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Nearly 100 years after bursting onto Chicago s music scene under the tutelage of Joe "King" Oliver, Louis Armstrong is recognized as one of the most influential artists of the twentieth century. A trumpet virtuoso, seductive crooner, and consummate entertainer, Armstrong laid the foundation for the future of jazz with his stylistic innovations, but his story would be incomplete without examining how he struggled in a society seething with brutally racist ideologies, laws, and practices.
Thomas Brothers picks up where he left off with the acclaimed Louis Armstrong's New Orleans, following the story of the great jazz musician into his most creatively fertile years in the 1920s and early 1930s, when Armstrong created not one but two modern musical styles. Brothers wields his own tremendous skill in making the connections between history and music accessible to everyone as Armstrong shucks and jives across the page. Through Brothers's expert ears and eyes we meet an Armstrong whose quickness and sureness, so evident in his performances, served him well in his encounters with racism while his music soared across the airwaves into homes all over America.
Louis Armstrong, Master of Modernism blends cultural history, musical scholarship, and personal accounts from Armstrong's contemporaries to reveal his enduring contributions to jazz and popular music at a time when he and his bandmates couldn t count on food or even a friendly face on their travels across the country. Thomas Brothers combines an intimate knowledge of Armstrong's life with the boldness to examine his place in such a racially charged landscape. In vivid prose and with vibrant photographs, Brothers illuminates the life and work of the man many consider to be the greatest American musician of the twentieth century."
Known the world over for her unique musical style, distinctive look and a voice that propelled her into the charts time and time again, Dusty Springfield was undoubtedly one of the biggest and brightest musical stars of the twentieth century.Never one to be shy of the spotlight, Dusty broke the mould as the first female entertainer to publicly admit she was bisexual, and was famously deported from South Africa for refusing to play to segregated audiences during apartheid in 1964, just a year after the launch of her solo career.Combining brand-new material, meticulous research and frank interviews with friends, lovers, employees and confidants, journalist Karen Bartlett reveals sensational new details about the soul diva's unconventional upbringing, tumultuous relationships and unbridled addictions, including a lifelong struggle to come to terms with her sexuality.Named one of the Sunday Times's best musical biographies of 2014, this is the intimate portrait of an immensely complicated and talented woman - the definitive account of one of music's most legendary figures.
"Great Operas of Wagner" is a hardback compendium of Michael Steen's eGuides (internet guides) to all the operas composed by Richard Wagner, the great German opera composer. The book is a companion to "Great Operas of Puccini", a similar hardback being published simultaneously. The books are associated with the series of internet guides, "The Great Opera Companion" subtitled "Guides to One hundred Best Operas". This is Steen's first venture into hardback self-publication, having previously been involved in the publication of internet ebooks. Recently, he has been developing the series of internet guides, "The Great Opera Companion", (see www.greatoperas.net). (1) Original purpose. The guides were originally designed to inform the author's wife (who is not especially enthusiastic about opera generally, or about Wagner), in a quick, efficient, light and amusing way, about what it would help her to know and expect when being taken to a performance. Also, people generally find that they do not have time, and there are too many distractions, to inform themselves once they have arrived in the foyer. A broad-ranging but economical, practical, crisp, and modern guide contributes greatly to appreciation and enjoyment. (2) Structure helpful to the user. Each individual guide, or chapter, is divided into sections. A quick grasp can be obtained from BACKGROUND and the following WHO'S WHO and WHAT'S WHAT (a short summary of the opera story and the roles). In TALKING POINTS the information is expanded, and may possibly facilitate conversation during the interval. ACT by ACT enables the opera-goer to `dig deeper', to appreciate further detail about the story and aspects of the music. The guides provide a brief potted biography of the composer, or a cross reference to one. (3) Self-standing guides. Each guide is self-standing and designed to be the sole point of reference for a specific opera. In such a structure, there is an inevitable element of duplication as information is amplified or