Internationally recognized American composer Elliott Cook Carter, Jr. has composed over three dozen substantial pieces, ranging from stage and choral works to ballets, symphonies, and chamber music. Even at age 85, he continues to pioneer trails into new territory in modern American music. Carter has been the recipient of two Guggenheim Fellowships, two Pulitzer Prizes for Music, and numerous other awards and honors. This book contains a listing of all compositions by Carter with detailed information on premiere performances, a complete discography, and annotated citations of Carter's writings and writings about Carter and his music.

Richard Rodgers was one of America's most prolific and best-loved composers. A world without "My Funny Valentine," "The Lady is a Tramp," "Blue Moon," and "Bewitched," to name just a few of the songs he wrote with Lorenz Hart, is scarcely imaginable, and the musicals he wrote with his second collaborator, Oscar Hammerstein--Oklahoma!, Carousel, South Pacific, The King and I, and The Sound of Music--continue to enchant and entertain audiences. Arranged in four sections, Rodgers and Hart (1929-1943), Rodgers and Hammerstein (1943-1960), Rodgers After Hammerstein (1960-1979), and The Composer Speaks (1939-1971), The Richard Rodgers Reader offers a cornucopia of informative, perceptive, and stylish biographical and critical overviews. It also contains a selection of Rodgers's letters to his wife Dorothy in the 1920s, the 1938 Time magazine cover story and New Yorker profiles in 1938 and 1961, and essays and reviews by such noted critics as Brooks Atkinson, Eric Bentley, Leonard Bernstein, Lehman Engel, Walter Kerr, Ken Mandelbaum, Ethan Mordden, George Jean Nathan, and Alec Wilder. The volume features personal accounts by Richard Adler, Agnes de Mille, Joshua Logan, Mary Martin, and Diahann Carroll. The collection concludes with complete selections from more than thirty years of Rodgers's own writings on topics ranging from the creative process, the state of the Broadway theater, even Rodgers's bout with cancer, and a generous sample from the candid and previously unpublished Columbia University interviews. For anyone wishing to explore more fully the life and work of a composer whose songs and musicals have assumed a permanent--and prominent--place in American popular culture, The Richard Rodgers Reader will offer endless delights.

This is the first book-length study of the composition, reception, extramusical implications, and stylistic eclecticism of Mendelssohn's Italian Symphony, a staple of the nineteenth-century musical canon. Cooper devotes extensive attention to the differences between the posthumously published familiar version of the work and the composer's revision, which remained unpublished until 2001. He presents substantial new insights into a work which many listeners and scholars have known only in the version the composer considered less successful.

Worldwide in scope and covering the second half of the 20th century, this work provides biographies and discographies of some 500 conductors and composers in many aspects of light and popular orchestral music, including film, show, theatre, and mood music. This is the first time the lives and recordings of such artists as Kostelanetz, Faith, Gould, as well as the orchestral recordings of such great popular composers as Gershwin, Kern, Porter, Rodgers, Berlin, and Coward, have been adequately documented and consolidated in an encyclopedic fashion. Almost 5,000 records and CDs are listed. Of interest to scholars, students, disc jockeys, record and CD collectors, film music buffs, and mood and production music enthusiasts. Popular orchestral music has been a neglected and often erroneously perceived and misunderstood genre in the 20th century. It has certainly not received the attention that it deserves and seems to be viewed as a "Cinderella" in relation to classical music and jazz. The genre, especially in the last 50 years, has been graced by exceptionally fine and highly esteemed conductors and arrangers, and also by a large number of highly regarded composers.

Mordechai Gebirtig was one of the most influential and popular writers of Yiddish songs and poems. Born in 1877, he became a prolific poet and song writer, using everything he saw, heard and knew about people. His legacy, therefore, is not only one of melodies and lyrics, but also a treatise on Jewish life in Poland under the benign neglect of the Austrians, the ever growing hostility of the Poles, and finally, the terror of the Germans, who destroyed the people, their culture, and, to a great measure, their memory. Schneider's book for the first time brings his work to an English-speaking audience, offering a collection of all of his major works, complete with the scores, transliterated Yiddish text, and English translation. Her book offers a rare insight into the world of Eastern European Jews, their culture, and their music.

