'Genuinely funny; indeed, the story will keep you entertained for a very long time' Sunday Times Joy Division changed the face of music. Godfathers of the enduring alternative scene, they reinvented rock in the post-punk era, creating a sound - dark, hypnotic, intense - that would influence U2, Morrissey, R.E.M., Radiohead and many others. This is the rollercoaster story of Joy Division - the friendships, fights, fall-outs; the rehearsals and recording sessions; the larger than life characters - told by the band's legendary bassist, Peter Hook. 'Hook has restored a flesh-and-blood rawness to what was becoming a standard tale. Few pop music books manage that' Guardian 'An honest, enthusiastic account . . . it's a window like no other into the reality of life in this most aloof of bands' Metro 'An immense account of Joy Division's rise . . . having read Hook's book, you'll feel like you were the fifth member of the band' GQ 'A bittersweet, profanity-filled recollection . . . if you like Joy Division, you really have to read it' Q Magazine 'Hook lifts the lid on the real Ian Curtis' NME 'He's frank, incredibly funny, and it isn't shy' Artrocker

Dame Schwarzkopf (1915-2006) was a Flower Maiden in Wagner's "Parsifal" in her opera debut. As Marchallin in Strauss' "Rosenkavalier" she made history. This book is a homage to one of the greatest singers of the last century. Honored by Queen Elisabeth II, she not only posessed an unmistakable timbre, but also a bewitching beauty.This pictorial volume, on which the soprano collaborated right up until the time of her sudden death, contains hundreds of costume and portrait photographs from her private estate that together provide a lasting reflection of her personality and elegance. The core pictures were taken by the Viennese photographer to the stars, Lillian Fayer, who for many years was the trusted companion of Elisabeth Schwarzkopf.

Brahms Among Friends identifies patterns of listening, performance, and composition among close friends of Johannes Brahms and explores how those patterns informed the creation and reception of his music in the intimate genres of song, sonata, trio, and piano miniature. Among the tangled threads of counterpoint and circumstance that bound Brahms to his acquaintances was the technique of allusive musical borrowing, whereby a brief passage from a familiar work was drawn into the fabric of a new composition. For the specific listeners whose habits of mind and musicianship he knew best, allusive borrowings could become rhetorically charged gestures, persuasively revising the meanings his music conveyed and the interpretive strategies it invited. Primary documents, original manuscripts, music-analytic comparison, and kinesthetic parameters experienced in the act of performance all work in tandem to support ten case studies in the interplay between Brahms's small-scale works and the women and men who encountered them before publication. Central characters include violinist Joseph Joachim, singers Amalie Joachim, Julius Stockhausen, and Agathe von Siebold, composers Heinrich and Elisabeth von Herzogenberg, and pianists Emma Engelmann and Clara Schumann. For these musicians and for the composer himself, Brahms's allusive music served a broad variety of emotional needs and interpersonal ends. Yet across diverse repertoire and interdisciplinary correlates ranging from ethnography to psychoanalysis, each case study furthers a single, underlying aim: Yet across diverse repertoire and interdisciplinary correlates ranging from ethnography to psychoanalysis, each case study furthers a single, underlying aim: to reconstruct the mutually dependent perspectives of historically situated agents and restore forgotten features of their communicative landscapes as bases for both musical and historical scrutiny.

In July of 1884, pianist Calixa Lavallee performed a recital of works by American composers that began a highly influential series of such concerts. Over the course of the next decade, hundreds of all-American concerts were performed in the United States and Europe, a movement that fostered both the development and the perception of American music as a unique art form. "A Tidal Wave of Encouragement"-the title of which is derived from one observer's description of the movement-is the first in-depth study of this significant period in American music. Providing a comprehensive history of the Concerts as well as detailed accounts of the intense critical debate surrounding them, author E. Douglas Bomberger reveals how one decade shaped the future of American classical music and very much impacted the way we hear it today.

The movement, crucial in focusing discussion on American music and providing performance opportunities for composers and musicians for whom no such opportunities had before existed, was far more extensive and widespread than most scholarship had credited it. This oversight is due in large part to the dearth of objective studies of the Concerts; previous considerations have tended either toward the merely nostalgic or toward the unnecessarily disparaging. Bomberger's work is a corrective to this, as well as much-needed historical and critical account of a project whose influence had yet to be fully acknowledged.