repeated. Steen has had to judge the balance between making each guide easy to follow for the user, while avoiding too many cross-references. And the self-standing guide on Wagner's "Ring", (Part Two of the book) has been structured so that the individual components may be used comfortably by both those primarily interested in the full "Ring" cycle, on the one hand, and those wanting a guide to just part of the cycle, on the other. In such a structure, it is helpful for certain of the images to be repeated. This also provides an element of unity and cohesion to the publication. (4) Non-technical. It has been assumed that the user has not necessarily been taught music but is motivated, educated and intelligent. Only in the guides on the later Wagner operas are there a small number of musical examples quoted. To help the reader, the musical notation has been simplified. The examples are necessary to elaborate on Wagner's objectives. And to give substance to various expressions, such as to Wagner's `Tristan chord' which greatly influenced subsequent music; and to his leitmotives (recurring musical themes which Wagner uses to portray a person, object or emotion etc.). (5) User-friendly: indexes, summaries glossaries The hardbacks require indexes which are not so necessary in the ebook environment. Both hardbacks include a comprehensive index, including an index to some better known items, choruses etc. in the operas (for example, The Pilgrims' Chorus, and The Ride of the Valkyries). The Wagner book provides a separate index for the Wagner family. The comprehensive index on Wagner himself provides a means of following his personal and musical development. For "The Ring", a glossary of what George Bernard Shaw called `the curious harlequinade of gods, dwarfs and giants' is provided. (6) What about productions? There is well-identified controversy today about the extent to which it should be acceptable for opera directors to change the time and/or the place of story, the story itself, perhaps sensationalising it, maybe to attract and retain an audience's attention or to make some political point. Steen describes this as `hijacking' the opera. Each Guide carries a warning that the guides cannot anticipate a particular production which does not conform to the composer's intentions. Steen's individual guides are based on the actual text and score. They act as a benchmark against which an assessment can be made, albeit subjectively, about whether the opera is indeed the `composer's opera' or is mis-described as such. This is a judgemental matter. Productions inevitably have to be changed (for there are no castratos today, as there were in baroque opera) and they should take advantage of modern technology. But arguably many directors have pushed the limits beyond recognition such that it is questionable whether a particular production should properly be described as the composer's opera at all. Opera is entertainment. However entertaining and enjoyable a great evening may have been for an audience, the performance may have strayed beyond one which is faithful to the composer's intentions. (7) What about other opera guides - the associated eguides in "The Great Opera Companion" series? As indicated above, Steen has been developing the series of internet guides, "The Great Opera Companion" subtitled "Guides to One hundred Best Operas". This was begun in 2012 with the publication, again by Icon, of the hardback compendium "Great Operas - A Guide to 25 of the World's Finest Musical Experiences". Individual internet guides (eGuides) were subsequently published singly for iPad, Kindle etc. Apart from those published by Icon, they were subsequently withdrawn when their internet publisher (not Icon) unfortunately ceased trading early in 2016. The first twenty-five (those published by Icon) were supplemented in the further ebook compendiums "More Great Operas" (ISBN 9781483569123) and "Many More Great Operas" (ISBN 9780995538511). For convenience, the latter, although subtitled "A guide to 40 more of the world's finest musical experiences", has been periodically supplemented by the addition of many appendices of individual eGuides. (The series, as it stands, actually comprises one hundred and twenty eGuides, and a few more, depending on whether one counts one-act operas as one or two.) (8) What about the other opera guides available? These guides are broader in coverage, lighter in touch and more entertaining than opera material which is generally available on the internet, or in the standard hard-copy opera guides. They are easy to read, but authoritative. They are full of insights. They enable the user to get more value out of an evening at an opera, which is often an expensive one. (9) Some hurdles encountered. The author experienced various hiccups in the development of these guides, the most memorable being in 2016 when, on a Friday night, he was notified `out of the blue' that