Gebirtig's most famous song Es Brent--It's Burning--was written in response to a 1936 pogrom. It became a stirring hymn for the survivors of the Holocaust, who felt that the words suited their own situation very well. Gebirtig himself was shot in the Cracow Ghetto in June 1942. Neither he nor any of his close family survived the war. However, as this volume shows, his songs and poems remain an enduring voice for a Jewish community nearly lost to the Nazis. They constitute a precious legacy for anyone interested in the world of Eastern Europe Jews, their culture, and their music.

William Howard Schuman, a celebrated figure in 20th-century music, was a composer and a copious writer on music and music education. Early on, as a composer, he received the attention of several musicians and writers such as Nathan Broder, Elliott Carter, and Leonard Bernstein. He was the recipient of numerous prestigious awards, including the Pulitzer Prize, a Guggenheim Fellowship, and the New York Music Critics Circle Award. After teaching at Sarah Lawrence College from 1935 to 1945 and serving as president of the Juilliard School from 1945 to 1962, Schuman assumed the presidency of Lincoln Center, where he successfully implemented that institution's artistic programs. Schuman, who composed in several genres, is perhaps best known for his orchestral compositions and choral music. This reference work provides a biography and a thorough catalog and guide to Schuman's writings and compositions and to the current research available on this gifted and multi-talented musician. An invaluable resource to music scholars interested in William Schuman's career, five sections provide accessible detailed information: a biography, works and performances, discography, bibliography, and bibliography of writings by Schuman. The biography traces Schuman's life and career with an emphasis on illustrating his compositional activity. The bibliography includes books, dissertations, articles, and reviews that chronicle Schuman's activities from his days as a young composer to his death in 1992. An author index, index of compositions, and general index complete this in-depth reference on William Schuman.

The composer Erik Satie (1866-1925) came of age in the bohemian sub-culture of Montmartre, with its artists' cabarets and cafés-concerts. These colourful milieux decisively shaped his aesthetic priorities and compositional strategies, from the esoteric Gymnopédies of the 1880s to the avant-garde ballets of the 1920s. This radical transvaluation of received artistic values makes far better sense once placed in this fascinating context.

(Book). Outrageously talented, remarkably handsome, internationally renowned, and dead at the age of 21. More than 40 years after the tragic car crash that killed him, Eddie Cochran remains one of rock and roll's most lamented "What Ifs." A trailblazing guitarist, gifted vocalist, hit-making composer and arranger, and budding whiz-kid producer, Cochran quickly ascended from Midwestern obscurity in the late '50s to become one of nascent rock and roll's leading lights. He penned or recorded many of the most recognized songs in rock history "Summertime Blues," "Nervous Breakdown," "Somethin' Else," "C'mon Everybody," "Twenty Flight Rock," "Sittin' in the Balcony" songs whose distinctive sound and defiant, often wryly humorous lyrics have been eagerly digested, analyzed and lovingly reinterpreted by generations of rockers after him, from The Beatles to the Sex Pistols, The Who to U2. Three Steps to Heaven: The Eddie Cochran Story co-authored by Cochran's nephew, also a gifted musician is the first American biography of this uniquely American rock legend, who was among the first to be inducted into the Rock and Roll Hall of Fame. The book is a detailed portrait of Cochran's personal and professional triumphs and travails, with fascinating insight into the rock pioneer's life that only a family member can provide. 33 B/W photographs; Hardcover.

