New studies of the great French composer by Jacques Barzun, David Cairns, Joel-Marie Fauquet, Hugh Macdonald, Julian Rushton, and other prominent experts. These twelve essays bring new breadth and depth to our knowledge of the life and work of the composer of the Symphonie fantastique. A distinguished international array of scholars here treat such matters as Berlioz's "aesthetics" and what it means to write about the meaning of his music; the political implications of his fiction and the affinities of his projects as composer and as critic; what the Germans thought of his work before his travels in Germany and what the English made of him when he visited their capital city; what he seems to have written immediately after encountering Shakespeare's Romeo and Juliet (a surprise), and where he profited from Beethoven in what later became Romeo et Juliette. The volume closes with two reflective essays on Berlioz's literary masterpiece, the Memoires. Contributors: Lord Aberdare (Alastair Bruce), Jean-Pierre Bartoli, JacquesBarzun, Peter Bloom, David Cairns, Gunther Braam, Gerard Conde, Pepijn van Doesburg, Joel-Marie Fauquet, Frank Heidlberger, Hugh Macdonald, and Julian Rushton Peter Bloom (Smith College) is author of The Life of Berlioz (1998) and editor of The Cambridge Companion to Berlioz (2000).

In 1963, sisters Barbara Ann and Rosa Hawkins and their cousin Joan Marie Johnson traveled from the segregated South to New York City under the auspices of their manager, former pop singer Joe Jones. With their wonderful harmonies, they were an immediate success. To this day, the Dixie Cups' greatest hit, ""Chapel of Love,"" is considered one of the best songs of the past sixty years. The Dixie Cups seemed to have the world on a string. Their songs were lively and popular, singing on such topics as love, romance, and Mardi Gras, including the classic ""Iko Iko."" Behind the stage curtain, however, their real-life story was one of cruel exploitation by their manager, who continued to harass the women long after they finally broke away from his thievery and assault. Of the three young women, no one suffered more than the youngest, Rosa Hawkins, who was barely out of high school when the New Orleans teens were discovered and relocated to New York City. At the peak of their success, Rosa was a naive songstress entrapped in a world of abuse and manipulation. Chapel of Love: The Story of New Orleans Girl Group the Dixie Cups explores the ups and downs of one of the most successful girl groups of the early 1960s. Telling their story for the first time, in their own words, Chapel of Love reintroduces the Louisiana Music Hall of Famers to a new audience.

This book concerns the life and theatrical career of the great native-born English composer and musician of the eighteenth century, Thomas Augustine Arne (1710-1778). Its purpose is three-fold. First, it provides a comprehensive biography and account of the performance and publication of Arne's works during his lifetime. Although Arne's childhood years get some attention, the book focuses on the period from 1732 to 1778, a time of great innovation for English opera and related genres. Second, it considers Arne's social context: his relationships with the many dramatists, actors, singers, and fellow composers and instrumentalists-including many members of his own family-with whom he collaborated on the London and Dublin stages as well as at the London pleasure gardens. Third, it offers analysis of eighty musical illustrations drawn from vocal works for the theatre spanning Arne's career, and readers can simultaneously study and listen to the musical examples on a companion web page that hosts media files produced using music notation software. The audio component constitutes a crucial supplement to a study of Arne because so much of his extant theatre music cannot otherwise readily be heard. Arne was the leading figure in English theatrical music of his day. Dr. Charles Burney, the great eighteenth-century historian of music, had a high opinion of the composer, especially of Arne's setting of Milton's Comus (1738): "In this masque he introduced a light, airy, original, and pleasing melody, wholly different from that of Purcell or Handel, whom all English composers had hitherto either pillaged or imitated. Indeed, the melody of Arne at this time . . . forms an era in English Music; it was so easy, natural and agreeable to the whole kingdom, that it [became] the standard of all perfection at our theatres and public gardens." Yet Burney's greatest compliment concerns Arne as a composer of secular vocal music: "He must be allowed to have surpassed [Purcell] in ease, grace, and variety." During his forty-six-year career Arne composed music for over 100 stage works-to say nothing of his myriad single songs, cantatas, and instrumental compositions. Yet despite a relative wealth of source material, scholars of theatre, drama, and music in our own time have almost completely ignored him. As a consequence, musicologists, theatre historians, and laypeople alike tend to evince a detrimentally limited sense of the magnitude of Arne's contribution to English music and especially to the history of English opera. To listen to musical examples that accompany The Theatre Career of Thomas Arne, please visit http://www2.lib.udel.edu/udpress/thomasarne.htm