the company publishing on the internet had ceased to trade and that the work-in-progress was lost in the ether. It took a considerable time to recover the work. Steven Weekes, the Irishman who had been handling the project, had lost his job, and his working facilities (including his email address) had been withdrawn. It took a long time to identify him, contact him, and get the `show back on the road'. These guides are the perfect accompaniment to a Wagner opera. They are also useful in education, and in teaching musical appreciation. They will be valued by old and young, seasoned and unseasoned, whether attending Wagner performances in so many of the world's leading cities in North and South America, Asia, Australasia, Africa and Europe perhaps Sydney, Tokyo, Covent Garden or the Met. Or in the UK, at the innumerable venues, such as Glyndebourne. Even deep into the countryside of the British Isles, say, at Longborough. And the local village hall close to the author's home, which is amongst the 1,000 cinemas venues to which operas, including Wagner's are streamed. ABOUT MICHAEL STEEN Steen is author of the acclaimed "The Lives and Times of the Great Composers" (Icon, 2003). He has also written "Pauline Viardot, Soprano Muse and Lover" (Icon, 2007) about the nineteenth century French prima donna, and featuring her great friends, the Russian novelist Ivan Turgenev and the composer Charles Gounod. Recently, he has been developing the series of internet guides, "The Great Opera Companion" subtitled "Guides to One hundred Best Operas". Michael Steen OBE., Hon. RCM., was born in Dublin. He studied at the Royal College of Music, and was the organ scholar at Oriel College, Oxford. Opera has been one of his great pleasures. During a successful thirty year career in the City of London with KPMG, and afterwards, he has met many who go to it, thus gaining considerable insight into the information which it helps to know in order to enhance one's appreciation and enjoyment of the opera experience. He has been the chairman of the RCM Society and of the Friends of the V&A Museum, the Treasurer of The Open University, and a trustee of Anvil Arts, The Gerald Coke Handel Foundation and of The Royal College of Organists.
In Arranging Gershwin, author Ryan Banagale approaches George
Gershwin's iconic piece Rhapsody in Blue not as a composition but
as an arrangement -- a status it has in many ways held since its
inception in 1924, yet one unconsidered until now. Shifting
emphasis away from the notion of the Rhapsody as a static work by a
single composer, Banagale posits a broad vision of the piece that
acknowledges the efforts of a variety of collaborators who shaped
the Rhapsody as we know it today. Arranging Gershwin sheds new
light on familiar musicians such as Leonard Bernstein and Duke
Ellington, introduces lesser-known figures such as Ferde Grofe and
Larry Adler, and remaps the terrain of this emblematic piece of
American music. At the same time, it expands on existing approaches
to the study of arrangements -- an emerging and insightful realm of
American music studies -- as well as challenges existing and
entrenched definitions of composer and composition.
This beautifully illustrated reference is a guide to the history of music, instruments of the orchestra and the most influential classical composers. All sections of the orchestra are covered: strings, woodwind and brass, percussion, keyboards and the voice, as well as historical, rare and non-Western instruments. An authoritative guide to over 100 of the most famous classic composers then follows. From Bach to Xenakis all styles of compositions from medieval times to the present day are included. The fascinating lives of the great composers are detailed, the places where they lived and worked, scenes from their ballets or operas, and examples of original scripts. This comprehensively updated new edition is illustrated with over 1000 photographs and illustrations.
Performance Practice in the Music of Steve Reich provides a performer's perspective on Steve Reich's compositions from his iconic minimalist work, Drumming, to his masterpiece, Music for 18 Musicians. It addresses performance issues encountered by the musicians in Reich's original ensemble and the techniques they developed to bring his compositions to life. Drawing comparisons with West African drumming and other non-Western music, the book highlights ideas that are helpful in the understanding and performance of rhythm in all pulse-based music. Through conversations and interviews with the author, Reich discusses his percussion background and his thoughts about rhythm in relation to the music of Ghana, Bali, India, and jazz. He explains how he used rhythm in his early compositions, the time feel he wants in his music, the kind of performer who seems to be drawn to his music, and the way perceptual and metrical ambiguity create interest in repetitive music.