A pioneer of musical modernism, Igor Stravinsky marked a significant turn in compositional method. He broke free from traditional styles and contemporary trends in the early part of the twentieth century to achieve an entirely new and truly modern aesthetic. Striking a remarkable concurrence of stasis and discontinuity, Stravinsky crafted large-scale compositions out of short repeating melodies, juxtaposed these primary motives with contrasting and varying fragments, and layered on fixed ostinati which repeated at their own rates throughout the piece. Previous scholarship on Stravinsky focuses on the disparate and independent nature of such textures, conceiving them as separated and deadlocked, unable to escape their repetitions, and having no goal. This connects Stravinsky's procedures with the more radical music of subsequent composers for whom disconnection has served as a primary aesthetic. Yet, from the perspective of his later works, the static and discontinuous depictions of Stravinsky's music seem incomplete and perhaps even simplistic. The "building blocks" of his novel textures often consist of tunes with identifiable intervallic shapes, goal pitches, and defining durational patterns-organizations that engender continuity and connection. In other words, although its basic materials are combined into new, often dissonant and usually repetitive textures, those materials still originate in, and depend upon, traditional concepts of melody, harmony, and pulsation. Presenting an innovative analytical model for Stravinsky's compositions, Building Blocks seeks a fuller perspective, and enables a fresh, insightful approach to this music and the theoretical constructs behind it. Author Gretchen Horlacher portrays the whole of Stravinsky's repertoire as radical or modern not because it eschews continuity and connection, but because it places them in relation to their opposites: the music holds our interest because undeniable references toward continuity are dynamically coordinated (rather than subsumed) with stasis and discontinuity. From this vantage point, Stravinsky's music becomes a commentary on the nature of time: the music draws into relation the tension between time as it is punctuated by fixed reference and as it flows from one event to another. It is quintessentially modern because of its inherent emphasis on multiple vantage points. A sensitive and sophisticated approach to the work of this iconic composer, Building Blocks will appeal to students and scholars of Stravinsky and his music, scholars of musical modernism and twentieth century music, and to a more limited extent, to performers-particularly conductors, pianists, and orchestral instrumentalists.

Esther Williamson Ballou was greatly admired by all who encountered her remarkable versatility as a musician and teacher. Although her music has continued to be performed over the years since her death in 1973, this volume is the first book-length study of her life and contributions to the musical world. The result of an extensive bibliographical search, and repeated contact with Esther's husband, Harold, and her friends and colleagues, James R. Heintze's bio-bibliography will provide the researcher with information about what materials exist and where they are located, that until now was not available.

Disney's animated trailblazing, Dostoyevsky's philosophical neuroses, Hendrix's electric haze, Hitchcock's masterful manipulation, Frida Kahlo's scarifying portraits, Van Gogh's vigorous color, and Virginia Woolf's modern feminism: this multicultural reference tool examines 200 artists, writers, and musicians from around the world. Detailed biographical essays place them in a broad historical context, showing how their luminous achievements influenced and guided contemporary and future generations, shaped the internal and external perceptions of their craft, and met the sensibilities of their audience.

Focusing on Sinatra's presence in the recording studio, this discography catalogues Frank Sinatra's commercial records, V-Discs, and soundtrack film recordings. The first chapter covers Sinatra's early years as a vocalist with the big bands of Harry James and Tommy Dorsey. Entries then proceed chronologically with separate chapters for each decade. Data was collected from session reports in the files of record companies and from some union contracts. Commercial record and film soundtrack entries include band personnel and composer credits.

Frank Sinatra fans, music historians, and discographers will appreciate this comprehensive catalogue of session recordings in which Sinatra either sang or conducted. The sessions span Sinatra's entire career, from his early days through the nineties. Two indexes, of song titles and of artists, complete the book.

(Amadeus). Jean Langlais (1907-1991) was among the foremost French musicians of his time. He was the successor to the musical tradition established by Cesar Franck and, like him, was organist at the church of Sainte Clotilde in Paris. Though blind from early childhood, he became one of the most celebrated touring virtuos of his time, his legendary recitals always concluding with an improvisation upon a submitted theme. Langlais wrote a body of music for organ second only in extent to that of Bach, and his compositions for organ remain widely played. This biography by one of his favorite pupils examines both his life and music. HARDCOVER.

Mozart wrote some of the greatest serenades for wind ensemble. He was not alone in writing works for wind sextet, octet, or larger ensembles-Over 12,000 works for wind harmony by over 2,200 composers are extant. Describing this new genre, Wind Harmony, which is far larger and more influential than ever recognized, this sourcebook includes biographical details, discusses many of the works, and presents country surveys. There is also a survey of the way wind instruments developed at the critical time, and of performance practices. Companion volumes, the ^IWind Ensemble Catalog^R and the ^IWind Ensemble Thematic Catalog 1700-1900^R, are cross-referenced. Mozart wrote some of the greatest serenades for wind ensemble. He was not alone in writing works for wind sextet, octet, or larger ensembles-over 12,000 works for wind harmony by over 2,200 composers are extant. Describing this new genre, Wind Harmony, which is far larger and more influential than ever recognized, this sourcebook includes biographical details, discusses many of the works, and presents country surveys. There is also a survey of the way wind instruments developed at the critical time, and of performance practices. Companion volumes, the ^IWind Ensemble Catalog^R and the ^IWind Ensemble Thematic Catalog 1700-1900^R, are cross-referenced. The authors identify what must be the major part of surviving wind harmony music. There is far more material than previously recognized, and its character is far more varied than is usually thought. In this work, the music is placed in context: why it was written, where it was played, and how it influenced other genres. The authors have collected new material, corrected previous mistakes, and filled in missing material. Public and private libraries have been scoured and monasteries searched throughout greater Europe. The sourcebook will be helpful for scholars and students, librarians, players, and music sellers.

