In this ruthlessly honest bestseller, the bass player for the greatest improvisational band in American history tells the full, true story of his life, Jerry Garcia, and the Grateful Dead. of photos.

Originally published in 1943, Models for Beginners in Composition represents one of Arnold Schoenberg's earliest attempts at reaching a broad American audience through his pedagogical ideas. The novelty of this book was its streamlined approach, basing all aspects of composition including motivic design, harmony, and the construction of themes on the two-measure phrase. This newly revised edition by Gordon Root incorporates many of Schoenberg's corrections to the original manuscript. It also includes a significant commentary elucidating the evolution of Schoenberg's pedagogical approach. In its function as a practical manual for the American classroom, Models for Beginners in Composition is unique among Schoenberg's texts. The current Commentary explores Schoenberg's experience as a teacher at UCLA while tracing the development of the two-measure phrase as the main component of his pedagogical method. It demonstrates the way in which Schoenberg simultaneously preserved and adapted European ideas about tonal theory and pedagogy when he came to America, a give and take that allowed for increased theoretical originality and scope. Models for Beginners in Composition established the two-measure phrase as one of the most significant of Schoenberg's contributions to American music education. This new edition, with Schoenberg's corrections and newly added commentary, allows readers to utilize and explore the text in greater depth. Students of composition, Schoenberg scholars, music theorists, and historians of music theory alike will no doubt welcome this new edition.

Chris Sheridan presents a major discographical study of an American jazz giant, Cannonball Adderley, whose career had a significant impact on jazz's development. At the same time, Sheridan stretches the boundaries of discography in two important ways: In scope and in presentation.

In scope, the session listings not only include every known commercially recorded issue--a factor neglected by growing numbers of discographers covering a single artist--but also all known recorded sessions, particularly from film, and broadcasts on radio and television. The latter are providing a quickly growing market for issues on independent record labels, especially by artists no longer alive. The main discographical text also includes a narrative aiming to place the recorded music in context, both in Adderley's own career and in the development of jazz. Sheridan also continues a unique section, pioneered in his earlier "Count Basie: A Bio-Discography"--the day-by-day diary of the musician's musical activities. This is not only significant in its own right, it also serves to authenticate the chronology of the sessions listed in the main discography. In terms of presentation, Sheridan aims to present a more stylish face by using a variety of related fonts to enhance clarity and by a radical rearrangement of the information given in each session listing. A definitive work essential for all researchers of jazz.

THE SUNDAY TIMES BESTSELLER 'As the Brits say: I'm gobsmacked. I devoured this book... one of the most potent examples of living the dream' DEBBIE HARRY 'A great drummer who has written a great book' BILL MURRAY 'A revealing inside account of the highs and lows of a band who looked and sounded like nobody else' OLIVIA LAING, Guardian Chris Frantz's memoir tells the story of his life with Talking Heads, Tom Tom Club and his life-long love affair with Tina Weymouth. He remembers the early performances at CBGB alongside the Ramones, Patti Smith, Television and Blondie and recording the game changing albums, Talking Heads '77, More Songs About Buildings And Food, Fear Of Music, and Remain In Light. During a break from Talking Heads, Chris and Tina formed Tom Tom Club; in the process creating a hybrid of funk, disco, pop and electro that would have a huge impact on the club scene around the world. Warm and candid, funny and heartfelt, Remain in Love charts the rise of a band that began as a dream and culminated with their induction into the Rock and Roll Hall of Fame, and reveals the once-in-a-lifetime love story and creative partnership between Chris and Tina, one of the greatest rhythm sections of all time.

(Amadeus). This collection of brief essays covers such performers as Bjorling, Callas, Domingo, Pavarotti, Tibbett, Terfel, and te Kanawa.

Originally written in Danish in 1980, Pink Moon was the first biography of Nick Drake, and remains the only one to include exclusive interviews with the singer's parents, Rodney and Molly Drake. In this new, significantly updated edition, available in English for the first time, author and poet Gorm Henrik Rasmussen reveals more from his visits to the Drakes in their home Far Leys - the first, just five years after the death of their troubled son. Rasmussen includes new interviews with Nick's friends and collaborators plus extracts taken from his eight-year correspondence with the Drakes, and from telephone conversations he had with Rodney every month over four years. Full of intimate detail about the last three years of Nick's life spent at his childhood home, Pink Moon - A Story about Nick Drake is a personal, original, and moving retelling of the life, death, and posthumous rise of a poet and guitarist who was strangely unsuited for his own time, and is more popular now than he ever was in life. -- .