If any man could be defined as the epitome of the modern jazz singer, it would surely be Jon Hendricks. His contributions to jazz as a whole were colossal: a hipster, a bopster, a comic and raconteur, a wordsmith par excellence, and a fearless improviser who took the arts of scatting and vocalese to new heights. As a founder member of the groundbreaking vocal trio Lambert, Hendricks and Ross, he changed forever the public perception of what a jazz singer could be. Jon Hendricks started singing professionally at the age of seven. Within five years he was supporting his entire family - including three sisters, eleven brothers and a niece - with his earnings from radio appearances. He was active in jazz long before the birth of bebop, and didn't stop until he was in his nineties. Taught by the pioneering bebop pianist Art Tatum, Hendricks performed with everyone of any consequence in jazz, from Louis Armstrong to Charlie Parker. Before Lambert, Hendricks and Ross astonished the world with their album Sing A Song Of Basie, he was writing songs for Louis Jordan. Later he wrote for stage, screen and the press, and influenced and worked with Manhattan Transfer, Bobby McFerrin and Kurt Elling. Not content with writing lyrics for jazz instrumentals, he turned his hand later in life to classical works by Rimsky-Korsakov and Rachmaninoff. When Jon Hendricks died in 2017, he left behind a final masterwork - his fully-lyricized adaptation of the Miles Davis album Miles Ahead.
Star Turns and Cameo Appearances is the entertaining and insightful memoir by veteran music critic Bernard Jacobson. Its pages are populated by eminent composers ranging from Hans Werner Henze to Andrzej Panufnik and by renowned performers, including Georg Solti, Daniel Barenboim, Sviatoslav Richter, and Jessye Norman. As a music critic and orchestra administrator, Jacobson has had the opportunity to observe these outstanding musicians and many of their colleagues at close quarters. Assisting Riccardo Muti at the Philadelphia Orchestra for eight years, he saw sides of that maestro not visible to the music-loving public. Throughout Star Turns and Cameo Performances, Jacobson adds his own sensitive and sympathetic view to public perceptions of musical luminaries of yesterday and today, helping to explain and illuminate their artistry. Bernard Jacobson has worked in the music field for over fifty years, including stints as recording executive, music critic of the Chicago Daily News, artistic director and adviser for international orchestras in Holland, and visiting professor at Roosevelt University's Chicago Musical College. He has also performed and recorded as narrator of concert works and opera.
Most people know that ABBA (1972-1982) were a Swedish band who became one of the world's most successful pop groups after winning the 1974 Eurovision Song Contest with their song "Waterloo." What, perhaps, they don't know is that they have sold more than 380 million albums and singles; that their name was chosen through a newspaper competition, where alternatives included Alibaba, FABB, and Baba; that their royalties from the Soviet Union were so big they had to be paid in oil rights; and that 3.5 million people applied for tickets to see ABBA at London's Royal Albert Hall in 1977. Biographic ABBA presents an instant impression of their life, work, and legacy, with an array of irresistible facts and figures converted into infographics to reveal the musicians behind the music.
This book is a backstage pass to the ups, downs, and all-out craziness of arena rock-deep discussions with Rod Stewart, jamming with legends like Mick Jagger and Justin Timberlake, gaining groupies, and striking out solo. Stevie Salas was one of many boys coming of age in the 1980s-when the American dream was rock superstardom. As lead guitarist for a San Diego band, Salas played backyard parties and school dances and even scored the music for the cult classic Bill & Ted's Excellent Adventure. When he auditioned for Rod Stewart-where he was the youngest band member by a decade-Salas's life truly hit a turning point. Salas pulls no punches to describe the initial skepticism and hazing he faced as the youngest member of Stewart's band, the night he stood up for himself on the tour plane, and the emotional late-night talk with Rod Stewart that restored the frontman's faith in his young, untested guitar player and his new group that was struggling to find its groove. Yet they became a band of brothers and formed a camaraderie they share to this day. When We Were the Boys revolves around the year Salas began as an inexperienced musical prodigy and finished as a seasoned rock 'n' roll veteran-more mature as a man and musician.
