The series of biographical sketches published by "Brainard's Musical World" between 1877 and 1889 is notable for the diversity of the musicians profiled and for the entertaining personal information provided. This period witnessed the establishment of musical institutions and attitudes toward music that have shaped American music to the present day. The biographies present a cross-section of American musicians in the late 19th century, including singers, instrumentalists, writers, teachers, and composers. Among the musicians included are some of America's most prominent conductors, such as Theodore Thomas and Leopold Damrosch; composers, such as John Knowles Paine and George F. Root; writers, such as John S. Dwight and Amy Fay; teachers, such as William Mason and Erminia Rudersdorff; and performers, such as Emma Abbott and Maud Powell. Scores of less familiar musicians who were also instrumental in shaping America's music are included as well. Originally intended for general readers, the biographical sketches not only shed light on musical topics but also include personal information that is seldom found in a traditional dictionary and which speaks to the attitudes and concerns of the late 19th century society.

This work will be of value to scholars and researchers of 19th-century American music and to those interested in the development of popular song. Entries are alphabetically arranged and include select bibliographies. A general bibliography and index are also included.

As the turbulent 60's began to fade into the calmer 70's, a coterie of young singers, songwriters, musicians, artists, and poets began to congregate, musically on the stage of The New Bijou Theater - the Springfield, Missouri nightclub that would become the loose-knit group's home. What started as an informal weekly gathering, quickly morphed into a formal band. Dubbed the Family Tree, they became a favorite of the local counter-culture, as well as a continuation of the tradition-rich, Springfield music scene - which, until recently, included the Ozark Jubilee (the nation's first televised country music show). Though unprofitable at the time, they stuck to their guns and their original songs. When a rough tape of an early Bijou gig caught the ear of music mogul, John Hammond, it culminated in a 26-song studio demo, which caught the ear of A&M executive, David Anderle. The group signed with the label, changed their name to its present moniker, and whisked off to London to record their debut album under the tutelage of Glyn Johns. The album contained "If You Want to Get to Heaven." Their subsequent album, recorded in rural Missouri, contained "Jackie Blue." Both songs remain staples on 'classic rock' radio. By the early 80's, the Ozark Mountain Daredevils found themselves right where the Family Tree had stood a decade before - in Springfield with no record deal. They did, though, find themselves with legions of loyal fans around the world. Amidst personnel changes, personal turmoils and a cornucopia of tales from the rock-n-roll highway, the next twenty years were spent 'on the road'. Though continuing to write, they could garner little interest among the rapidly modernizing music industry - a situation many long-haired, long-named hippie bands of the 70's find themselves in. Their music, though, lives in the hearts of their fans.

A practical guide for guitarists searching for new repertoire that includes women composers, this unique work lists musical works by instrumentation followed by biographies of each composer. The format first leads users to available pieces in possible ensembles and then to the biographical section, which introduces them to the composers, many of whom have been completely unknown in the guitar world. Appendixes list addresses for composers and publishers. Indexes cross reference composers with their works. Instrumentation entries include titles, composer names, publisher names, specific instruments, and length and description of the piece for indication of style. In the biographical entries, sources are given to guide the reader to more complete information about the composer. These features, combined with valuable appendixes, indexes, and cross-referencing capabilities from section to section, make this work easy to use.

The Academy Award winning film Shine made pianist David Helfgott a household name. While purporting to be a true story, the movie is actually full of fabrications. Now for the first time, Margaret, David Helfgott's eldest sister, who knows him better than anyone from their early years, sets the record straight. Dispelling the many untruths propogated by the movie, Margaret tells the real story of her extraordinary brother, of a life, a career, and a legacy that will remain foever...Out Of Tune.

The first in-depth study of David Bowie’s music videos across a sustained period takes on interweaving storyworlds of an iconic career. Remarkable for their capacity to conjure elaborate imagery, Bowie’s videos provide fascinating exemplars of the artistry and remediation of music video. When their construction is examined across several years, they appear as time-travelling vessels, transporting kooky characters and strange story-world components across time and space. By charting Bowie’s creative and collaborative process across five distinct phases, David Bowie and the Art of Music Video shows how he played a vital role in establishing music video as an artform. Filling a gap in the existing literature, this book shines a light on the significant contributions of directors such as Mick Rock, Stanley Dorfman and David Mallet, each of whom taught Bowie much about how to use the form. By examining Bowie's collaborative process, his use of surrealist strategies and his integration of avant-garde art with popular music and media, the book provides a history of music video in relation to the broader fields of audiovisual media, visual music and art.