Believe Your Ears is the memoir of composer Kirke Mechem, whose unorthodox path to music provides a fascinating narrative. He wrote songs and played music by ear as a newspaper reporter, a touring tennis player, and a Stanford creative-writing major before studying composition and conducting at Harvard. He describes his residencies in San Francisco, Vienna, London, and Russia, and gives detailed attention to his choral music, operas, and symphonies. He writes that "the twentieth century gave us much brilliant music" but shows how atonality came to dominate the post-war period. His lyric style belongs to no particular "school," avoiding the trends, -isms, experiments, fads, and lunacies of the period. He encourages younger composers who are trying to bring back beauty, passion, and humor-even entertainment-to classical music. He asks music lovers to believe their own ears, not the lectures of "experts." Believe Your Ears is addressed to all who love classical music. Along the way, readers will meet Dimitri Shostakovich, Wallace Stegner, Billie Jean King, the Grateful Dead, Richard Rodgers, Benjamin Britten, Bill Tilden, and Aaron Copland-a who's who in Mechem's storied career.

Tchaikovsky's Sixth Symphony (1893), widely recognized as one of the world's most deeply tragic compositions, is also known for the mystery surrounding its hidden programme and for Tchaikovsky's unexpected death nine days after its premiere. While the sensational speculations about the composer's possible planned suicide and the suggestion that the symphony was intended as his own requiem have long been discarded, the question of its programme remains. Tchaikovsky's mention of the extreme subjectivity lying behind the work's artistic concept has usually led scholars to seek clues to the programme in his inner emotional world, and some have mooted his homosexuality as the source of personal tragedy that may be at the work's roots.

Quincy Jones: A Research and Information Guide is an annotated bibliography and discography on one of the most prolific composers, arrangers, and conductors in American music. This reference work will appeal to wide range of musicologists, ethnomusicologists and cultural studies scholars.

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

This book is a guide to Mozart's six most famous string quartets, dedicated to his friend, Joseph Haydn. In addition to providing a full synopsis of each quartet this book examines the music in relation to Mozart's earlier quartets, considers the genesis of these six pieces and charts their reception through a broad range of sources: letters and diary entries, contemporary criticism and early biographies.

Music theory is often seen as independent from - even antithetical to - performance. While music theory is an intellectual enterprise, performance requires an intuitive response to the music. But this binary opposition is a false one, which serves neither the theorist nor the performer. In Interpreting Chopin Alison Hood brings her experience as a performer to bear on contemporary analytical models. She combines significant aspects of current analytical approaches and applies that unique synthetic method to selected works by Chopin, casting new light on the composer's preludes, nocturnes and barcarolle. An extension of Schenkerian analysis, the specific combination of five aspects distinguishes Hood's method from previous analytical approaches. These five methods are: attention to the rhythms created by pitch events on all structural levels; a detailed accounting of the musical surface; 'strict use' of analytical notation, following guidelines offered by Steve Larson; a continual concern with what have been called 'strategies' or 'premises'; and an exploration of how recorded performances might be viewed in terms of analytical decisions, or might even shape those decisions. Building on the work of such authors as William Rothstein, Carl Schachter and John Rink, Hood's approach to Chopin's oeuvre raises interpretive questions of central interest to performers.

J.J. Johnson, known as the spiritual father of modern trombone, has been a notable figure in the history of jazz. His career has embodied virtually every innovation and development in jazz over the last half of the 20th century. In this comprehensive biography, filmography, catalogue of compositions and discography of J.J. Johnson, Berrett and Bourgois fill a gap in jazz studies. In its exploration of the various turning points in Johnson's life, The Musical World of J.J. Johnson offers a provocative and comprehensive declaration of the makings of a jazz legend. This analysis details Johnson's childhood and early education, documents his first compositions and examines his classical roots, thereby creating a powerful illustration of the composer's technical and stylistic development.

This annotated bibliography uncovers the wealth of resources available to prospective researchers and supports emerging scholarship and inquiry into the life and music of this Czech composer. It includes all secondary sources on Martinu and his music, as well as chronology of his life and a complete list of works.