Libraries, musicologists, and Deadheads alike will want a copy of this comprehensive annotated bibliography that contains most of what has been written over the past 30 years about this legendary American musical institution and its fans, the Deadheads. The approximately 4,000 annotations serve as a chronolgical history, an aid to researchers, and a guide for fans and collectors. The Grateful Dead appeared on the San Francisco music scene in 1965, and over the course of their career inspired a wide array of writing. This work includes the entire spectrum. The work includes every book published about the band, every article that appeared in a major magazine or journal, chapters and entries in books, and articles from The San Francisco Chronicle and The San Francisco Examiner newspapers. Several magazines in their entirety were devoted (and remain devoted) to following the band, and this bibliography chronicles the material that appeared in those fan magazines. In addition to author, subject, and title indexes, an index to artists and photographers is included, since the Grateful Dead inspired a large body of artistic and photographic work.

Contents Include: Childhood and Youth In Search of a Career The Teaching of Experience Marriage and Artistic Progress Growing Mastery Gradual Recognition and Fame Full Maturity Continued Creative Activity Fame at Home and Abroad The Elgar Festival and Knighthood Honours Continue Violin Concerto and Second Symphony 'Falstaff' and the War Music Chamber Music and Cello Concerto Music of the Last Phase Last Days and Unfinished Works Conclusion.'It is difficult to imagine that any one could draw a more intimate and helpful picture of a great man than Mr. Reed has done of Elgar. Even to those who knew Elgar's works well this book will be instructive and helpful' Manchester Evening NewsKeywords: Cello Music Music Chamber Chamber Music War Music Cello Concerto Violin Concerto Elgar Manchester Evening News Mr Reed Creative Activity Artistic Progress Knighthood Falstaff Great Man Mastery Maturity

Howard Hanson details the career and works of a composer called by several critics "the most important figure in American music in the second quarter of the 20th century." Hanson's compositions elicited the broadest possible range of critical reaction. While early works from the 1920s were viewed as dissonant, avant-garde experimentations, within a decade his compositions in a similar style were viewed as solid, conservative works. Within this range, it was generally agreed that Hanson represented the best in solid compositional and orchestrational technique, and audiences greeted his new compositions with unquestioned approval throughout his 60-plus year career. As an important proponent of American music during his forty year tenure as Director of the Eastman School of Music, he conducted premieres of literally thousands of works by American composers and always encouraged young American composers.

Gian Carlo Menotti is a composer known chiefly for his popular operas, including Amahl and the Night Visitors, The Medium, and The Consul. He also wrote a considerable amount of choral, instrumental and chamber music. This addition to the Greenwood Press series Bio-Bibliographies in Music serves as a reference guide to Menotti's career. A brief biographical sketch precedes a chronologically arranged bibliography of general writings by and about Menotti followed by a detailed list of works, alphabetically arranged. A bibliography of writings about specific compositions, complete with selected contemporary critical reviews, includes data on premiers and other significant performances and discographies of recordings.

Opera music scholars, along with Menotti fans, will appreciate this detailed guide to available research materials. Intended as a scholarly resource, this volume also includes two appendices, a chronological list of works and a genre list of works. An author index and a separate performer index are provided.

Daphne Oram (1925-2003) was one of the central figures in the development of British experimental electronic music. Having declined a place at the Royal College of Music to become a music balancer at the BBC, she went on to become the co-founder and first director of the BBC Radiophonic Workshop. Oram left the BBC in 1959 to pursue commercial work in television, advertising, film and theatre, to make her own music for recording and performance, and to continue her personal research into sound technology - a passion she had had since her childhood in rural Wiltshire. Her home, a former oasthouse in Kent, became an unorthodox studio and workshop in which, mostly on a shoestring budget, she developed her pioneering equipment, sounds and ideas. A significant part of her personal research was the invention of a machine that offered a new form of sound synthesis - the Oramics machine. Oram's contribution to electronic music is receiving considerable attention from new generations of composers, sound engineers, musicians, musicologists and music lovers around the world. Following her death, the Daphne Oram Trust was established to preserve and promote her work, life and legacy, and an archive created in the Special Collections Library at Goldsmiths, University of London. One of the Trust's ambitions has been to publish a new edition of Oram's one and only book, An Individual Note of Music, Sound and Electronics, which was originally published in 1972. With support from the Daphne Oram Archive, the Trust has now been able to realize this ambition. An Individual Note is both curious and remarkable. When commissioned to write a book, she was keen to avoid it becoming a manual or how-to guide, preferring instead to use the opportunity to muse on the subjects of music, sound and electronics, and the relationships between them. At a time when the world was just starting to engage with electronic music and the technology was still primarily in the hands of music studios, universities, and corporations, her approach was both innovative and inspiring, encouraging anyone with an interest in music to think about the nature, capabilities and possibilities that the new sounds could bring. And her thinking was not limited to just the future of the orchestra, synthesizer, computer and home studio, but ventured, with great spirit and wit, into other realms of science, technology, culture and thought. An Individual Note is a playful yet compelling manifesto for the dawn of electronic music and for our individual capacity to use, experience and enjoy it. This new edition of An Individual Note features a specially commissioned introduction from the British composer, performer, roboticist and sound historian Sarah Angliss.

