This is a biographical dictionary of some 1500 conductors. . . . Much of this information is valuable and would be hard to find in other sources. The author's style is ingratiating and fresh. . . . His coverage is superb." Library Journal

The first biography of a composer who broke the gender barrier on Broadway. Kay Swift (1897-1993) was one of the few women composers active on Broadway in the first half of the twentieth century. Best known as George Gershwin's assistant, musical adviser, and intimate friend, Swift was in fact an accomplished musician herself, a pianist and composer whose Fine and Dandy (1930) was the first complete Broadway musical written by a woman. This fascinating book--the first biography of Swift--discusses her music and her extraordinary life. Vicki Ohl describes Swift's work for musical theater, the ballet, Radio City Music Hall's Rockettes, and commercial shows. She also tells how Swift served as director of light music for the 1939 World's Fair, eloped with a cowboy from the rodeo at the fair, and abandoned her native New York for Oregon, later fashioning her experiences into an autobiographical novel, Who Could Ask for Anything More? Informed by rich material, including Swift's unpublished memoirs and extensive interviews with her family members and friends, this book captures the essence and spirit of a remarkable woman.

Swimming with the Blowfish is the definitive account of the rise, fall and rebirth of the band that offered an irresistible alternative to the grunge music of the early '90s. Hootie & the Blowfish were formed in 1989 at the University of South Carolina. The quartet was distinguished by the soulful voice of Darius Rucker and powered by the author of this evocative autobiography, drummer and leading songwriter Jim 'Soni' Sonefeld. Their debut album, Cracked Rear View, became one of the best-selling in the history of rock music and the band went on to win two Grammy Awards, whilst playing some of the biggest venues in the world. Success saw them traveling the globe, but it came at a price. Swimming with the Blowfish, although primarily 'Soni' Sonefeld's personal story of despair and redemption, also shines a revealing light on this much-loved band's incredible tale.

A seminal figure in the development of distinctively American concert music, Roy Harris created a large body of compositions in virtually all media in a career spanning more than fifty years, from the 1920s to the 1970s. His fortunes fluctuated widely with the public and critical community. Eclipsed during the 1960s, when his conservative idiom with its strong nationalistic stance was out of vogue, he and his work have gained increased scholarly, performance, and recording interest in recent decades, which have brought to the fore an entire generation of neglected American composers. Documenting and organizing Harris's complex oeuvre is the essential concern of the present book, and the catalogue of works and performances provides information on instrumentation, premieres, publication, and special aspects of each composition. Like the catalog, the discography is the most thorough ever assembled for Harris, and it also includes commentary on features of the recordings. The extensive annotated bibliography includes reference sources, scholarly works, general works, text sources, folksong sources, writings by Harris, and critical reviews. Works, recordings, and bibliography are carefully enumerated, cross-referenced, and indexed. An opening study of Harris's life, works, and style incorporates gleanings from an oral history collection recently made available. This research tool is an essential companion to any critical study of Harris and will provide a firm base on which future such studies can be developed.

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.

An American drummer, a bass player from Newcastle and a guitarist a decade older than the other two, with little in common other than their musical brilliance and towering ambition, formed one of the most successful bands in history. Covering the years 1977-1986 and the brief reincarnation in 2007-2008, acclaimed biographers Caroline and David Stafford chronicle the rise and fall of the Police. Much like Reservoir Dogs but without the light relief, it's a tale of jealousy, anger and attrition both on the road and in the studio. And yet, despite - or perhaps because of - the battles, these three musicians, Sting, Andy and Stewart, each supremely talented in his own right, together achieved a symbiosis that produced music of soaring magnificence.

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.

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.

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

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.

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.

It was never easy for Professor Green. Born into a tough Hackney estate and raised by his grandmother, the rapper was always learning the hard way - whether at school, on the streets of east London or on stage during impromptu freestyle battles. Indeed, life and music have always been intertwined for the young rapper, but it wasn't until he was 24 that the two were brought into focus by the suicide of his father - and his emotions, ever since, have been reflected in the raw and often passionate lines of his lyrics. In this wonderful autobiography, Professor Green - a.k.a. Stephen Manderson - reflects on his life so far and how his upbringing and encounters - both good and bad - shaped the person and musician he is today. Passionate, raw and totally open, Lucky is the story of a boy's journey, from life close to the streets, all the while working towards becoming a successful musician, achieving that dream and eventually gaining that success, only to realise it wouldn't quite solve all of his problems...Lucky is accompanied by the exclusive Mix Tape app, which takes you closer to Professor Green and his story.With exclusive digital content for readers to enjoy, this is a rare insight into one of the most exciting and controversial musicians working in music today.

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.

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.

The extraordinary story of African American composer Edmond Dede, raised in antebellum New Orleans, and his remarkable career in France In 1855, Edmond Dede, a free black composer from New Orleans, emigrated to Paris. There he trained with France's best classical musicians and went on to spend thirty-six years in Bordeaux leading the city's most popular orchestras. How did this African American, raised in the biggest slave market in the United States, come to compose ballets for one of the best theaters outside of Paris and gain recognition as one of Bordeaux's most popular orchestra leaders? Beginning with his birth in antebellum New Orleans in 1827 and ending with his death in Paris in 1901, Sally McKee vividly recounts the life of this extraordinary man. From the Crescent City to the City of Light and on to the raucous music halls of Bordeaux, this intimate narrative history brings to life the lost world of exiles and travelers in a rapidly modernizing world that threatened to leave the most vulnerable behind.

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'.

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.

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

The Jazz Masters: Setting the Record Straight features twenty-one conversations with musicians who have had at least fifty years of professional experience, and several as many as seventy-five. In all, these voices reflect some seventeen hundred years' worth of paying dues. Appealing to casual fans and jazz aficionados alike, these interviews have been carefully, but minimally edited by Peter Zimmerman for sense and clarity, without changing any of the musicians' actual words. Five of the interviewees-Dick Hyman, Jimmy Owens, Sonny Rollins, Clark Terry, and Yusef Lateef-have received the National Endowment for the Arts' prestigious Jazz Masters Fellowship, attesting to their importance and ability. While not official masters, the rest are veteran performers willing to share their experiences and knowledge. Artists such as David Amram, Charles Davis, Clifford Jordan, Valery Ponomarev, and Sandy Stewart, to name a few, open their hearts and memories and reveal who they are as people. The musicians interviewed for the book range in age from their early seventies to mid-nineties. Older musicians started their careers during the segregation of the Jim Crow era, while the youngest came up during the struggle for civil rights. All grapple with issues of race, performance, and jazz's rich legacies. In addition to performing, touring, and recording, many have composed and arranged, and others have contributed as teachers, historians, studio musicians, session players, producers, musicians' advocates, authors, columnists, poets, and artists. The interviews in The Jazz Masters are invaluable primary material for scholars and will appeal to musicians inspired by these veterans' stories and their different approaches to music.

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.

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.

Shooting at the Moon celebrates the music and lyrics of Kevin Ayers, one of the great bohemian voices of British music. Kevin Ayers was an English singer-songwriter who was a major influential force in the English psychedelic movement and a founding member of the band Soft Machine in the 60s. With introductions by Galen Ayers, Josh Payne and Robert Wyatt, this book includes all the lyrics from Ayers' solo career and documents a period of the UK music scene between Psychedelia and Glam Rock. Immerse yourself in the world of this influential cult singer-songwriter, with pages from his own notebooks, exclusive photographs, Ayers' own collages and the occasional recipe.

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.