Leonard Bernstein is a household name. Most know him for his classic musical reworking of Shakespeare's Romeo and Juliet as Broadway's West Side Story. But Bernstein accomplished so much more as a composer, and his body of work is both broad and varied. He composed ballets (Fancy Free, Facsimile, Dybbuk), operas (Trouble in Tahiti, Candide, A Quiet Place), musicals (On the Town, Wonderful Town), film scores (On the Waterfront), symphonies, choral works, chamber music pieces, art songs, and piano works. In Experiencing Leonard Bernstein: A Listener's Companion, Kenneth LaFave guides readers past Bernstein's famously tortured personal problems and into the clarity and balance of his Serenade after Plato's Symposium for Violin and Orchestra, the intense drama of his music for On the Waterfront, the existential cosmography of his three symphonies, and his vibrant works for the musical stage. Perhaps the most famous American classical musician born in the twentieth century, Bernstein divided his time between composing, conducting, writing, and teaching, a busy schedule-especially his conducting of major orchestras-that set his work as composer at a disadvantage. Often generated in short spurts, his work carries an urgency-and even an element of improvisational genius-that he flavored with his eclectic embrace of jazz, folk song, Jewish cantorial music, and innovations in contemporary classical theory. The result is a body of work that is beguilingly melodic, incomparably rhythmic, and irrepressibly individual. Experiencing Leonard Bernstein: A Listener's Companion is the ideal work for any reader seeking to learn how to listen across the spectrum of Bernstein's musical output.

How the British rock band Radiohead subverts the idea of the concept album in order to articulate themes of alienation and anti-capitalism is the focus of Marianne Tatom Letts s analysis of Kid A and Amnesiac. These experimental albums marked a departure from the band s standard guitar-driven base layered with complex production effects. Considering the albums in the context of the band s earlier releases, Letts explores the motivations behind this change. She places the two albums within the concept-album/progressive-rock tradition and shows how both resist that tradition. Unlike most critics of Radiohead, who focus on the band s lyrics, videos, sociological importance, or audience reception, Letts focuses on the music itself. She investigates Radiohead s ambivalence toward its own success, as manifested in the vanishing subject of Kid A on these two albums."

The first full-length analytic study devoted to the Concerto for Piano and Wind Instruments, combining sketch studies, musicological context, and straightforward analyses of all three movements. Stravinsky's "Great Passacaglia" marks the first full-length analytic study devoted to the Concerto for Piano and Wind Instruments, an important neoclassic piece composed by one of the most influential composers of the twentieth century. Donald Traut examines the complex significance of this piece for Stravinsky and his contemporaries. For the composer, the Concerto was both a major artistic accomplishment in his burgeoning neoclassic style and a vehicle for financial gain as a touring soloist, an endeavor that took him throughout Europe and was instrumental in bringing him to America for the first time. For many of Stravinsky's critics it came to represent all that was wrong with his new style, while for others it pointed the way forward through the past, taking on an important role in the Bach revival of the 1920s. By combining sketch studies, musicological context, and straightforward analyses ofall three movements, the book paints a comprehensive picture of the piece's creation, impact, and structure that will be of interest not only to musicologists and music theorists, but to pianists, conductors, and concert-goers aswell. Donald Traut is associate professor of music theory at the University of Arizona.

Burt Bacharach is one of the most celebrated and legendary song-writers of the twentieth century. Throughout his sixty year career he has worked with artists from Dionne Warwick to Dr Dre, Marlene Dietrich to Elvis Costello. In Anyone Who Had a Heart, Bacharach steps out from behind the music to take an honest, engaging look at his life. It traces the life and times of the man who created the music that has become the sound track for the lives of his millions of devoted fans all over the world. Bacharach's songs include: 'Magic Moments' - Perry Como, ' Baby It's You' - The Shirelles / The Beatles, 'Please Stay' - The Drifters / Marc Almond, 'Wishin' and Hopin'' - Dionne Warwick / Dusty Springfield / Ani DiFranco, 'Walk On By' - Dionne Warwick / The Stranglers, 'I Just Don't Know What to Do with Myself' - Dusty Springfield / The White Stripes, '(There's) Always Something There to Remind Me' - Sandie Shaw, 'A Message to Martha' - Adam Faith, 'What's New Pussycat?' - Tom Jones, 'Trains and Boats and Planes' - Billy J. Kramer & the Dakotas, 'Alfie' - Cilla Black / Cher / Rumer, 'I Say a Little Prayer' - Dionne Warwick / Aretha Franklin, 'Do You Know the Way to San Jose?' - Dionne Warwick, 'Raindrops Keep Fallin' on My Head' - B.J. Thomas / Sacha Distel / Johnny Mathis, 'I'll Never Fall in Love Again' - Bobby Gentry, 'Arthur's Theme (Best That You Can Do)' - Burt Bacharach / Barry Manilow / Shirley Bassey.