John McCabe is a thoroughly documented bio-bibliography of one of Britain's leading composers. John McCabe has an international reputation, both as a composer and a pianist, whose compositions cover most of the established forms. The complete list of his works and performances have never before been presented in such detail. Articles and features by and about the composer contain annotations, often in the form of quotations from the material. National, academic, and public libraries, as well as specialized music libraries and archives, will find this work a valuable research tool. The work begins with a brief biography of John McCabe prepared with the composer's assistance and is followed by a complete list of works and performances classified by genre and arranged alphabetically by title of composition. Performance and publication information is provided for each work, including its first and other selected performances. A list of McCabe's publishers is followed by a discography of commercially produced sound recordings divided into sections on McCabe as a composer and as a performer. A bibliography of writings by and about McCabe includes gramaphone record reviews written by McCabe for the British journal Records and Recordings between 1967 and 1974. An alphabetical and a chronological list of compositions appear in appendices.

A study in contrasts, the career of Sergey Prokofiev spanned the globe, leaving him witness to the most significant political and historical events of the first half of the twentieth century. In 1918, after completing a program of studies at the St. Petersburg conservatory, Prokofiev escaped Russia for the United States and later France where, like most emigre artists of the time, he made Paris his home. During these hectic years, he composed three ballets and three operas, fulfilled recording contracts, and played recitals of tempestuous music. Scores were stored in suitcases, scenarios and librettos drafted on hotel letterhead. The constant uprooting and transience fatigued him, but he regarded himself as a person of action who, personally and professionally, traveled against rather that with the current. Thus, in 1936, as political anxieties increased in Western Europe, Prokofiev escaped back to Russia. Though at first pampered by the totalitarian regime, Prokofiev soon suffered official correction and censorship. He wrote and revised his late ballets and operas to appease his bureaucratic overseers but, more often than not, his labors came to naught. Following his official condemnation in 1948, many of his compositions were withdrawn from performance. Physical illness and mental exhaustion characterized his last years. Housebound, he journeyed inward, creating a series of works on the theme of youth whose music sounds despondently optimistic.
The reasons for Prokofiev's return to Russia and the specifics of his dealings with the Stalinist regime have long been mysterious. Owing to their sensitive political and personal nature, over half of the Prokofiev documents at the RussianState Archive have been sealed since their deposit there in 1955, two years after Prokofiev's premature death. The disintegration of the Soviet Union did not lead to the rescinding of this prohibition. Author Simon Morrison is the first scholar, non-Russian or Russian, to receive the privilege to study them. Alongside wholly or partly unknown score materials, Morrison has studied Prokofiev's never-seen journals and diaries, the original, unexpurgated versions of his official speeches, and the bulk of his correspondence. This new information makes possible for the first time an accurate study of the tragic second phase of Prokofiev's career. Moving chronologically, Morrison alternates biographical details with discussions of Prokofiev's major works, furnishing dramatic new insights into Prokofiev's engagement with the Stalinist regime and the consequences that it had for his family and his health.

Consisting of six studies that present hermeneutical analyses of Wagnerian dramas, this book discusses Wagner's mature single dramas from Hollander to Parsifal with reference to the concept of Romantic irony and the basic theoretical orientation of post-structuralism. Wagner is best known as a composer of mythological works, but these music-dramas contain basic problems that essentially contradict what is regarded as their mythological or legendary nature. They all self-referentially play out certain critical processes. Focusing on the very issue of interpretation, this work asks how Wagner's dramas use their legendary or mythological raw material in a specifically 19th-century Romantic way to create meaning. It is argued that by means of Romantic irony, internal self-reflection or self-consciousness, each work deconstructs its own mythological or legendary nature. Musicologists with an interest in Wagner's works, and literary scholars who are interested in interdisciplinary applications of literary-critical theory, will appreciate this unique application of literary, theoretical, and critical concepts to the understanding of his music-dramas. This work will also appeal to scholars of German literature and of German cultural history. It discusses Wagner's single dramas from Hollander to Parsifal.