Despite just a three-year tenure with the band, co-founder Syd Barrett’s influence on Pink Floyd was profound and long-lasting. If his guitar gave the early Pink Floyd a distinctive hallucinatory sound, his often obscure and surreal lyrics were perhaps even more intoxicating. The complete lyrics of Syd Barrett – 52 songs written for Pink Floyd and during his subsequent solo career – are presented together for the first time, along with rare photos and artwork, to form this beautifully illustrated book. Compiled in collaboration with the Syd Barrett estate, and featuring a foreword from former Pink Floyd manager Peter Jenner and a comprehensive introduction by biographer Rob Chapman, The Lyrics of Syd Barrett delves deep into one of rock’n’roll’s most imaginative and searing minds.

The preponderance of early Black composers wrote choral music and even the most outstanding among them did not compose works for woodwinds. However, the later half of the twentieth century has witnessed a rise in compositions for woodwinds, both for solo and chamber ensembles by relatively unknown Black composers. This pioneering volume will become the standard source of information on nineteenth and twentieth century Black composers from three continents as well as their woodwind compositions. It contains the most current and complete biographical data on 90 African composers, Afro-American composers, Afro-Latin composers, and Afro-European composers, including their education and professional experience and information on their continuing musical influence. A distinctive feature is the separate, easy-to-use woodwind music index of both published and unpublished works for solo and chamber ensembles that groups the music by medium and numbers into 27 categories that contain some 430 works. Exact instrumentation, dedication or commission, premiere performance, and publisher are also found here. A list of abbreviations, key to publishers, collections, and manuscripts, and a discography of 38 recordings of woodwind works by 26 of the included composers complete the volume.

This first bibliography of woodwind music by Black composers is an excellent reference work for Black composers, for the woodwind repertoire, and for American music in general. It will be highly useful in college-level courses such as "Survey of Afro-American Music and Woodwind Literature" as well as to woodwind players, ensemble directors, and scholars.

Henri Sauguet's music remains little known outside his native France and portions of Belgium. Even there a younger generation of listeners and practitioners only vaguely associate his name with the ballet Les Forains, the popular song Le Chemin des forains, and a handful of other minor masterworks. Yet, during his lifetime, impresarios, poets, stage directors, choreographers, and film directors eagerly sought his collaboration on important projects. Henri Sauguet: A Bio-Bibliography is the first English-language book to treat Sauguet not only as a composer, but as a music critic and observer of the French music scene for more than sixty years. No other single source highlights the multi-faceted talents of a man who may be called the grand old man of French music. The volume is organized into five parts, beginning with a brief biography of Sauguet's life. This is followed by the most complete list of works and performances compiled to date. This section is subdivided by genre--operas, ballets, instrumental music, vocal music, electronic music, music for the cinema, stage, and broadcast; each item within a genre chronologically follows the name of that kind of work. Performances appear chronologically with premieres listed first, and a sampling of prose writings and speeches by Sauguet is included. Music and drama reviews are presented separately in chronological order under the name of the journal in which they appeared. The complete discography is organized alphanumerically, an arrangement dictated by record manufacturers' labels and numbers. The bibliography of writings about the composer is organized alphabetically by author with anonymous works inserted alphabetically by title. Two appendixes follow the work proper: organizing the music alphabetically by title, and chronologically to give a clearer picture of the progression and disposition of works during the composer's career. An index of the people, organizations, and events cited throughout completes the volume. Music libraries will want to add this reference work to their collections. Other libraries and scholars with an interest in theatre, media, and French cultural history will also want to acquire this volume.