Despite the enormous and accelerating worldwide interest in Wagner leading to the bicentenary of his birth in 2013, his prose writings have received scant scholarly attention. Wagner's book-length essay on Beethoven, written to celebrate the centenary of Beethoven's birth in 1870, is really about Wagner himself rather than Beethoven. It is generally regarded as the principal aesthetic statement of the composer's later years, representing a reassessment of the ideas of the earlier Zurich writings, especially Oper und Drama, in the light of the experience gained through the composition of Tristan und Isolde, Die Meistersinger von Nurnberg and the greater part of Der Ring des Nibelungen. It contains Wagner's most complete exegesis of his understanding of Schopenhauer's philosophy and its perceived influence on the compositional practice of his later works. The essay also influenced the young Nietzsche. It is an essential text in the teaching of not only Wagnerian thought but also late nineteenth-century musical aesthetics in general. Until now the English reader with no access to the German original has been obliged to work from two Victorian translations. This brand new edition gives the German original and the newly translated English text on facing pages. It comes along with a substantial introduction placing the essay not only within the wider historical and intellectual context of Wagner's later thought but also in the political context of the establishment of the German Empire in the 1870s. The translation is annotated throughout with a full bibliography. Richard Wagner's Beethoven will be indispensable reading for historians and musicologists as well as those interested in Wagner's philosophy and the aesthetics of music. ROGER ALLEN is Fellow and Tutor in Music at St Peter's College, Oxford.
Tony Christie hat mit "Is This The Way To Amarillo", "I Did What I Did For Maria", "Avenues & Alleyways" die Charts in Landern auf der ganzen Welt angefuhrt und fur seine jungeren Arbeiten mit Richard Hawley und Jarvis Cocker auch von anerkannten Kritikern hoechste Anerkennung erhalten. Tonys Alben haben mehrere Gold- und Platin-Auszeichnungen erreicht, und er war der einzige Sanger im Jahr 2005, der in England gleichzeitig eine Single und ein Album auf Platz 1 der Charts hatte. Tony ist einer der beliebtesten Sanger Deutschlands und Mitteleuropas. Sein Album "Welcome To My Music", das erste einer ganzen Reihe von Alben mit dem legendaren deutschen Produzenten Jack White, verkaufte sich uber 450.000 Mal fur den Mann, der als "Gentleman of Pop Music" bezeichnet wird. Er ist immer noch regelmassig in Carmen Nebels TV-Shows zu sehen, und spielt auf seinen Tourneen vor ausverkauften Hausern. Songs wie "Sweet September", "I Did What I Did For Maria" und naturlich "Amarillo" sind bei seinen deutschen und mitteleuropaischen Zuschauern, fur die er zu einem der Lieblingskunstler des Schlagers aller Zeiten wurde, so beliebt wie eh und je. Jetzt erzahlt Tony zum ersten Mal von seiner illustren, farbenfrohen Karriere, die in der kleinen Stadt Conisbrough in South Yorkshire begann, und ihn zu einem heute noch als Sangerlegende mit Fans auf der ganzen Welt gefeierten Kunstler werden liess. Es ist eine Geschichte voller emotionaler und finanzieller Hoehen und Tiefen, fantastischer Charaktere und Tonys tief verwurzelter Liebe zur Familie. Wenn Sie dachten, dass Sie Tony Christie kennen, werden Sie es jetzt tun, wenn er uber seine Lieben, seine Sorgen und sein erstaunliches Leben spricht! TONY CHRISTIE: Der Sanger ist die offizielle Autobiografie einer Ikone in der Popmusik, deren Stimme heute so gut klingt, wie als er 1971 zum ersten Mal in die Charts kam.
