on many of Robert's most well-known songs. This unique volume celebrates one of the most enduring creative partnerships of the last half-century.

Brahms in Context offers a fresh perspective on the much-admired nineteenth-century German composer. Including thirty-nine chapters on historical, social and cultural contexts, the book brings together internationally renowned experts in music, law, science, art history and other areas, including many figures whose work is appearing in English for the first time. The essays are accessibly written, with short reading lists aimed at music students and educators. The book opens with personal topics including Brahms's Hamburg childhood, his move to Vienna, and his rich social life. It considers professional matters from finance to publishing and copyright; the musicians who shaped and transmitted his works; and the larger musical styles which influenced him. Casting the net wider, other essays embrace politics, religion, literature, philosophy, art, and science. The book closes with chapters on reception, including recordings, historical performance, his compositional legacy, and a reflection on the power of composer myths.

Mike Dixon has been involved in the British music industry for over 40 years and has been Musical Director for more than twenty West End productions including, We Will Rock You, The Bodyguard, Grease, Aspects of Love, Joseph and the Amazing Technicolor Dreamcoat and Jesus Christ Superstar. His TV credits include six Royal Variety Performances, countless light entertainment series and Glastonbury with Shirley Bassey, as well as a huge number of high profile television and radio concerts. His career has taken him all over the world working with some of the most iconic artists of the 20th and 21st centuries, including Dame Shirley Bassey, Lord Lloyd-Webber, Leslie Bricusse, Sir Tim Rice, Don Black, Sir Elton John, Lionel Richie, Sir Tom Jones, Lady Gaga and Queen. The book follows his journey as his exciting and eclectic musical career develops. From his early musical experiences in Plymouth, studying at Trinity College of Music, to conducting in the Royal Albert Hall, with plenty of humour along the way, it is a little peek behind the scenes into the world of entertainment from a unique, hands-on perspective.

Drawing on key elements from musical thought in inter-war Hungary, this 2007 book provides a unique perspective on the nation's musical heritage both inside and outside Hungary's borders during the Cold War. Although Ligeti became part of the Western avant-garde after he left Hungary in 1956, archival sources illuminate his ongoing contact with Hungarian musicians, and their shifting perspective on his work. Kurtag's music was more obviously involved with Hungarian traditions, was entangled with the Soviet occupation, and was a contributing part of the city's diverse musical culture. However, from the mid-1960s onwards, critics identified his music as an artistic and moral 'truth' distinct from the broader musical life of Budapest: it was an idealized symbol of life beyond the everyday in Hungary. Grounding her interpretations of works in these complex political circumstances, Beckles Willson is nonetheless sympathetic to arguments by Ligeti, Kurtag and Budapest music critics that their music might have a life beyond nationalist and Cold War ideology.

This book features the images from Pink Floyd's album sleeves and promotional material designed for the group. It features almost all Pink Floyd's iconic album covers, posters, singles bags, a selection of band photos, booklet pages and rough artwork that developed into iconic designs. This new edition incorporates an additional 32 pages of material used in re-issues created since 2007. Storm Thorgerson, who died in 2013, was a world-famous designer whose memoirs of his time spent with Pink Floyd are combined with all the artwork he created to represent the band at each stage of their career. Storm revisited the work he created for the albums and offers insights into the work that went into the creation of this legendary album art. Designers who worked with Storm have all contributed to this new edition of Mind Over Matter. Amongst the new material is artwork from the Oh By The Way box set, the Atom Heart Mother 40th Anniversary 'Wire Cow' sculpture, the Why Pink Floyd? Campaign and the Dark Side Of The Moon 40th Anniversary images and stickers.

'Highly stimulating ... Kraftwerk is a pleasure to read' Jon Savage, New Statesman The story of the phenomenon that is Kraftwerk, and how they revolutionised our cultural landscape 'We are not artists nor musicians. We are workers.' Ignoring nearly all rock traditions, experimenting in near-total secrecy in their Dusseldorf studio, Kraftwerk fused sound and technology, graphic design and performance, modernist Bauhaus aesthetics and Rhineland industrialisation - even human and machine - to change the course of modern music. This is the story of Kraftwerk the cultural phenomenon, who turned electronic music into avant-garde concept art and created the soundtrack to our digital age.