In Chopin's set of 24 interconnected "Preludes (Op. 28)," we are presented with 24 distinct compositional surfaces, aiming at as many distinguishable emotional expressions. As such, the Preludes stand as a virtual survey of the developing musical manners of the 19th century--which was, after all, the stylistic period in which mood was promoted most energetically and frankly. Under analytic investigation, the technical means to these varied expressive ends can be discovered and assessed. 24 separate explorations reveal themselves to the inquiring musician, who can investigate any or as many of the pieces as is wished or needed. At the same time, the Preludes form a fairly compelling total entity, related by precise balances of mood and key, as well as certain subtler interconnecting details.

The individual analyses aim at conjoined descriptive statements that take into account the various separable, but ultimately fused, musical elements: line and harmony in the pitch domain; rhythm in terms of local detail, but also at the levels of meter, phrase, and form; and the various expressive modifications of dynamics and articulation. Form is seen to grow out of the harnessed progress of these elements, which together determine expressive content. "The Chopin Preludes," a centerpiece of 19th-century Romanticism, are unique: two dozen distinct moods that seem to summarize the musical manners of the time, they also function as an organic whole. This book is a detailed guide through the "Preludes," both individually and as a group. The analyses assess technical and expressive means and ends.

In 1950, as Arnold Schoenberg anticipated the publication of a collection of 15 of his most important writings, Style and Idea, he was already at work on a second volume to be called Program Notes. Inspired by this idea, Schoenberg's Program Notes and Musical Analyses can boast the most comprehensive study of the composer's writings about his own music yet published. Schoenberg's insights emerge not only in traditional program notes, but also in letters, sketch materials, pre-concert talks, public lectures, contributions to scholarly journals, newspaper articles, interviews, pedagogical materials, and publicity fliers. The editions of the texts in this collection, based almost exclusively on Schoenberg's original manuscript sources, include many items appearing in print in English for the first time, as well as more familiar texts that preserve musical and textual information eliminated from previous editions. The book also reveals how Schoenberg, desirous to communicate with and educate an audience, took every advantage of changes in technology during his lifetime, utilizing print media, radio broadcasts, record jackets-and had he lived, television-for this purpose. In addition to four chapters in which Schoenberg illuminates 42 of his own compositions, the book begins with chapters on his development and influences, his thoughts about trends in modern music, and, in a nod to the importance of the radio in providing a venue for music analysis, a chapter about Schoenberg's radio broadcasts.

The ground-breaking biography of Ralph Vaughan Williams reveals more than any other the man behind the music. In this new paperback edition, the author examines the considerable range of Vaughan Williams's work, from the English pastoral tradition to Modernism, and shows how Vaughan Williams was influenced by the Boer War, the economic depression after the First World War, the deprivations of the Blitz, and the austerity of the Cold War. He also reveals how the greatest influence on Vaughan Williams's music and creative development was his personal life, involving his seemingly secure marriage and an equally enduring love affair. The author shows how these reflected both the stability and cutting-edge aspects of his music.Like a great symphony, this book ranges from doubt to inspiration. It is the most complete biography of one of Britain's greatest composers.

This reference guide to the life and work of the prolific British composer, Cyril Scott, includes a brief biography and detailed bibliography and discography sections. Sometimes referred to as the British Debussy, Scott was one of the first English composers to incorporate a noticeable modern style. He composed in virtually every genre and for every instrument and ensemble. His works, as detailed in the discography, include three operas, two symphonies, five concertos, chamber music, piano music, and over 100 songs. The bibliography section includes writings both by and about Scott.

This comprehensive reference will appeal to music scholars and to those with an interest in Cyril Scott's music. As a useful research tool, each section of the volume is cross-referenced. Two appendices list Scott's compositions, one alphabetically by genre and the other chronologically.

Sam Denov recounts his fascinating adventures as a musician in one of America's greatest orchestras. This story of intrigue, corruption and redemption is one that will appall, amuse and enlighten everyone who loves classical music.

