In this wise, stimulating, and deeply personal book, an eminent jazz chronicler writes of his encounters with four great black musicians: Dizzy Gillespie, Clark Terry, Milt Hinton, and Nat "King" Cole. Equal parts memoir, oral history, and commentary, each of the main chapters is a minibiography, weaving together conversations Gene Lees had with the musicians and their families, friends, and associates over a period of several decades.
Lees begins the book with an essay that tells of his introduction to the world of jazz and his reaction to racism in the United States when he emigrated from Canada in 1955. The underlying theme in his book is the impact racism had on the four musicians' lives and careers and their determination to overcome it. As Lees writes, "No white person can even begin to understand the black experience in the United States. . . . All of the four jazz makers] are men who had every reason to embrace bitterness--and didn't."

The popularity of Mahler's symphonic works is unremitting. More recordings have been made during the past ten years than in the previous six decades. This work is a companion to the first volume, published in 1986; together, the two review virtually every recording commercially released (as well as some private issues). The intention of both works is to provide a comprehensive analysis of all recordings. A general overview is combined with details of particular importance. Recordings of special merit are noted. The objective critical discussions will appeal to the newcomer as well as the knowledgeable devotee and the work will serve as a valuable addition to university, music school, and public libraries, as well as any music lover's library. This guide provides a symphony-by-symphony commentary, including the unfinished Tenth Symphony, Das Lied von der Erde, and piano and chamber music reductions of the works. It includes all new recordings issued worldwide as well as compact disc reissues of previously released recordings and all performances on videocassette. Listings are arranged alphabetically by conductor, and headings for each recording contain specific information about the performers, record label, catalog number, and timing. Helpful indexes by conductor, orchestra, vocal and instrumental soloists, chorus, and record label are included.

Richard Rodney Bennett is one of Britain's most distinguished, versatile, and prolific twentieth century composers. His music ranges across a broad spectrum of styles from opera and ballet through orchestral and chamber music to jazz. This book, the first ever to be published about Bennett, documents his vast and ever increasing output. It consists of a brief biography; a detailed list of works and performances, classified by genre and then arranged alphabetically by title of composition; a list of Bennett's publishers; a discography of commerically and privately produced sound recordings; and an annotated bibliography of writings by and about Bennett, including reviews of performances of his works. Alphabetical and chronological lists of his main compositions and a complete general index conclude the volume. Stewart Craggs' bio-bibliography is a significant contribution to the study of contemporary music. This first book-length study of Richard Rodney Bennett to be published provides unique information about an important twentieth century composer. For those already familiar with Bennett's art, it offers complete discographic and bibliographic information, permitting further study and enjoyment. This book belongs in all music libraries.

This book tells the story of how the young Englishman Eric Fenby met his idol and became his aide.

On their debut, The Clash famously claimed to be "bored with the USA," but The Clash wasn't a parochial record. Mick Jones' licks on songs such as "Hate and War" were heavily influenced by classic American rock and roll, and the cover of Junior Murvin's reggae hit "Police and Thieves" showed that the band's musical influences were already wide-ranging. Later albums such as Sandinista! and Combat Rock saw them experimenting with a huge range of musical genres, lyrical themes and visual aesthetics. The Clash Takes on the World explores the transnational aspects of The Clash's music, lyrics and politics, and it does so from a truly transnational perspective. It brings together literary scholars, historians, media theorists, musicologists, social activists and geographers from Europe and the US, and applies a range of critical approaches to The Clash's work in order to tackle a number of key questions: How should we interpret their negotiations with reggae music and culture? How did The Clash respond to the specific socio-political issues of their time, such as the economic recession, the Reagan-Thatcher era and burgeoning neoliberalism, and international conflicts in Nicaragua and the Falkland Islands? How did they reconcile their anti-capitalist stance with their own success and status as a global commodity? And how did their avowedly inclusive, multicultural stance, reflected in their musical diversity, square with the experience of watching the band in performance? The Clash Takes on the World is essential reading for scholars, students and general readers interested in a band whose popularity endures.

