Sir Andrzej Panufnik used to say that he communicated in music, not words. But his literary legacy is substantial, as this book demonstrates. Its major element is Composing Myself, the autobiography he wrote in 1985, long since a collector's item and here republished in a fully annotated new edition. It provides a graphic account of an often dramatic life. Panufnik's early success in pre-World War II Poland was soon eclipsed by the horrors of the Nazi occupation. Composing Myself documents in striking detail the desperate circumstances in which Panufnik repeatedly found himself - and the personal courage with which he responded. Post-War Poland then progressed from theovert terrors of Nazism to the deadening hand of Communism, and Panufnik charts the methodical attempts of Party orthodoxy to stifle independent thought. In spite of the success he enjoyed as a conductor, Panufnik was unable to compose under such restrictions, feeling he was being suffocated. Though a patriot to his bones, he boldly decided that escape to the west was the only option, and his account of his defection - in 1954, at the height of the Cold War - reads like a le Carre thriller. Safe in England, he was able to rebuild his career, overcoming official neglect of his music to become one of Britain's best-respected composers - and to be greeted as a national hero when he finally managed to return to his beloved Poland, free at last. Composing Myself is complemented by the complete programme notes he wrote to shed light on the impulse behind, and design of, his music, complete with theoften visually striking diagrams he drew to articulate their formal logic. A third section includes his few other articles, including a 1955 report to the unsuspecting west of the true nature of Polish intellectual life under Communism, an insightful radio broadcast on Szymanowski and a brief tribute to Bartok. Finally, Part IV collects the more important of the interviews Panufnik gave over the course of his career.

One of today's most widely acclaimed composers, Arvo Part broke into the soundscape of the Cold War West with Tabula Rasa in 1977, a work that introduced his signature tintinnabuli style to listeners throughout the world. In the first book dedicated to this pathbreaking composition, author Kevin C. Karnes tells the story of Tabula Rasa as one of Part and of Europe itself, traced over the course of a quarter-century that saw momentous transitions in European culture and politics, history and memory. Beginning at the site of the work's creation in the Estonian SSR, and drawing extensively upon a range of previously unexamined archival materials, Karnes recounts Part's discovery of tintinnabuli amidst his experiments with the music of the Western and Soviet avant-gardes. He examines Tabula Rasa in relation to modernist conceptions of musical structure, the ascetic practice of Orthodox Christianity, postwar experiences of electronic music, and the polystylistic approaches to composition that have become emblematic of the Soviet 1970s. Tracing the export of Tabula Rasa to the West and Part's emigration in 1980, the book reveals intersections of critical commentary with visions of the "end of history" that attended the collapse of European communism to suggest that it was in this confluence of listening, discovery, and geopolitical reordering that enduring lines of conversation about Part and his music took shape.

Appropriately, this work written on the year of the 100th birthday of Frank Martin, is the first English language resource dealing with work by and about the Swiss composer. Charles King provides access to a great deal of critical substantive writing about Martin's work and to the considerable body of writing by the composer himself. Many of the most important writings, derived from articles, lectures, letters, program notes and interviews, are now collected into several monographs in French with some parts in English and German, all of which have been indexed here. Comprehensive coverage is given to articles in English, and excellent work written in German, French, Dutch, and Italian has been highlighted also. The volume consists of a biography of Martin, a cataloging of the composer's works and performances, and a 229-item discography followed by two separate bibliographies that list writings by and about Martin. Two appendixes and an index complete the work. As the only comprehensive introduction in English to Frank Martin and his work, this reference will assist future researchers and stimulate the interest and curiosity of others to learn more of this composer's life and work.

"This is an excellent and authoritative book -- one that will no doubt become the standard biography of Richard Rodgers". -- Allen Forte, Yale University

Richard Rodgers, a musical genius whose Broadway career spanned six successful decades, composed more than a thousand songs for the American stage. Although he reaped wealth, success, and recognition that included two shared Pulitzer Prizes, Rodgers found happiness elusive. In this first comprehensive biography of Rodgers, William G. Hyland tells the full story of the complex man and his incomparable music.

Hyland's portrait of Rodgers (1902-79) begins with his childhood in an affluent Jewish family living in the Harlem neighborhood of Manhattan. During college years at Columbia University and early work on the amateur circuit and Broadway, Rodgers entered into a historic collaboration with the lyricist Lorenz Hart. The team produced a dozen popular shows and such enduring songs as "The Lady Is a Tramp". Rodgers' next partnership, with Oscar Hammerstein II, led to the creation of the musical play, a new and distinctively American art form. Beginning with Oklahoma in 1943, this pair dominated Broadway for almost twenty years with a string of hits that remain beloved favorites: Carousel, South Pacific, The King and I, and The Sound of Music. When Hammerstein died in 1960, Rodgers began a new phase in his career, writing the lyrics to his own music, then joining lyricists Stephen Sondheim, Sheldon Harnick, and Martin Charnin. Despite periods of depression, excessive drinking, hypochondria, and devastating illness at different points in his life, Rodgers' outpouring of music seemed little affected, and he continued to compose untilhis death at age seventy-seven. An icon of the musical theater, Rodgers left a legacy of timeless songs that audiences return to hear over and again.