"The Mendelssohn Companion" represents a collection of advanced scholarly research in Mendelssohn studies that examines the composer's life and music. In recent decades, studies of his music manuscripts have discovered much previously overlooked work, and a reconsideration of his biography has permitted a more realistic portrayal of Mendelssohn. The first three chapters of this volume place the composer in his intellectual context and discuss his family and social circle and his professional activities. Later chapters examine the major areas of his compositional work, providing new analytical observations, contextual perspectives, and interpretations. Historical views and documents are included with each chapter and are all newly translated.

The new material in this fully documented study will appeal to scholars, students, and music enthusiasts alike. An updated bibliographic list of Mendelssohn's works, which identifies the autograph manuscripts and the most important published editions will be of special interest.

By gathering historical and musical fragments from a Europe torn apart by the Second World War and the Cold War, East German playwright Heiner Müller and West German composer Heiner Goebbels created Wolokolamsker Chaussee as a musical panorama that stretched across modern European history at a moment of international crisis. The question at the heart of the recording was prescient in the waning years of the Cold War, but it remains no less critical for the “crisis of Europe� today: Is it possible for Europe to be unified? A vast range of musical styles—from folk song to hip-hop, from the symphonic canon to heavy metal—coalesce in the five acts, which expose the wounds of European history while struggling musically to heal them. This extraordinary recording from 1989/90 not only captures the sound of a historical moment, but also powerfully enacts responses to it. 33 1/3 Global, a series related to but independent from 33 1/3, takes the format of the original series of short, music-based books and brings the focus to music throughout the world. With initial volumes focusing on Japanese, Brazilian, and European music, the series will also include volumes on the popular music of Australia/Oceania, Africa, the Middle East, and more.

Thirty years of collecting and 15 years of research have resulted in this discography that features all known recordings, transcriptions, and films made by Cole until 1950, when his jazz style faded away, and a selection of his later jazz-related trio sides. It includes for the first time Cole's unknown 16 transcriptions of his Wild Root broadcasts. This volume documents the development of a gifted pianist into a ballad-singing star and leader of the most famous jazz trio of the 1940s. All routes and recording activities by Cole and his fellow musicians from 1936 to the 1950s are chronicled here.

Nat King Cole is widely known as a singer of unforgettable fame, but that he was a true King of Jazz Piano in its heyday and the inventor of today's piano trios is almost forgotten. This discography gives all details of the King Cole Trio's activities, listing recording sessions, available broadcasts on discs, film soundtracks, and guest appearances by the trio or by Cole alone, on such shows as Jubilee, Command Performance, Supper Club, Mail Call, and Kraft Music Hall. A special listing is included of those occasions when Cole participated as unknown or unnamed pianist on radio transcriptions for singers like Anita Boyer, Anita O'Day, The Dreamers, The Barrie Sisters, Bonnie Lake, Rose Murphy, Maxine Johnson, and Juanelda Carter. In addition, the book includes the Cole Trio's engagement routes with exact dates if known, names of promoters, and much more. The biographical portion is a fascinating period piece of Jazz-age memorabilia.

Best known for the "dead-ant" theme to the Pink Panther films, Henry Mancini also composed the music to Peter Gunn, Breakfast at Tiffany's, Orson Welles' Touch of Evil, and the Academy Award winning soundtracks to Victor/Victoria and The Days of Wine and Roses. In a career that lasted over thirty years, Mancini amassed twenty Grammy awards and more nominations than any other composer. In his memoir, written with jazz expert Lees, Mancini discusses his close friendships with Blake Edwards, Julie Andrews, and Paul Newman, his professional collaborations with Johnny Mercer, Luciano Pavarotti, and James Galway, and his achievements as a husband, father, and grandfather. A great memoir loaded with equal parts Hollywood glitz and Italian gusto.

This book celebrates Madvillainy as a representation of two genius musical minds melding to form one revered supervillain. A product of circumstance, the album came together soon after MF DOOM's resurgence and Madlib's reluctant return from avant-garde jazz to hip-hop. Written from the alternating perspectives of three fake music journalist superheroes-featuring interviews with Wildchild, M.E.D., Walasia, Daedalus, Stones Throw execs, and many other real individuals involved with the album's creation-this book blends fiction and non-fiction to celebrate Madvillainy not just as an album, but as a folkloric artifact. It is one specific retelling of a story which, like Madvillain's music, continues to spawn infinite legends.