(Applause Books). In this third volume of the distinguished The Great Songwriters series, musicologist Stephen Citron takes on two leading contributors to the lyric stage, Stephen Sondheim and Andrew Lloyd-Webber. By exploring the works of these two giants of musical theater and those of their contemporaries, Citron also simultaneously guides readers along the winding path of musical theater. Beginning with Sondheim's lyrics-only works West Side Story, Gypsy, and Do I Hear A Waltz ? through his scores for A Little Night Music, Sweeney Todd, Merrily We Roll Along, Sunday in the Park, and Into the Woods, among other classic musicals, Citron presents major milestones of musical theater, exploring the influence of the artist's youthful training and private life upon his creative output. Lloyd-Webber's musical contributions from his early works The Likes of Us and Joseph to his smash hits Jesus Christ Superstar, Evita, Cats, and The Phantom of the Opera, among others are also thoroughly analyzed. As in Citron's previous critically acclaimed books in this series, the artists'works are clarified and put into context with their contemporaries. Complete with a quadruple chronology that reveal Sondheim's and Lloyd-Webber's lives within the scope of world events, copious quotations from their works, and many never-before-published illustrations, Sondheim and Lloyd-Webber is a must-read for anyone interested in musical theater.

This, the second edition, was significantly revised and expanded. It incorporates a substantial amount of new material - notably three sections on the operas Hugh the Drover, Sir John in Love and The Poisoned Kiss. Also Wilfrid inserted into the final chapter A Double Man's Last Harvest, an account of the late A minor sonata for violin and piano.

From the late 1950's, Mancunians have had a passion for creating and following great music. Be it live or via recordings, the city centre has been a magnet for generations of locals - and in recent years music fans from all over the country and beyond - to enjoy. Whilst cities such as Liverpool and Memphis turned their musical heritage into a tourist attractions, Manchester kept looking forward, developing new scenes and tastes. Yet the 2002 film "Twenty-Four Hour Party People" was probably the point at which Manchester music fans started to look back at the rich musical history of their city. This coincided with the publication of the book "Morrissey's Manchester" by Phill Gatenby, also in 2002 and numerous other publications penned by luminaries of the Manchester scene. Following the success of "Morrissey's Manchester", a guide book dedicated to locations associated with The Smiths, author Phill Gatenby has put together several tours featuring other world famous Manchester bands from the Buzzcocks via Joy Division to Oasis, Elbow and Doves as well as the various scenes from beat to acid house or even lo-fi. An interesting guide for anyone with an interest in British music, the guide documents the various clubs and venues that have influenced Manchester based musicians over the last 50 years.

For the past couple of decades these songs have been passed around and savoured by those who delight in the pleasures of improbable stories and witty verse. Several have been recorded by Jimmy Crowley, Rosie Stewart and others, and some of them have become modern 'folk songs', having entered the living tradition and being transmitted from singer to singer. For the first time the general public can enjoy what has up to now been a treat available only to the few - the comic songs of Con O Drisceoil. Here you will find many intriguing tales: the birthday cake with extraordinary properties; the cockroach who debates nice points of philosophy with his victim; the awful fate of the man who rattled his spoons once too often, and many more. The author's capacity for creating bizarre situations is matched by his ability to capture them, as he himself remarks, "in flawless rhyme" and "in a metre without blemishes" A genuinely funny and captivating collection, both as sing-along folk songs or as stand-alone stories and comic verse.