A monumental accomplishment from the age of Enlightenment, the string quartets of Joseph Haydn hold a central place not only in the composer's oeuvre, but also in our modern conception of form, style, and expression in the instrumental music of his day. Here, renowned music historians Floyd and Margaret Grave present a fresh perspective on a comprehensive survey of the works. This thorough and unique analysis offers new insights into the creation of the quartets, the wealth of musical customs and conventions on which they draw, the scope of their innovations, and their significance as reflections of Haydn's artistic personality. Each set of quartets is characterized in terms of its particular mix of structural conventions and novelties, stylistic allusions, and its special points of connection with other opus groups in the series. Throughout the book, the authors draw attention to the boundless supply of compositional strategies by which Haydn appears to be continually rethinking, reevaluating, and refining the quartet's potentials. They also lucidly describe Haydn's famous penchant for wit, humor, and compositional artifice, illuminating the unexpected connections he draws between seemingly unrelated ideas, his irony, and his lightning bolts of surprise and thwarted expectation. Approaching the quartets from a variety of vantage points, the authors correct many prevailing assumptions about convention, innovation, and developing compositional technique in the music of Haydn and his contemporaries.
Going beyond traditional modes of study, The String Quartets of Joseph Haydn blends historical analysis and factual information with critical appraisal in a way that will engage all Haydnenthusiasts.

With over 100 compositions in his catalog, Ross Lee Finney is a highly regarded composer whose career spans more than 50 years. This work offers contemporary music scholars, students, and enthusiasts an in-depth survey of the life, works, and writings of this important composer, theorist, and teacher. Finney is one of the first significant composers to come out of the American Midwest. He is known for blazing new trails by writing tonal music in the serialist style, developing a unique method of composition by applying physics' theory of complementarity to music, and using symmetrical hexachords to achieve an overall tonal effect. An important addition to any music library. Of special interest are excerpts from the author's interview with Finney in 1992, which provide the reader with a unique insight into the life and work of this individual and innovative composer. The book is divided into four major sections: a biography, a list of works including detailed information regarding premieres and other significant performances, a complete discography of all commercial recordings, and a comprehensive bibliography of writings by and about Finney. Two appendices provide alphabetical and chronological lists of compositions, and a comprehensive index includes all important names, institutions, places, and events mentioned throughout the text.

This comprehensive reference is a study of Lowell Mason, the pioneer music educator and composer/arranger who became known primarily for his wide influence on American musical culture. As in other volumes of the bio-bibliography series, this book features a biographical essay that is both informative and interpretive, summarizing and reflecting upon Mason's life, and providing an overview of his multifaceted career. It offers a detailed catalog of writings by and about Mason, including books and music, sheet music, prose writings, and periodical publications. The annotated entries cover a wide range of valuable information on 19th-century American music, American studies, church music, music education, teacher training programs, music publishing, and instrument manufacturing.

In the 1930s, Aaron Copland began to write in an accessible style he described as "imposed simplicity." Works like El Salon Mexico, Billy the Kid, Lincoln Portrait, and Appalachian Spring feature a tuneful idiom that brought the composer unprecedented popular success and came to define an American sound. Yet the cultural substance of that sound-the social and political perspective that might be heard within these familiar pieces-has until now been largely overlooked. While it has long been acknowledged that Copland subscribed to leftwing ideals, Music for the Common Man is the first sustained attempt to understand some of Copland's best-known music in the context of leftwing social, political, and cultural currents of the Great Depression and Second World War. Musicologist Elizabeth Crist argues that Copland's politics never merely accorded with mainstream New Deal liberalism, wartime patriotism, and Communist Party aesthetic policy, but advanced a progressive vision of American society and culture. Copland's music can be heard to accord with the political tenets of progressivism in the 1930s and '40s, including a fundamental sensitivity toward those less fortunate, support of multiethnic pluralism, belief in social democracy, and faith that America's past could be put in service of a better future. Crist explores how his works wrestle with the political complexities and cultural contradictions of the era by investing symbols of America-the West, folk song, patriotism, or the people-with progressive social ideals. While much has been written on the relationship between politics and art in the 1930s and '40s, very little of that attention has been aimed at the world of concert music. Music for the Common Man offers fresh insights on familiar pieces and the political context in which they emerged.