Over and Done is a celebration of the classic Quo line-up of Rossi, Parfitt, Lancaster and Coghlan and is built around a huge selection of mainly, unpublished on and off stage photos from the seventies, alongside those from the 2013/14 reunion. Words come from long-standing, devoted Quo fan Alan Stutz who has seen the band in excess of one hundred times since 1976, including every London show the classic line-up played in the seventies plus the very last show performed in Dublin. This unique book encapsulates the excitement of the ultimate Quo line-up in all its glory and is topped off with a foreword by John Coghlan. With the sad passing of Rick Parfitt in 2016 and Alan Lancaster in 2021, the 2013/14 reunion proved to be the last chance to witness the legendary four on stage. This book will help bring back some of the excitement and memories that every Quo fan who witnessed the classic band will have. This is a beautiful memento of moments in Quo history that sadly are now truly over and done.

The instant New York Times bestseller: the lead singer of the Stone Temple Pilots and Velvet Revolver delivers an exhilarating memoir of scaling the pinnacle of rock stardom, plunging into the chasm of addiction and incarceration, and then clawing his way back to the top again and again. In the early 1990s, Stone Temple Pilots--not U2, not Nirvana, not Pearl Jam--was the hottest band in the world. STP toppled such megabands as Aerosmith and Guns N' Roses on MTV and the Billboard charts. Lead singer Scott Weiland became an iconic front man in the tradition of Mick Jagger, David Bowie, and Robert Plant. Then, when STP imploded, it was Weiland who emerged as the emblem of rock star excess, with his well-publicized drug busts and trips to rehab. Weiland has since made a series of stunning comebacks, fronting the supergroup Velvet Revolver, releasing solo work, and reuniting with Stone Temple Pilots. He has prevailed as a loving, dedicated father, as well as a business-savvy artist whose well of creativity is far from empty. Not Dead & Not for Sale is a hard rock memoir to be reckoned with--a passionate, insightful, and at times humorous book that reads with extraordinary narrative force.

Winner of the 2022 Vincent H. Duckles Award, Music Library Association John Adams: A Research and Information Guide offers the first comprehensive guide to the musical works and literature of one of the leading American composers of our time. The research guide catalogs and summarizes materials relating to Adams's work, providing detailed annotated bibliographic entries for both primary and secondary sources. Covering writings by and interviews with Adams, books, journal articles and book chapters, newspaper articles and reviews, dissertations, video recordings, and other sources, the guide also contains a chronology of Adams's life, a discography, and a list of compositions. Robust indexes enable researchers to easily locate sources by author, composition, or subject. This volume is a major reference tool for all those interested in Adams and his music, and a valuable resource for students and researchers of minimalism, contemporary American music, and twentieth-century music more broadly.

Of all the great composers of the eighteenth century, Handel was the supreme cosmopolitan, an early and extraordinarily successful example of a freelance composer. For thirty years the opera-house was the principal focus of his creative work and he composed more than forty operas over this period. In this book, David Kimbell sets Handel's operas in their biographical and cultural contexts. He explores the circumstances in which they were composed and performed, the librettos that were prepared for Handel, and what they tell us about his and his audience's values and the music he composed for them. Remarkably no Handel operas were staged for a period of 170 years between 1754 and the 1920s. The final chapter in this book reveals the differences and similarities between how Handel's operas were performed in his time and ours.

Pierre Boulez is acknowledged as one of the most important composers in contemporary musical life. This collection explores his works, influence, reception and legacy, shedding new light on Boulez's music and its historical and cultural contexts. In two sections that focus firstly on the context of the 1940s and 1950s, and secondly on the development of the composer's style, the contributors address recurring themes such as Boulez's approach to the serial principle and the related issues of form and large-scale structure. Featuring excerpts from Boulez's correspondence with a range of his contemporaries here published for the first time, the book illuminates both Boulez's relationship with them and his thinking concerning the challenges which confronted both him and other leading figures of the European avant-garde. In the final section, three chapters examine Boulez's relationship with audiences in the United Kingdom, and the development of the appreciation of his music.

Nicole Grimes provides a compellingly fresh perspective on a series of Brahms's elegiac works by bringing together the disciplines of historical musicology, German studies, and cultural history. Her exploration of the expressive potential of Schicksalslied, Nanie, Gesang der Parzen, and the Vier ernste Gesange reveals the philosophical weight of this music. She considers the German tradition of the poetics of loss that extends from the late-eighteenth-century texts by Hoelderlin, Schiller and Goethe set by Brahms, and includes other philosophical and poetic works present in his library, to the mid-twentieth-century aesthetics of Adorno, who was preoccupied as much by Brahms as by their shared literary heritage. Her multifaceted focus on endings - the end of tonality, the end of the nineteenth century, and themes of loss in the music - illuminates our understanding of Brahms and lateness, and the place of Brahms in the fabric of modernist culture.