A concise musical biography traces the Beastie Boys' story from the New York punk scene through a blockbuster career that spans more than 20 years. Ever since they hit the big time with their 1986 rock/rap debut Licensed to Ill, the first rap album to reach #1 on the Billboard 200, the Beastie Boys have been a cultural bellwether, the likes of which was unseen before or since. Their association with MTV made the Beasties instant poster children for an unprecedented phase of integration, both musical and racial. Their music, a pastiche of sounds that spans decades and genres, influenced the course of popular music and continues to do so today. Beastie Boys: A Musical Biography tells the story of the band, from its beginnings through its ongoing critical and commercial success. Fans can read about the group's origins, the training of its members, its awards and accomplishments, and its influence on pop culture. Authoritative yet concise, this lively overview covers everything from the band's unique sound to their collaborations with leading filmmakers on their award-winning videos. A timeline captures key events in the life of the band and its members Photos show the band members and their performances A selected discography reviews the band's work over the years

Drawing on primary documents as well as interviews and letters, the authors have created a fascinating portrait of one of America's most distinguished and prolific composers whose creative output spans more than half a century. With its well organized, carefully annotated and indexed bibliography, the book is not only a pleasure to read, but a valuable research tool. Read's notable accomplishments include an extensive catalog of 150 opus numbers that run the gamut of instrumental combinations and musical genres, plus nine scholarly books dealing with various aspects of notation, orchestral devices, and instrumental techniques.

The biography describes Read's family background, his early years growing up in Evanston, Illinois, his high school education, his years at the Eastman School of Music, his Cromwell fellowship to Europe, and his marriage to accomplished teacher/pianist, Margaret Vail Payne. Major events are highlighted during his years at St. Louis, Kansas City, Cleveland, and, finally, Boston. Interlochen, Tanglewood, the MacDowell Colony, the Huntington Hartford Foundation, as well as official visits to Mexico, are explored in terms of the role they played in the creative life of the composer. A major portion of the biography is devoted to Read's opera, DEGREESIVillon DEGREESR. Readers will be interested in the completely annotated bibliography, which includes a complete listing of works, performances, reviews, discography, and literary writings. Appendixes include classified lists of instrumentation, commissions, awards, honors, positions, text sources, dedications, and manuscript locations.

This revised edition of the standard catalogue of the music and writings of Ralph Vaughan Williams includes all known published and unpublished works, with full details of instrumentation, revisions, and first performances. There is much new information on the location of manuscripts and sketches, and there are many corrections to the information and dates given in the existing text. The volume includes a bibliography of the literary works of Vaughan Williams compiled by Peter Starbuck, and an appendix of folk songs collected by the composer. The indexes have been completely updated.

In a distinguished 43-year recording career that began with the recording of two duets by Blangini and Leguerney in 1944, this remarkably versatile artist recorded more than 750 titles in at least 15 languages. These recordings, appearing on nearly 50 labels (more than 535 different catalog numbers) on 78s, 45s, LPs, prerecorded open reel tapes, 8-track cartridges, cassettes, and CDs, earned Souzay numerous awards. Souzay won the prestigious French Grand Prix du Disque on three separate occasions for performances of a Handel aria, Ravel songs, and classical arias with orchestra. Except for operas and cantatas, Souzay rarely recorded joint programs: his only recorded duets were with his sister, soprano Genevieve Touraine, Germaine Lubin, and Elly Ameling. This three-section discography has been meticulously researched and organized by Manuel Morris and includes cross-referenced indices to facilitate easy access to needed information. Separate sections present a chronological list of all Souzay's recordings; an alphabetical list by composer and title of work; and a list of all the recordings that have been assigned catalog numbers. Recordings of an archival nature such as radio broadcasts and privately recorded concert performances that were not released for sale are not included in the discography but virtually all information relating in any way to a listed recording has been included. Following the work's introduction, the discography is organized into principal sections: Chronology, Composers and Titles, Recordings, and Indices. The Chronology lists all of Souzay's recordings, including, when known, recording dates and matrix and take numbers. When located, data on rejected takes has been included here. The Composers and Titles section provides an alphabetical list by composer of the title of the recorded work. All recordings that have been assigned catalog numbers, including those not published, are listed in the main entries of the Recordings section; this is divided into four subsections based on recording companies. Within groups, recordings are listed alphabetically by label. Data on the availability of the recording, its release, and deletion are usually provided with each listing. Two indices consist of an alphanumeric listing of all known labels and catalog numbers (cross-referenced to the recording section) and a listing of all artists who appear in recordings with Souzay. Morris's systematic and comprehensive discography will make this an indispensable resource in the musical reference section of libraries at universities and conservatories. It should also prove useful for professional singers, vocal teachers and their students, collectors, and musicologists.