Matt Johnson – founder, songwriter and visionary lynchpin of iconic band The The – created some of the most vital music of his era, be it the intense visual feast of Infected or the prescient politics of Mind Bomb. Then he walked away from it all. In this authorised biography, with free access to the The The archives, Neil Fraser draws on hundreds of hours of interviews with Johnson and his contemporaries and colleagues, including Johnny Marr, Johanna St Michaels, JG Thirlwell and Tim Pope. From the early days in the East End to glory days on a global stage, through Johnson’s retreat from public life and return with The The in 2017, this updated edition addresses the 2018 Comeback Special Tour and beyond. Long Shadows, High Hopes examines the enigma that is Matt Johnson – outspoken political lyricist but intensely private man – and what prompted him to step out of the shadows after so long.

Andre Kostelanetz On Records and On the Air is a comprehensive discography of the commercial recordings of the Russian/American conductor and radio personality, Andre Kostelanetz. James H. North has collected all his recordings, spanning the range from popular to classical. Organized chronologically by album, North provides the complete details of each recording: composer, song title, timing, date and site of the recording session, producer of that session, and matrix numbers, as well as every American issue of each recording. Several appendixes organize the information alphabetically by composer, song title, and album title, giving references back to the discography by date of recording. Available downloads from the Internet are included in the song title appendix. Two further appendixes deal with Compact Disc issues and with V-Discs, the records created by the United States Army and Navy for worldwide distribution to members of the Armed Forces during World War II. Initially a request from the Andre Kostelanetz Estate, who has generously supported this work, the discography grew to include a complete coverage of Kostelanetz's appearances on the radio, from the 1920s through 1980 (plus a few on television), as North discovered that Kostelanetz's radio career was as important as his records to music in America. More than 1,000 broadcasts are covered, including both his radio shows and his concert broadcasts with symphony orchestras, and the contents of each program are listed where known. An important extra in the book is a survey of Kostelanetz's career and an evaluation of his achievements, contributed by noted radio historian Dick O'Connor. A foreword by the Archivist and Historian of the New York Philharmonic, Barbara Haws, completes this reference tool, which will be invaluable to the millions of fans who welcome the opportunity to peruse the details of one of the most beloved figures in music.

What made the Beatles so special? Drawing upon Spencer Leigh's extensive interviews this book is packed with contributions from Mike Batt, Pete Best, Dave Clark through to Ken Dodd, Hunter Davies, Adam Faith, Georgie Fame, Alan Freeman, Steve Harley, Graham Nash and Barry Norman to name just a few. Leigh has been interviewing musicians, roadies, fellow broadcasters for over thirty years. Each chapter is prefaced by cultural or historic events of the times to put the Beatles' music into context. In chronological by year it takes you on a wonderful music journey which Leigh recommends you read whilst listening to your favourite Beatles tracks.It is easier to appreciate when you hear the music as well. if you love the Beatles music and you want to know more about their story then you will love this book.

Known the world over for her unique musical style, distinctive look and a voice that propelled her into the charts time and time again, Dusty Springfield was undoubtedly one of the biggest and brightest musical stars of the twentieth century.Never one to be shy of the spotlight, Dusty broke the mould as the first female entertainer to publicly admit she was bisexual, and was famously deported from South Africa for refusing to play to segregated audiences during apartheid in 1964, just a year after the launch of her solo career.Combining brand-new material, meticulous research and frank interviews with friends, lovers, employees and confidants, journalist Karen Bartlett reveals sensational new details about the soul diva's unconventional upbringing, tumultuous relationships and unbridled addictions, including a lifelong struggle to come to terms with her sexuality.Named one of the Sunday Times's best musical biographies of 2014, this is the intimate portrait of an immensely complicated and talented woman - the definitive account of one of music's most legendary figures.

Tempo: A Scarecrow Press Music Series on Rock, Pop, and Culture offers titles that explore rock and popular music through the lens of social and cultural history, revealing the dynamic relationship between musicians, music, and their milieu. Like other major art forms, rock and pop music comment on their cultural, political, and even economic situation, reflecting technological advances, psychological concerns, religious feelings, and artistic trends of the times. Like other major musical artists, Bruce Springsteen's work has reflected, revealed, and reacted to modern American realities over the course of his forty-year career. Since releasing his first record in 1973, Springsteen has sold more than a hundred million albums worldwide, played thousands of concerts, and won Grammy, Golden Globe, Emmy, and Academy awards. More importantly, however, he is one of the few twentieth-century singer-songwriters to serve as the voice of his generation, a defining artist whose works reflect the values, dreams, and concerns of many Americans. In Bruce Springsteen: American Poet and Prophet, Donald L. Deardorff II explores the works of "The Boss," defining the exact nature of Springsteen's cultural influence. With the release of seventeen studio albums, Springsteen's influence and popularity spans multiple generations. Deardorff classifies and explains Springsteen's remarkable reception as it evolved from small beginnings in the Jersey shore bars of the 1970s to worldwide fame today. This book thoughtfully considers the trenchant commentary Springsteen's albums make on the mythology of the American Dream, working-class concerns, the changing character of American masculinity, the relationship between Americans and their government, the importance of social justice, and the evocation of an American spirit. Bruce Springsteen: American Poet and Prophet will appeal to more than just Springsteen fans. It describes Springsteen as an apt critic of his own culture, whose music paints literary portraits that uncover the realities of an American society constantly evolving, while striving toward its own betterment.