Chopin's oeuvre holds a secure place in the repertoire, beloved by audiences, performers, and aesthetes. In Harmony in Chopin, David Damschroder offers a new way to examine and understand Chopin's compositional style, integrating Schenkerian structural analyses with an innovative perspective on harmony and further developing ideas and methods put forward in his earlier books Thinking about Harmony (Cambridge, 2008), Harmony in Schubert (Cambridge, 2010), and Harmony in Haydn and Mozart (Cambridge, 2012). Reinvigorating and enhancing some of the central components of analytical practice, this study explores notions such as assertion, chordal evolution (surge), collision, dominant emulation, unfurling, and wobble through analyses of all forty-three Mazurkas Chopin published during his lifetime. Damschroder also integrates analyses of eight major works by Chopin with detailed commentary on the contrasting perspectives of other prominent Chopin analysts. This provocative and richly detailed book will help transform readers' own analytical approaches.

Schubert's late music has proved pivotal for the development of diverse fields of musical scholarship, from biography and music history to the theory of harmony. This collection addresses current issues in Schubert studies including compositional technique, the topical issue of 'late' style, tonal strategy and form in the composer's instrumental music, and musical readings of the 'postmodern' Schubert. Offering fresh approaches to Schubert's instrumental and vocal works and their reception, this book argues that the music that the composer produced from 1822-8 is central to a paradigm shift in the history of music during the nineteenth century. The contributors provide a timely reassessment of Schubert's legacy, assembling a portrait of the composer that is very different from the sentimental Schubert permeating nineteenth-century culture and the postmodern Schubert of more recent literature.

David Damschroder's ongoing reformulation of harmonic theory continues with a dynamic exploration of how Beethoven molded and arranged chords to convey bold conceptions. This book's introductory chapters are organized in the manner of a nineteenth-century Harmonielehre, with individual considerations of the tonal system's key features illustrated by easy-to-comprehend block-chord examples derived from Beethoven's piano sonatas. In the masterworks section that follows, Damschroder presents detailed analyses of movements from the symphonies, piano and violin sonatas, and string quartets, and compares his outcomes with those of other analysts, including William E. Caplin, Robert Gauldin, Nicholas Marston, William J. Mitchell, Frank Samarotto, and Janet Schmalfeldt. Expanding upon analytical practices from the eighteenth and nineteenth centuries, and strongly influenced by Schenkerian principles, this fresh perspective offers a stark contrast to conventional harmonic analysis - both in terms of how Roman numerals are deployed and how musical processes are described in words.

The modern German composer discusses his childhood, his musical development, electronic music, chance, music theater, and music education.

(Book). Nirvana is one of the most influential bands in rock history, and even now, nearly 20 years after Kurt Cobain's death, the reverence in which they are held is undiminished. Books have been written about Nirvana before, but they tend to concentrate on the band's superstar period and Kurt Cobain's demise, while skating over the early years. In Entertain Us, Gillian Gaar redresses the balance by examining in forensic detail the band's rise to fame, and their first album, Bleach . Drawing on archive material and interviews with many key people in the story, she traces Nirvana's formation, its early recordings and many personnel changes, and the arrival of Dave Grohl to complete the familiar three-piece line up. By critiquing every song the band recorded in this period, tracing influences and unpicking complex relationships between band members, associates and record labels, Gaar gets to the heart of a compelling story.

Schoenberg and Redemption presents a new way of understanding Schoenberg's step into atonality in 1908. Reconsidering his threshold and early atonal works, as well as his theoretical writings and a range of previously unexplored archival documents, Julie Brown argues that Schoenberg's revolutionary step was in part a response to Wagner's negative charges concerning the Jewish influence on German music. In 1898, and especially 1908, Schoenberg's Jewish identity came into confrontation with his commitment to Wagnerian modernism to provide an impetus to his radical innovations. While acknowledging the broader turn-of-the-century Viennese context, Brown draws special attention to continuities between Schoenberg's work and that of Viennese moral philosopher Otto Weininger, himself an ideological Wagnerian. She also considers the afterlife of the composer's ideological position when, in the late 1920s and early 1930s, the concept of redeeming German culture of its Jewish elements took a very different turn.