Allen Sapp's multifaceted career as a gifted composer, influential teacher, and innovative administrator is presented in this first book-length study of his life and works. The biography chronicles his studies with Aaron Copland, Walter Piston, and Nadia Boulanger; his service as Chief Cryptanalyst for the U.S. Army in Europe at the close of WWII; his early career on the faculty at Harvard; his formation of a highly influential center for avant-garde music at Buffalo in the 1960s; and his dramatic explosion of creativity in the 1980s. Musical examples from the biography are supplemented by corresponding sound files available via the World Wide Web (http://muslib.lib.ohio-state.edu/sapp/index.htm). Following the biography is a listing of Sapp's works and performances, featuring excerpts from performance reviews. This is followed by a Discography/Webography, which lists all commercially produced recordings as well as all known noncommercial recordings available in libraries, archives, or on the World Wide Web. The final two sections of the book present an annotated bibliography of writings by and about Allen Sapp. The book is supplemented by appendices providing a listing of academic and nonacademic positions held by Sapp, and chronological and alphabetical listings of his compositions.

Despite having composed 140 major works of music, all while pursuing an active and productive career in teaching, Vivian Fine (1913-2000) has not, until now, been the subject of a significant biography or bibliography. Regarded by many as the finest American female composer of the 20th century, Fine enjoyed many accomplishments, which ranged from seeing her works first performed when she was only 18 years old, and witnessing one of her ballets choreographed by Martha Graham, to the achievement of international renown. Author Judith Cody, who knew Fine personally, provides here a complete bibliography of her compositions, guides to locating published and recorded editions, and analyses of various aspects of the work of this most important figure in American music.

Interviews with Fine, combined with extensive research into secondary sources, allow Cody to give shape to a remarkable life, tracing the composer as she moved from child prodigy of Chicago to the center of the modern music and dance movements in New York City in the thirties, forties, and fifties. The result is both an exhaustive reference work and a vibrant portrait of an artist whose talents spanned decades, continents, and nearly every major creative development of the 20th century.

The greatest partnership in the history of the musical, captured in print, wonderfully illustrated. For this new edition, the book has been completely rewritten and substantially expanded to include material on Rodgers' early career with Lorenz Hart as well as his later work, and also features recollections from such theatrical titans as Sheldon Harnick, Martin Charnin, Stephen Sondheim and Arthur Laurents. Also, a completely new appendix reveals the details of the continuing worldwide phenomenon of Rodgers and Hammerstein's work up to and including the 2002 centennial year for Rodgers.

With language unencumbered by technical jargon, these scholarly writings bring to life the various facets of Schoenberg's creative process and its influence. Topics include biographical essays, surveys of the music from different periods in Schoenberg's career, and essays on the development of Schoenberg's style, on Schoenberg's attitudes toward music, composition and analysis, and the effect of and interpretation of Schoenberg's music. The contributors provide different points of view based on their unique specialties. The resulting breadth of information illuminates distinct aspects of Schoenberg's musical career. The Arnold Schoenberg Companion aims to introduce Schoenberg and his music to a nonspecialist audience. The chronological essays place Schoenberg and his achievements in the context of the past and present. The contributing authors include scholars and composers of different generations, including two of his American students. The companion also contains an annotated bibliography and discography, and is an invaluable resource to scholars and researchers.

(Amadeus). These intensely personal and perceptive essays explore the author's life as a pianist practicing, performing, teaching, and writing but they could be the thoughts and reflections of any artist. They recount the challenges, rewards, and joys of her experiences in her chosen profession.