With over 250 never-before-seen images taken by Guy Oseary, Madonna's manager and CEO of Maverick Records, this is as up-close, personal and behind the scenes as her adoring fans are able to get. The images showcase the provocative themes of Madonna's live performances, from equestrian to urban Bedouin, from glam punk to disco fever.
The Jonas Brothers have gone from obscurity to superstardom in the course of a year, and there's simply no stopping them. From their top-selling albums, to their sensational sold-out tours, their Disney Channel original movie Camp Rock and forthcoming TV series J.O.N.A.S., Kevin, Joe and Nick Jonas are here to stay. Jonas Brothers Forever: The Unofficial Story of Kevin, Joe and Nick chronicles the boys' lives and careers from child performers to their first disappointing Columbia Records deal to being signed by Disney's Hollywood Records. From that point, their lives changed forever. Their Meet the Robinsons song "Kids of the Future" became a major hit, and the brothers Jonas were everywhere: from Miley Cyrus's sold-out tour to the White House to the top of the charts. Jam packed with photos, Jonas Brothers Forever: The Unofficial Story of Kevin, Joe and Nick is the only complete guide to the amazing world of the JoBros: the life and career of this talented trio; their family and the importance of their faith; their friends, girlfriends, costars and management team; their albums, videos, tours and TV shows; and the true-blue fans who will support the Jonas Brothers forever.
This is the first full-length biography of Keith Relf, frontman for the Yardbirds and one of the great tragic characters in rock history. Keith's moody vocals and harmonica helped to define the Yardbirds' sound on a string of innovative hit records that influenced garage rock, psychedelia, blues rock, hard rock and heavy metal. Numerous books have been written about the Yardbirds' famous guitarists--Eric Clapton, Jeff Beck and Jimmy Page--yet Keith has remained a mysterious and elusive figure since his death by electrocution at age 33. A deeply private person, prone to depression and poor health, Keith was ill-suited to the life of a rock star. In the years following the Yardbirds' breakup, as the band's guitarists became household names playing blues-based rock, Keith insisted on pursuing new musical paths, always searching for something new and trying to extend the Yardbirds' spirit of curiosity and innovation. By the time of his death in 1976, Keith was nearly forgotten and struggling physically, emotionally and financially. More than forty years after his tragic death, this important artist's story has finally been written and his contributions celebrated as more than just a footnote to the careers of his better-known bandmates.
Metric Manipulations in Haydn and Mozart makes a significant contribution to music theory and to the growing conversation on metric perception and musical composition. Focusing on the chamber music of Haydn and Mozart produced during the years 1787 to 1791, the period of most intense metric experimentation in the output of both composers, author Danuta Mirka presents a systematic discussion of metric manipulations in music of the late 18th-century. By bringing together historical and present-day theoretical approaches to rhythm and meter on the basis of their shared cognitive orientations, the book places the ideas of 18th-century theorists such as Riepe, Sulzer, Kirnberger and Koch into dialogue with modern concepts in cognitive musicology, particularly those of Fred Lerdahl and Ray Jackendoff, David Temperley, and Justin London. In addition, the book puts considerations of subtle and complex meter found in 18th-century musical handbooks and lexicons into point-by-point contact with Harald Krebs's recent theory of metrical dissonance. The result is an innovative and illuminating reinterpretation of late 18th-century music and music perception which will have resonance in scholarship and in analytical teaching and practice. Metric Manipulations in Haydn and Mozart will appeal to students and scholars in music theory and cognition/perception, and will also have appeal to musicologists studying Haydn and Mozart.
First published in 1996. Routledge is an imprint of Taylor & Francis, an informa company.
Granddaughter of the philosopher Moses Mendelssohn and sister of the composer Felix Mendelssohn Bartholdy, Fanny Hensel (1805-1847) was an extraordinary musician who left well over four hundred compositions, most of which fell into oblivion until their rediscovery late in the twentieth century. In Fanny Hensel: The Other Mendelssohn, R. Larry Todd offers a compelling, authoritative account of Hensel's life and music, and her struggle to emerge as a publicly recognized composer.