Follow their incredible journey from students when the band formed in Cambridge in 1965 and consisted of Syd Barrett, Nick Mason, Roger Waters, Richard Wright with Dave Gilmour joining in 1967. Syd Barrett left in 1968 but remains synonymous with the group. Pink Floyd rose to become the most commercially successful and musically influential group in the history of popular music.

Radie Britain: A Bio-Bibliography is a concise biography which summarizes the major events in the prolific American composer's life, and describes the conditions under which her singular talent emerged. An in-depth interview with Britain herself gives the opportunity to hear her own personal thoughts on her life, music, and creative philosophy. Walter and Nancy Bailey give an exhaustive list of works and performances, each accompanied by significant information on the work or documented performance. Also included are Britain's compositions for orchestra and band; chamber ensemble; solo piano; piano duets; the harp; chorus and solo voice as well as her stage works. Authorized by Miss Britain and compiled with her help, this is a comprehensive guide to the work of a gifted musician. A bibliography of Britain's writings concludes the text along with reviews of her performances and other press materials. With its chronological arrangement, this bibliography traces Britain's musical evolution much like a second biography. An index to the entire volume is provided. Both chronological and alphabetical lists of works can be found in the appendixes.

George Whitefield Chadwick was one of the most prolific composers that the United States ever produced. During a career that spanned over 50 years, he was considered the Dean of American Composers from the 1880s until after World War I. He composed in nearly every genre, including opera/stage works (seven), orchestral music (17 major works), songs (over 100), and dozens of choral and chamber works. Chadwick benefited from numerous performances of his music-particularly by the Boston Symphony Orchestra-and many of his works were published during his lifetime. He was also considered one of the foremost teachers of his era. He began teaching composition at the New England Conservatory of Music, and became its Dean in 1897, a post he held for more than 30 years. Chadwick and his music are currently enjoying a revival.

Flea, the iconic bassist and co-founder, alongside Anthony Kiedis, of the immortal Red Hot Chili Peppers finally tells his fascinating origin story, complete with all the dizzying highs and the gutter lows you'd expect from an LA street rat turned world-famous rock star. Michael Peter Balzary was born in Melbourne, Australia, on October 16, 1962. His more famous stage name, Flea, and his wild ride as the renowned bass player for the Red Hot Chili Peppers was in a far and distant future. Little Michael from Oz moved with his very conservative, very normal family to Westchester, New York, where life as he knew it was soon turned upside down. His parents split up and he and his sister moved into the home of his mother's free-wheeling, jazz musician boyfriend - trading in rules, stability, and barbecues for bohemian values, wildness, and Sunday afternoon jazz parties where booze, weed, and music flowed in equal measure. There began Michael's life-long journey to channel all the frustration, loneliness, love, and joy he felt into incredible rhythm. When Michael's family moved to Los Angeles in 1972, his home situation was rockier than ever. He sought out a sense of belonging elsewhere, spending most of his days partying, playing basketball, and committing petty crimes. At Fairfax High School, he met another social outcast, Anthony Kiedis, who quickly became his soul brother, the yin to his yang, his partner in mischief. Michael joined some bands, fell in love with performing, and honed his skills. But it wasn't until the night when Anthony, excited after catching a Grandmaster Flash concert, suggested they start their own band that he is handed the magic key to the cosmic kingdom. Acid for the Children is as raw, entertaining and wildly unpredictable as its author. It's both a tenderly evocative coming of age story and a raucous love letter to the power of music and creativity

In his introduction Mr. Foss gives us a short sketch of Delius; contributions by Rogber Quilter, Charles Kennedy and Percy Scott.