This book examines the conductor's methods in terms of the realization of expressive potential in a selected body of works. This examination encompasses analytical, technical, and expressive gestural aspects of the art and craft of conducting. The author also discusses the idea of meaning in music and ways, both musical and extramusical, in which meaning arises in performance. In this unique study, the author also considers how the use of physical gestures may have an impact upon the realization of expressive potential in a given work and, in particular, upon those works selected for discussion. Central to this process is the notion that there is something "behind the notes." Text-based modes of analysis do not afford access to music as it is created by the actions of performers and conductors. The author argues that this music often has strong extroversive associations. Inquiry limited to the text neither helps the interpreter to realise fully the expressive or communicative potential of that work, nor does it fully consider the impact of expressive issues on performance. Thus, the conductor acts as a mediator in this process, taking the work and all relevant information surrounding it into account as it is prepared for performance. It is within this context that the author examines John Corigliano's Overture from Gazebo Dances, Karel Husa's Introduction and Fanfare from Music for Prague 1968, Edward Gregson's Celebration, and Morning Music by Richard Rodney Bennett, with regard to their expressive potential and adopts topical analysis in a general way as a point of departure in an attempt to relate this potential to physical gestures, facial expressions, and body language in the artand craft of conducting. In addition, the author considers the applicability of the analytical tools developed in the study to the actual practice of performance with regard to the works discussed, and attempts to show the relationship between the analysis of a given work, the physical manifestation of what that analysis uncovers, and the realisation of expressive potential in performance. This book will help readers better understand the relationship between the conductor's physical gestures, body language and facial expressions, and the expressive potential of selected works for the wind orchestra. As a book that clearly reflects the author's passion, it will be a welcome addition for collections in music.

From Mozart's fabulous legato that "flowed like oil" to Beethoven's oceanlike surge, from Clara Schumann's touch "sharp as a pencil sketch" to Rubinstein's volcanic and sensual playing, The Great Pianists brings to life the brilliant, stylish, and sometimes eccentric personalities, methods, and technical peculiarities of history's greatest pianists.Pulitzer Prize-winning critic and author Harold C. Schonberg presents vivid accounts of the artists' performances, styles, and even their personal lives and quirky characteristics-- such as Mozart's intense competition with Clementi, Lizst's magnetic effect on women (when he played, ladies flung their jewels on stage), and Gottschalk's persistent nailbiting, which left the keys covered with blood. Including profiles of Horowitz and Van Cliburn, among others, and chapters detailing the playing and careers of such modern pianists as de Larrocha, Ashkenazy, Gilels, Gould, Brendel, Bolet, Gutierrez, and Watts, The Great Pianists is a comprehensive and fascinating look at legendary performers past and present.

A memoir by the woman who knew Bob Marley best--his wife, Rita.
Rita Marley grew up in the slums of Trench Town, Jamaica. Abandoned by her mother at a very young age, she was raised by her aunt. Music ran in Rita's family, and even as a child her talent for singing was pronounced. By the age of 18, Rita was an unwed mother, and it was then that she met Bob Marley at a recording studio in Trench Town. Bob and Rita became close friends, fell in love, and soon, she and her girlfriends were singing backup for the Wailers. At the ages of 21 and 19, Bob and Rita were married.
The rest is history: Bob Marley and the Wailers set Jamaica and the world on fire. But while Rita displayed blazing courage, joy, and an indisputable devotion to her husband, life with Bob was not easy. There were his liaisons with other women--some of which produced children and were conducted under Rita's roof. The press repeatedly reported that Bob was unmarried to preserve his "image." But Rita kept her self-respect, and when Bob succumbed to cancer in 1981, she was at his side. In the years that followed, she became a force in her own right--as the Bob Marley Foundation's spokesperson and a performer in her reggae group, the I-Three.
Written with author Hettie Jones, No Woman No Cry is a no-holds-barred account of life with one of the most famous musicians of all time. In No Woman No Cry, readers will learn about the never-before-told details of Bob Marley's life, including:
How Rita practiced subsistence farming when first married to Bob to have food for her family. How Rita rode her bicycle into town with copies of Bob's latest songs to sell. How Rita worked as a housekeeper in Delaware to help support her family when her children were young. Why Rita chose to befriend some of the women with whom Bob had affairs and to give them advice on rearing the children they had with Bob. The story of the attack on Bob which almost killed the two of them. Bob's last wishes, dreams, and hopes, as well as the details of his death, such as who came to the funeral (and who didn't).