First published in 1996. Routledge is an imprint of Taylor & Francis, an informa company.
This complete edition of the letters of the Brazilian composer Heitor Villa-Lobos, collected for the first time in any language, details his stay in the Paris of the 1920s, his work in Brazil and the 1930s and 40s and his international travels as conductor of his own music. The letters also discuss commissions for ballets, concertos and other works. Lisa M. Peppercorn, who knew Villa-Lobos, is the acknowledged expert on the life and music of this colourful figure, and she gives a detailed commentary on the events giving rise to the letters. A chronology gives a detailed account of Villa-Lobos' life, which is thoroughly illustrated with photographs of the persons and places associated with Villa-Lobos, facsimiles of works and concert programmes, and so on. The letters thus form a guide to the most productive years of his life.
Brahms and the Shaping of Time brings together essays by leading music scholars, each of which analyzes the music of Brahms with a particular focus on the music's temporality. The volume reveals numerous ways in which Brahms manipulates such basic elements as rhythm and phrase structure in pieces ranging from the Third Piano Sonata and the Double Concerto to a number of his most important and beloved songs. The first two essays examine aspects of rhythm and meter in Brahms's lieder, recognizing his meaningful deviations from temporal norms. The second two pick up the mantle from William Rothstein's landmark text Phrase Rhythm in Tonal Music. Rothstein's study focused on the music of other composers, but suggested how a future study might explore the music of Brahms; these essays contribute to such a study while also pivoting the book's focus from vocal to instrumental music. Each of the chapters of the third pair cross-examines and expands our understanding of the hemiola. The concluding trio of essays promotes, through further analysis of individual works, ways of hearing that encourage the reader to breach the confines of the score's metric notation. Together, the essays in this volume offer fresh approaches to the life and music of the beloved nineteenth-century composer and incorporate significant new ways of thinking about rhythm, meter, and musical time. CONTRIBUTORS: Eytan Agmon, Richard Cohn, Harald Krebs, Ryan McClelland, Jan Miyake, Scott Murphy, Samuel Ng, Heather Platt, Frank Samarotto Scott Murphy is professor of music theory at the University of Kansas.
20 greats from these prog-rock legends, including: All over the World * Confusion * Don't Bring Me Down * Evil Woman * Hold on Tight * Shine a Little Love * Show Down * Strange Magic * Sweet Talkin' Woman * Xanadu * and more.
Sir Lennox Berkeley (1903-1989) was one of the leading British composers of the mid-twentieth century and his music has unique qualities which will ensure its survival far beyond transient fashions. Peter Dickinson knew Berkeley for more than thirty years and this much enlarged book places the composer in the context of his extended study with Nadia Boulanger, his friendship with Britten, and the achievement of an independent voice of remarkable distinction. The new book now benefits from interviews with Lady Berkeley, Michael Berkeley, Julian Bream, Colin Horsley, Sir John Manduell, Nicholas Maw, Malcolm Williamson and the late Basil Douglas, Desmond Shawe-Taylor and Norman del Mar. There are photographs, a full list of works, bibliographies and over a hundred musical examples. PETER DICKINSON is Head of Music at the Institute of United States Studies at the University of London and an Emeritus Professor of the Universities of Keele and London.
Teaching the Beatles is designed to provide ideas for instructors who teach the music of the Beatles. Experienced contributors describe varied approaches to effectively convey the group's characteristics and lasting importance. Some of these include: treating the Beatles' lyrics as poetry; their influence on the world of art, film, fashion and spirituality; the group's impact on post-war Britain; political aspects of the Fab Four; Lennon and McCartney's songwriting and musical innovations; the band's use of recording technology; business aspects of the Beatles' career; and insights into teaching the Beatles in an online format.
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