Morton Feldman is widely regarded as one of America's greatest composers. His music is famously idiosyncratic, but, in many cases, the way he presented it is also unusual because, in the 1950s and 1960s, he often composed in non-standard musical notations, including a groundbreaking variety on graph paper that facilitated deliberately imprecise specifications of pitch and, at times, other musical parameters. Feldman used this notation, intermittently, over seventeen years, producing numerous graph works that invite analysis as an evolving series. Taking this approach, David Cline marshals a wide range of source materials - many previously unpublished - in clarifying the ideology, organisation and generative history of these graphs and their formative role in the chronicle of post-war music. This assists in pinpointing connections with Feldman's compositions in other formats, works by other composers, notably John Cage, and contemporary currents in painting. Performance practice is examined through analysis of Feldman's non-notated preferences and David Tudor's celebrated interpretations.

The vibrant intellectual, social and political climate of mid eighteenth-century Europe presented opportunities and challenges for artists and musicians alike. This book focuses on Mozart the man and musician as he responds to different aspects of that world. It reveals his views on music, aesthetics and other matters; on places in Austria and across Europe that shaped his life; on career contexts and environments, including patronage, activities as an impresario, publishing, theatrical culture and financial matters; on engagement with performers and performance, focusing on Mozart's experiences as a practicing musician; and on reception and legacy from his own time through to the present day. Probing diverse Mozartian contexts in a variety of ways, the contributors reflect the vitality of existing scholarship and point towards areas primed for further study. This volume is essential reading for students and scholars of late eighteenth-century music and for Mozart aficionados and music lovers in general.

A selection of Arnold Whittall's masterly writings on Wagner dealing with all major works in the context of 150 years' of critical reception - with copious music examples. The book celebrates Arnold Whittall's 80th birthday with a collection of his key writings on Richard Wagner. The first ten chapters deal with the three Romantic operas, the four parts of The Ring and the three remaining music dramas. Their aim is to illuminate those aspects of Wagner's style that are both personal and important for his successors. Whittall sets close readings of key passages in the context of a critical debate that has itself ragedfor over a century, and his comprehensive range of reference makes this volume essential reading for all those who want to enter the debate. The final chapter deals with Jonathan Harvey's Wagner Dream (2007), a modern operatic treatment of Wagner the man and his unrealised Buddhist project, Die Sieger. Whittall's style is focussed and discriminating, yet also relaxed and accessible, and his text is rich in music examples. ARNOLD WHITTALL is Professor Emeritus at King's College London. His previous books include Exploring Twentieth-Century Music and Serialism.

No life in popular music touched on as many major musical milestones as that of The Beach Boys' Carl Wilson. While he is often unjustly overlooked as a mere adjunct to his more famous brothers Brian and Dennis, Carl was a major international rock star from his early teens. The proud owner of one of the greatest voices in popular music-one that graced some of the most important records of the pop era, including 'God Only Knows' and 'Good Vibrations'-Wilson was also one of the first musicians to bring the electric guitar to the forefront of rock'n'roll. His musical skills provided The Beach Boys' entree into the music business, from which he then stewarded their onstage journey through the ups and downs of the 60s to their comeback in the 70s and into the role of 'America's band' in the 80s. Along the way, Carl quietly endured his own battles with obesity, divorce, substance abuse, and ultimately terminal cancer, all the while working to protect his family's business and legacy. This major new biography reveals the true story of modern rock'n'roll, lived from the centre of the most important decades of popular music.

Examines Liszt's piano arrangements of music originally created for other instruments, especially the symphony orchestra and the Hungarian Gypsy band. Liszt's adaptation of existing music is staggering in its quantity, scope, and variety of technique. He often viewed the model work as a source that he strove to improve, rival, and even surpass. Liszt's Representation of Instrumental Sounds on the Piano: Colors in Black and White provides a comprehensive survey of Liszt's reworking of instrumental music on the piano, particularly his emulation of tone colors and idiomatic gestures. The book relatesLiszt's sonic reproductions to the widespread nineteenth-century interest in visual-art reproduction. Hyun Joo Kim illustrates Liszt's diverse approaches to the integrity of the music in a detailed, vivid, and insightful manner through close study of his arrangements of Beethoven's symphonies and Rossini's Guillaume Tell Overture, his two-piano arrangements of his own symphonic poems such as Mazeppa and Hunnenschlacht, and his Hungarian Rhapsodies. By examining orchestral music and Hungarian Gypsy-style music as sources of Liszt's sound representations, this book reveals Liszt's musical discourse as straddling the musical, cultural, and aesthetic divides between mainstream and peripheral, art and folk, serious and popular. HYUN JOO KIM holds a PhD from Indiana University and is an independent scholar in Seoul, South Korea.