"These photos are stunning, bittersweet visions of a past shared by all of us." - Tom Hanks. "Brian Hamill is best known as a still photographer and a photojournalist. But I've always regarded him - first and foremost - as a master portraitist. And this book bears that out - capturing as it does, the many-faceted phenomenon that was John and Yoko - artists, lovers, cultural comrades and - most elusively - business partners. Behind his camera, Hamill is something of a phenomenon himself." - Richard Price John Lennon's life, death and music shaped the world. His reputation as a philanthropist, political activist and pacifist influenced millions worldwide. If Elvis was King, Lennon was his rightful successor - and fittingly, several images in this collection of both classic and unseen photos show him wearing a diamond-studded 'Elvis' pin over his heart, in homage to his forefather on the throne of Rock 'n' Roll. John Lennon is seen here in several sessions in New York, performing on stage, relaxed at home and walking on the street with Yoko Ono. Renowned celebrity photojournalist Brian Hamill delivers his own insider view of this Beatles icon, through intense, intimate photographic portraits and insightful text. Whether Lennon is dominating the stage, posing on the roof of the Dakota building, or relaxing with Yoko Ono, Hamill's photography takes this quasi-mythical figure from the world of Rock 'n' Roll and shows him as the man he really was. "Brian looked at the John Lennon who had become an icon and saw instead a familiar face. He saw a working-class hero like those that built the City of New York. And so when John Lennon came to live in New York, Brian captured him as a New Yorker, in the joyous images that you will find in this book." - Pete Hamill "Lennon, one of the most famous men in human history, wanted to live as one among many. Of course, he hit it off with Hamill. The guy that flew so high needed some oxygen. Hamill is fresh air. His folio of Lennon images shows Lennon focused, present, but edgy, never relaxed." - Alec Baldwin

Alban Berg's achievement is based on an extraordinarily small musical output, but it includes towering masterpieces such as the operas Wozzeck and Lulu, and his last work, the Violin Concerto. These and all Berg's other substantial works are discussed in this wide-ranging Companion, which contains essays written from a variety of historical and critical perspectives, outlining the place of the music in the cultural history of its time and within the broader interplay of twentieth-century fashions, aesthetics and ideas.

There is a need for historical studies in music education that focuses on the common person. Historians in general have been doing this for years, but music education history has yet to catch up to the field. Although there have been many biographies and biographical studies about the more well-known music educators, little has been done investigating what teaching was like for the average teacher, and even less is known about teaching music in the early years of music education in the United States. A Musician and Teacher in Nineteenth Century New England: Irving Emerson, 1843-1903 argues that understanding history requires knowledge of the people who lived during the time. This book focuses on what Irving Emerson's life was like as a musician and music teacher during this early and critical period of music education. During this time in history, the growth of music as a curricular study in the United States, from singing schools to classroom singing and note-reading, paralleled Emerson's teaching career. It was because of the groundwork established by music teachers like Irving Emerson that the music curriculum developed in the twentieth century to include music appreciation, instrumental music ensembles and marching band, along with general music classes and choral music education. This is an invaluable resource to music educators, musicians, and historians alike in understanding the beginnings and formation of what is today music appreciation in the education system.

Felix Mendelssohn is one of the most celebrated figures of the early Romantic period. As a composer of sacred texts, he is chiefly remembered today for the oratorios Paulus (1836) and Elijah (1846). In this groundbreaking study, Siegwart Reichwald offers a meticulous analysis of Paulus, beginning with a general overview of the oratorio traditions of the early nineteenth century. He details the phases of the compositional process of Paulus as well as principles governing its development. Numerous musical examples, figures, and tables accompany the text. This thorough treatment of Paulus, while shedding light on Mendelssohn's approach to the oratorio and to sacred music in general, will be of interest to students of musicology.