A collection of essays by 20th-century American, English, and European composers in which each composer discusses a large choral work or works he has written, along with the principles that guided the composition.

In this autobiography Billy J. Kramer (born William Ashton) tells his rags to riches story, from his working class childhood in Liverpool to the racy world of international pop music. Managed by Brian Epstein, produced by George Martin, and friend, confidante and colleague of the Beatles, Kramer gives a definitive insider's account of the birth of the Liverpool sound and also the "British Invasion" of the USA. But there are dark secrets in the Kramer story. Before he reached his twenties, he was in the grip of drugs and alcohol, and there were constant tensions between him and his backing band, the Dakotas. When the screaming stopped, he reinvented himself as a cabaret performer, and some of his best records were made in the years he was out of the limelight. With a young family, drink and pills made his domestic life, and eventually his professional life, a struggle. In this no-holds-barred account, Kramer brings to life the vibrancy of the sixties. He then reveals how he exorcised his demons and forged a new career in the United States. He assembles his current band, shows a growing mastery of songwriting, and returns to national tours of Britain and the USA, keeping the flame of the Mersey sound alive. The lifetime of experience he brings to his new songs infuses every page of this enthralling read.

Leslie Bassett is a 20th-century composer, lecturer, university professor, and winner of many awards, including a Pulitzer Prize. He is unique among contemporary composers because he has written for many categories of music: brass, band and wind ensemble, chamber, choral, solo voice, instrumental solo, orchestra, organ, and piano. A favorite with students, he has also endeared himself as a guest composer at festivals and symposia in many states for over 30 years. This volume collects for the first time the widely scattered source materials on Bassett and thus documents his preeminence in the history and development of contemporary American music.

The biographical section of this volume first sketches Bassett's life and career and then gives an evaluative description of the progression of his musical compositions. To give a feeling for his music, illustrations of selected scores accompany some of the discussion. Next is a classified list of works arranged in alphabetical order and divided into 11 categories of performance, followed by a discography. The bibliography is annotated; there is a separate section for reviews of performances and concerts. Also included is an appendix that gives a chronological list of guest composer appearances, featuring festivals, symposia, and major educational events. Three other appendices round out the thorough coverage of source materials that have until now been difficult to see as a whole. Here they are readily accessible; thus, the book becomes a ready reference for the study of this acknowledged master of music.

In the late fifteenth century the newly built Sistine Chapel was home to a vigorous culture of musical composition and performance. Josquin des Prez stood at its center, singing and composing for the pope's private choir. Josquin's Rome offers a new reading of the composer's work in light of the repertory he and his fellow papal singers performed from the chapel's singers' box. Comprising the single largest surviving corpus of late fifteenth-century sacred music, these pieces served as a backdrop for elaborately choreographed liturgical ceremonies--a sonic analogue to the frescoes by Botticelli, Perugino, and their contemporaries that adorn the chapel's walls. Jesse Rodin uses a comparative approach to uncover this aesthetically and intellectually rich musical tradition. He confronts longstanding problems concerning the authenticity and chronology of Josquin's music while offering nuanced readings of scandalously understudied works by the composer's contemporaries. The book further contextualizes Josquin by locating intersections between his music and the wider soundscape of the Cappella Sistina. Central to Rodin's argument is the idea that these pieces lived in performance. The author puts his interpretations into practice through a series of exquisite recordings by his ensemble, Cut Circle (available both on the companion website and as a CD from Musique en Wallonie). Josquin's Rome is an essential resource for musicologists, scholars of the Italian Renaissance, and enthusiasts of early music.

Classical Guitarists fills a void in the special world of the classical guitar. Although this realm is inhabited by world-class musicians, much of what they think and feel has never been captured in print. The interviewees, including Julian Bream, John Williams, Sharon Isbin, Eliot Fisk, David Starobin and David Tanenbaum are a select group at the peak of their prowess who speak openly and thoughtfully about their opportunities, accomplishments, and lessons learned. Each has made important contributions from establishing significant academic programs to broadening the audience for the classical guitar. The author shares his reviews of their most important recordings and New York City concerts during the 1990s, as well as discographies of their recordings. There are also interviews with Harold Shaw, the most prominent artist manager in the history of the classical guitar and several of today's most important composers for the guitar, including Pulitzer Prize winners George Crumb and Aaron Jay Kernis. An introductory chapter provides an historical perspective on classical guitar and a postscript explains how to create a basic repertoire of recordings.