Agostino Agazzari (c. 1580-c. 1642) has long been recognized as one of the most prominent theorists of the early Baroque. The enduring fame of his 1607 treatise on the basso continuo has, however, overshadowed his equally significant contributions as a composer. And for all his renown, relatively little has been written about his professional career in Siena. This book not only provides the first comprehensive study of his life and sacred works, it also opens a window on musical culture in Siena during the late sixteenth and early seventeenth centuries. Through the use of archival materials, the author documents Agazzari's long association with the Sienese Cathedral and furnishes valuable information on the personnel, repertory, and performance practices there. She argues for a reassessment of the influences that shaped the composer's style and challenges the generally held view that Sienese culture stagnated after the fall of the Republic in 1555. The book contributes significantly to our knowledge of musical life in the Tuscan 'City of the Virgin'.

Through rap and hip hop, entertainers have provided a voice questioning and challenging the sanctioned view of society. Examining the moral and social implications of Kanye West's art in the context of Western civilization's preconceived ideas, the contributors consider how West both challenges religious and moral norms and propagates them.

This volume in the Greenwood Press series, Bio-Bibliographies in Music, provides new details about the life and works of Polish composer Witold Lutoslawski. It includes a detailed catalogue of the composer's works and performances, including his film music, incidental music for the theatre, music for radio plays, and songs he composed under a pseudonym, as well as a bibliography, discography, and brief biographical sketch. His unique style was distinguished by an individual harmonic system controlled aleatory technique that he developed more fully during the 1960s and 1970s. The discography includes over 300 recordings and the bibliography includes writings the composer and a separate section for the writings about him, including concert and recording reviews, books, articles, dissertations, and interviews.

This research tool will appeal to Lutoslawski fans and to musicologists. Each section is cross-referenced throughout. An appendix provides an alphabetical list of all of the composer's works.

Bringing together a vast amount of information on Pietro Mascagni and his works, this volume in the Greenwood Press series Bio-Bibliographies in Music includes a catalogue of the composer's works and performances, bibliography, discography, and brief biographical sketch. Mascagni is best known for "Cavalleria Rusticana," but he wrote fifteen other stage works and over 100 other compositions, including sacred music, songs and film scores. Overshadowed by his contemporary Puccini and tainted by association with the fascist regime of Mussolini, Mascagni is both a famous and neglected opera composer. This volume charts the decline in performances of Mascagni's operas other than "Cavalleria Rusticana" and reveals a growing interest in and changing attitude toward the composer. The discography includes more than 2,500 recordings, and the annotated bibliography includes 361 titles.

This research tool will appeal to Mascagni and to opera scholars. Each section is cross-referenced throughout. An appendix includes a chronology of Mascagni's conducting career.

Richart's bio-bibliography is a most welcome addition to the literature. For the first time, Richart has made available a comprehensive bibliography, discography, and up-to-date worklist. Ligeti's writings, writings about Ligeti, and reviews and analyses of his works, mainly after his 1956 flight from Hungary to the West, are listed and annotated. . . . Richart's short, concise biography is informative and well written. . . . Highly recommended for public, college, and university libraries with music collections. Choice Gyorgy Ligeti is one of the most significant of contemporary composers. Most often described as innovative, he has been able to combine beauty and emotional meaning with that innovation. This bio-bibliography describes rather than evaluates the considerable body of writings by and about Ligeti. The book is divided into four sections: biography, worklist, discography, and bibliography. The biography is a brief survey designed to acquaint the reader, if necessary, with the basic and widely available facts of Ligeti's life. The bibliography is divided into two parts: writings by Ligeti and writings about him. The largest section in the latter part consists of concert and record reviews. Cross references link all items dealing with each individual music work. An appendix lists, in chronological order, all of the concerts devoted entirely to works by Ligeti. Writings listed in the bibliography are dated from the 1940s onward. The bulk of the material was written after Ligeti's flight to the west in 1956. This first book-length work on Gyorgy Ligeti will be welcomed by music scholars.