Marking the 250th anniversary of the composer's birth, this volume presents twenty-one completely new essays on aspects of Beethoven's personal life, his composing process, his manuscripts, and his greatest works. Beethoven's music stands as a universal symbol of personal and artistic achievement. As we reach and then surpass the 250th anniversary of the composer's birth, Jeremy Yudkin has commissioned a collection of new essays from some of the most insightful writers on Beethoven's accomplishments and brought them together in this remarkable volume. Filled with careful explanations, this book gives us completely new insights into music known and loved by people around the world. Ordinary music lovers as well as scholars will find countless new discoveries about Beethoven and his music. Listeners will hear his compositions afresh, and scholars will find new results of research and analysis and new avenues for discovery. Topics include Beethoven's cultural milieu, his personal life, his friends, his publishers, his instruments, his working methods, his own handwritten scores, and, of course, his music. Many works are carefully discussed and explained in ways that reveal fascinating and previously unknown aspects of compositions that we thought we knew well. A landmark publication for all who admire some of the greatest music of our civilization.

This violent and introspective memoir reveals not only 50 Cent's story but also the story of a generation of youth faced with hard choices and very few options. It is a tale of sacrifice, transformation, and redemption, but also one of hope, determination, and the power of self. Told in 50's unique voice, the narrative drips with the raw insight, street wisdom, and his struggle to survive at all costs -- and behold the riches of the American Dream.

As a composer and as an author, Ned Rorem occupies a position of considerable influence and importance in American music. His numerous musical works are performed frequently, and his critical writings offer unmatched insights into contemporary music. This bibliography will serve as an important resource for those seeking more information about this distinguished American composer and his works. The book is divided into four sections: a brief biography, a complete list of works and performances, a discography of commercially produced sound recordings, and a bibliography of writings by and about Ned Rorem. The list of works and performances includes RoreM's plays and books, works in preparation, and his musical compositions. The latter are classified by genre and arranged alphabetically within each category. Each entry provides as much information as possible about the date of composition and publication, publisher, duration, medium of performance, literary source, commission, dedication, and dates of the premiere and subsequent performances. A directory of publishers and their addresses is also provided. Citations in the discography are arranged by label and number and include contents, performers, date of issue, and album title. The bibliographical section includes annotations or brief quotations from the cited item. Three appendixes complete the work. The first provides an alphabetical listing of RoreM's compositions, including individual songs in cycles, distinctive subtitles, working titles, and titles of unpublished works. Appendix II is a chronological list of compositions and Appendix III provides a list of the literary sources for RoreM's works. This unique reference tool belongs in all music reference collections.

Ronald Stevenson is one of Britain's leading composers, and almost certainly its most prolific. He is best known for his massive 'Passacaglia on DSCH' - at 80 minutes long, the biggest single-movement work in the piano literature. But he has an enormous number of other fine works to his credit: a vast corpus of original and exciting works for the piano, the instrument of which he is an acknowledged master, a number of innovative and impressive scores for orchestra (including four concertos), many attractive pieces of chamber music, and over two hundred songs. Indeed, the sheer size of Stevenson's output is staggering: the worklist in this book fills some 75 pages - a body of music which both testifies to Stevenson's enduring belief in the value of melody and show him to be alert to the more important developments of the twentieth century. This collection of essays covers virtually all of Stevenson's enormous output. It features contributions from a number of leading authorities: Malcolm MacDonald on the orchestral music, Ates Orga on the piano works, Alistair Chisholm on the chamber music, Derek Watson on the songs, Harold Taylor on Stevenson's pianism, James Reid Baxter on Stevenson's position in Scottish culture. It also reproduces a selection of Stevenson's exquisite piano miniatures, in facsimiles of the composer's calligraphic script.

This generously illustrated selection of fifty reviews and essays, written between 1914 and 1962 by thirty American critics, draws together some of the best, most influential, and most interesting writing on Montemezzi, revealing for the first time the full depth of his impact in the United States, the country to which he moved in 1939.

Based on the latest research, including Mozart family correspondence recently released, this fully illustrated and definitive portrait of one of the most revered yet enigmatic figures of all time reveals heretofore unknown facets of Mozart's complicated family background and explodes the myth of this musical genius as the "eternal child". Photos & musical pieces.