This comprehensive book documents the nearly half-century-long story of The Rolling Stones-the group many regard as the most eminent rock band ever. By 1964 the United States had been "invaded" by a number of British bands, led by the Beatles. The Rolling Stones were seen as more rebellious and rowdy than The Beatles-they were the "bad boys" as opposed to the "good boys"-and this reputation only served to enhance their popularity with their teenage fans. The Stones far outlasted the Beatles and all the other 60s-era British bands, however The Rolling Stones not only continued, but flourished, their tours drawing enormous crowds for decades. The Rolling Stones: A Musical Biography chronicles the fascinating adventures of these Rock and Roll Hall of Fame inductees and sheds light on what has allowed these music legends to enjoy such lifelong popularity and success. A clear timeline of key events in the life of the band that encompasses over 40 years Images of the band members and their performances across time Print and nonprint resources for student research Appendices of albums, awards, film appearances, and more

An engaging biography of a living musical legend, Oscar Peterson. A man Duke Ellington once called the " maharajah of the piano." Gene Lees carefully builds up the portrait of Peterson, his childhood and what it meant to be be black and talented in Montreal in the 1940s, hist three marriages and six children, his musical partners (Ray Brown, Herb Ellis and Ed Thigpen), his musical friends and colleagues (Ella Fitzgerald, Dizzy Gillespie, Art Tatum and Lester Young, amongst others) and the critical controversy and mythology that have long surrounded Peterson. This updated version has a new chapter that covers Peterson's appointment as Chancellor of York University; his receipt of ten honorary doctorates and the Order of Canada; his stroke and partial recovery; the origins and fallout of his cancelled North American tour and much more.

The Jam - Paul Weller, Bruce Foxton and Rick Buckler - were the ultimate 'angry young men' of pop. Leading the Mod Revival of the 1970s in thrilling new directions, their tight live shows, razor-sharp style and perfectly crafted songs earned them a devoted following and a string of number one hits. By 1982 The Jam were bigger than ever, but the pressure of success was taking its toll. At the peak of their powers, Paul Weller made the shock decision that was far from welcomed by the rest of the group, let alone the fans: The Jam were to split up and go their separate ways. This richly illustrated and revealing oral history of their final year, led principally by the voice of drummer Rick Buckler, contains a number of previously unseen images and untold stories, taking us from the recording and release of their final studio album, The Gift, to The Jam's last appearances together. In addition to Buckler's memories of the time, The Jam 1982 also brings together testimonies from Gary Crowley, producer Peter Wilson, A&R manager Dennis Munday, photographer Neil ‘Twink’ Tinning, Eddie Piller, Paolo Hewitt, Mat Osman, Belle Stars singer Jennie Matthias (‘The Bitterest Pill’), touring musicians Jamie Telford and Steve Nichol and others, to tell the tale of a single, fateful year: the year The Jam, for better or worse, went out at the very top of their game.

Originally published in 1978 as The Beach Boys and the California Myth, this groundbreaking study was both the first full-length book on the band and the first to recognize Brian Wilson as one of the most significant and influential artists of the 20th century. Covering the turbulent family strife and internal conflicts as well as giving proper attention to the remarkable music, the book was an instant classic. An intimate look at Brian's rollercoaster of a life and career, it's told through the eyes of those who were there during Wilson's most legendary productions including Pet Sounds and Good Vibrations. Revised and updated, God Only Knows covers the decades since the 1985 edition, including Brian's first acclaimed solo album, his startling return to live performing, the landmark Pet Sounds tour, the "All-Star Tribute to Brian Wilson" (which Leaf wrote and produced) and the triumphant and miraculous Brian Wilson Presents SMiLE world premiere in London. Filled with surprising revelations, insight and behind-the-scenes detail, this indispensable book written by renowned Brian Wilson expert David Leaf also features forewords by Jimmy Webb, the Bee Gees' Barry Gibb and Melinda Wilson, Brian's wife.