Contributions by Alberto Brodesco, James Cody, Andrea Cossu, Anne Margaret Daniel, Jesper Doolard, Nina Goss, Jonathan Hodgers, Jamie Lorentzen, Fahri OE z, Nick Smart, and Thad Williamson Bob Dylan is many things to many people. Folk prodigy. Rock poet. Quiet gentleman. Dionysian impresario. Cotton Mather. Stage hog. Each of these Dylan creations comes with its own accessories, including a costume, a hairstyle, a voice, a lyrical register, a metaphysics, an audience, and a library of commentary. Each Bob Dylan joins a collective cast that has made up his persona for over fifty years. No version of Dylan turns out uncomplicated, but the postmillennial manifestation seems peculiarly contrary-a tireless and enterprising antiquarian; a creator of singular texts and sounds through promiscuous poaching; an artist of innovation and uncanny renewal. This is a Dylan of persistent surrender from and engagement with a world he perceives as broken and enduring, addressing us from a past that is lost and yet forever present. Tearing the World Apart participates in the creation of the postmillennial Bob Dylan by exploring three central records of the twenty-first century-"Love and Theft" (2001), Modern Times (2006), and Tempest (2012)-along with the 2003 film Masked and Anonymous, which Dylan helped write and in which he appears as an actor and musical performer. The collection of essays does justice to this difficult Bob Dylan by examining his method and effects through a disparate set of viewpoints. Readers will find a variety of critical contexts and cultural perspectives as well as a range of experiences as members of Dylan's audience. The essays in Tearing the World Apart illuminate, as a prism might, its intransigent subject from enticing and intersecting angles.

Awarded the legion d'Honneur by the French government in 2006 for his services to French culture, acclaimed writer and broadcaster Roger Nichols invites the reader to accompany him on his journey through the century-and-a-half turbulent and fertile period in the history of French music from Berlioz to Boulez. In compiling his collection of articles, interviews, radio plays and talks, Nichols begins with Berlioz's Symphonie Fantastique and ends with his obituary of Pierre Boulez. Along the way, he includes in-depth studies of Debussy and Ravel, connecting the two by a comparison of their operatic masterpieces, Pelleas et Melisande and l'Enfant et les sortileges. Twenty other significant composers from this fascinating period come in for Nichols' hallmark combination of erudition and wit.

Falco and Beyond is devoted to the most popular Austrian song-writer, singer and rapper of the twentieth century and one of the most successful European singers of all time. Falco was born in 1957, reached the peak of his popularity in the 1980s with songs such as "Der Kommissar," "Rock Me Amadeus" and "Jeanny," with mixed luck attempted to revive his career in the 1990s and died in a car crash in 1998. He sold over 30 million records worldwide and remains a successful posthumous artist. The book attempts to identify the most salient and contradictory features of Falco's art, such as linguistic inventiveness and dexterity, rapping and adopting a posture of a romantic artist. It argues that Falco's songs betray an apocalyptic imagination, picturing the image of an exhausted and unhappy world. It looks at Falco's career and his phenomenon in the context of international and Austrian music business and politics, and investigates how his popularity has been maintained after his death, by means such as records released posthumously, cover versions of his songs, mashup songs and videos, biographies and Falco fandom.

The Black Horn: The Story of Classical French Hornist Robert Lee Watt tells the story of the first African American French Hornist hired by a major symphony in these United States. Today, the number of African Americans who hold chairs in major American symphony orchestras are few and far between, and Watt is the first in many years to write about this uniquely exhilarating and at times painful experience. The Black Horn chronicles the upbringing of a young boy first fascinated by the sound of the French horn. Watt walks readers through the many obstacles presented by the racial climate in the United States both on and off stage in his efforts learn and eventually master an instrument little considered in the African American community, with even the author s own father, who played trumpet, seeking to dissuade the young classical musician in the making. Opposition from within the community--a middle instrument suited only for thin-lipped white boys, Watt s father once chided and from without, Watt document his struggles as a student at an all-white major music conservatory as well as his first job in a major symphony orchestra after his conservatory canceled his scholarship. Watt subsequently chronicles his triumphs and travails as a musician, sometimes alone when confronting the realities of race in America and the world of classical music. This work will surely interest any working classical musician and student, particularly those of color, seeking to grasp firsthand the sometimes troubled history of being the only black horn. "