A compelling portrait of composer-performer Julius Eastman's enigmatic and intriguing life and music. Composer-performer Julius Eastman (1940-90) was an enigma, both comfortable and uncomfortable in the many worlds he inhabited: black, white, gay, straight, classical music, disco, academia, and downtown New York. His music, insistent and straightforward, resists labels and seethes with a tension that resonates with musicians, scholars, and audiences today. Eastman's provocative titles, including Gay Guerrilla, Evil Nigger, Crazy Nigger, and others, assault us with his obsessions. Eastman tested limits with his political aggressiveness, as reflected in legendary scandals like his June 1975 performance of John Cage's Song Books, which featured homoerotic interjections, and the uproar over his titles at Northwestern University. These episodes are examples of Eastman's persistence in pushing the limits of the acceptable in the highly charged arenas of sexual and civil rights. In addition to analyses of Eastman's music, the essays in Gay Guerrilla provide background on his remarkable life history and the era's social landscape. The book presents an authentic portrait of a notable American artist thatis compelling reading for the general reader as well as scholars interested in twentieth-century American music, American studies, gay rights, and civil rights. This Life of Sounds: Evenings for New Music inBuffalo received an ASCAP Deems Taylor Award for excellence. Mary Jane Leach is a composer and freelance writer, currently writing music and theatre criticism for the Albany Times-Union.

Billy May was a self-taught musician and arranger. In 1938, he received his first big break arranging and playing trumpet; first, for the Charlie Barnet band, and in 1940, the band of Glenn Miller. Settling in Hollywood in 1943, his first of many big breaks in radio was playing in Ozzie Nelson's band for the "Red Skelton ShoW." Shortly thereafter, May was asked by Nelson to be musical director to his new show, The Adventures of Ozzie and Harriet. He was also fortunate to play in the orchestra and write arrangements for John Scott Trotter on Bing Crosby's "Kraft Music Hall." Billy May's earliest collaboration with Frank Sinatra produced "Don't Fence Me In" for broadcast on December 23, 1944. Capitol Records paired Billy May and Alan Livingston to initiate a series of children's recordings with arrangements and compositions such as "Bozo the Clown" and the exceedingly popular "I Taut I Taw a Putty Tat." As a band leader and arranger, his signature included the prominent saxophone section glissando (sliding, or slurping) effect, and highly imaginative arrangements. His last great project was the documentation on record of swing era music, commissioned by Time-Life, and completed in 1973.

The discography covers Billy May as arranger and composer from 1944-1998, as sideman and arranger for others, his work on radio, television, movies, and international appearances, his road band, recordings, both domestic and foreign, and his transcriptions. Data is cross-indexed by song title and artist.

From patriotic "God Bless America" to wistful "White Christmas," Irving Berlin's songs have long accompanied Americans as they fall in love, go to war, and come home for the holidays. Irving Berlin's American Musical Theater is the first book to fully consider this songwriter's immeasurable influence on the American stage. Award-winning music historian Jeffrey Magee chronicles Berlin's legendary theatrical career, providing a rich background to some of the great composer's most enduring songs, from "There's No Business Like Show Business" to "Puttin' on the Ritz." Magee shows how Berlin's early experience singing for pennies made an impression on the young man, who kept hold of that sensibility throughout his career and transformed it into one of the defining attributes of Broadway shows. Magee also looks at darker aspects of Berlin's life, examining the anti-Semitism that Berlin faced and his struggle with depression. Informative, provocative, and full of colorful details, this book will delight song and theater aficionados alike as well as anyone interested in the story of a man whose life and work expressed so well the American dream.

Sculthorpe is one of Australia's most prominent composers and is among the most important composers on the international scene. Although he is a distinguished academic and popular lecturer, Sculthorpe does not fit any ready-made category of composer or teacher. In a body of work that so far includes orchestral and chamber music in many genres and mediums, opera and other theater music, songs and choral music, and music for documentary and commercial films, radio, and television, he has established a personal musical style and public presence that have shaped the history of 20th-century music in Australia and the world. Owing to circumstances of place and time--Australia in the 20th century--he has been defining, or redefining, the role of composer for himself and his audiences. This book is a record of Sculthorpe's work and of its reception by composer colleagues, performers, critics, and audiences.