Explores Wagner's lengthy stays in Venice, his death there, and the meaning of his works -- and his death -- for that great city and its mystique. Richard Wagner had a longstanding love affair with the city of Venice. His sudden death there in 1883 also initiated a process through which Wagner and his reputation were integrated into Venice's own cumulative cultural image. In Wagner and Venice, John Barker examines the connections between the great composer and the great city. The author traces patterns of Wagner's visits to Venice during his lifetime, considers what the city came to meanto Wagner, and investigates the details surrounding his death. Barker also examines how Venice viewed Wagner, by analyzing the landmark presentation of Wagner's Ring cycle two months after the composer's death, and by consideringVenice's subsequent extensive Wagner celebrations and commemorations. Throughout the volume, biographical detail from new and previously unavailable sources provides readers with a fresh interpretation of this seminal figure.Those already familiar with Wagner's life will find new information about, and insights into, the man and his career, while simultaneously discovering a neglected corner of Italian and Venetian cultural history. John W. Barker is Emeritus Professor of History at the University of Wisconsin-Madison, specializing in Medieval (including Venetian) History. He is also a passionate music lover and record collector, and an active music critic and journalist.

This volume draws together a collection of Robin A. Leaver's essays on Bach's sacred music, exploring the religious aspects of this repertoire through consideration of three core themes: liturgy, hymnology, and theology. Rooted in a rich understanding of the historical sources, the book illuminates the varied ways in which Bach's sacred music was informed and shaped by the religious, ritual, and intellectual contexts of his time, placing these works in the wider history of Protestant church music during the Baroque era. Including research from across a span of forty years, the chapters in this volume have been significantly revised and expanded for this publication, with several pieces appearing in English for the first time. Together, they offer an essential compendium of the work of a leading scholar of theological Bach studies.

Experiencing Music Composition in Grades 3-5 is a practical guide to new, innovative, and natural composition techniques for young composers. Music Educators Michele Kaschub and Janice Smith bring a wealth of experience to bear a unique and thoughtfully curated series of materials that help teachers connect music education to young composers' everyday emotions and activities . Divided into four sections, Kaschub and Smith's book illustrates a creative roadmap for instilling a sense of creative independence in students ages 8-11. The first section introduces readers to three distinct compositional ideals that are as educationally significant as the music they help create: feelingful intention, musical expressivity, and artistic craftsmanship. These capacities help springboard children's work from sounds and brief musical gestures to thoughtfully created, expressive musical pieces. Section 2 includes fun and imaginative lessons that are accompanied by Sketchpages-graphic worksheets that support deep consideration of a project's purpose during the compositional process. Lessons also include invaluable suggestions for productive sharing in a variety of formats. Section 3 offers guidance and strategies for sharing work, providing feedback, and encouraging future growth in a manner that fosters a positive learning experience and acknowledges each composer's musical autonomy. Section 4 contains additional teacher guides focused on creating original music in different genres. These guides outline multiple approaches to corresponding lessons and jumpstart activity while serving as developmental models. Experiencing Music Composition: Grades 3-5 offers new ways to promote not only creative intuition in children but also independent thought, preparing students for a fulfilling relationship with music.

More than 400 books have been published on the American musical icon, Elvis Presley. This critical, annotated guide contains reviews of the varied literature on Elvis, from his career and its social and political aspects to biographies and discographies. The annotated literature not only includes works by family, friends, and musical peers but also references and guides to Elvis collectibles. Each entry details, in addition to pertinent publishing and author information, the specific perspectives and information unique to the literature. The author provides assessments made by Elvis' peers and an introductory essay discusses the surrounding contradictions and the enduring fascination with Elvis.

By covering the vast and different Elvis literature available, this guide will appeal to scholars and fans alike. Organized by type of literature, the guide is easy to reference. Informative addenda include a guide to collecting Elvis books and a chronological listing of Elvis books. In addition to a general index, the guide is indexed by author, by songs, films, and album titles, and by books, magazines, and publications. This compilation offers valuable assistance and critical information to anyone researching some aspect of Elvis and his career.

A synchronic study that highlights the importance of printed packaging, rather than notes on the page, to the complex relationship between composers, publishers, and consumers of music. Why dedicate music? What did dedications mean to their readers and writers, especially after 1785, when more works were offered to fellow composers as well as to patrons? Borrowing from book history and sociological theory, Dedicating Music, 1785-1850 is a large-scale study of patterns of dedications. Emily H. Green argues that the kinds of offerings printed in the late eighteenth through mid-nineteenth centuries reflect a changing financial and aesthetic landscape in which patronage was waning and independent artistry surging. Dedications labeled written music as a gift while presenting composers with an opportunity for self-promotion. They also contributed to a new kind ofbranding of music by communicating composers' friendships and artistic allegiances.. Dedicating Music considers dedications issued in print between 1785 and 1850 in sets of overlapping corpuses: offerings to peers (as in Mozart's string quartets dedicated to Haydn); to patrons (as in Ignaz Pleyel's string quartets for Count Erdoedy); to friends (as in Ferdinand Ries's offerings for Beethoven); and dedications issued by publishers (as in Beethoven's song "In questa tomba oscura," included in publisher Tranquillo Mollo's collection offered to Prince Lobkowitz). The result is a synchronic study that highlights the importance of printed packaging, rather than notes onthe page, to the complex relationship between composers, publishers, and consumers of music. EMILY H. GREEN is Assistant Professor of Music at George Mason University. The University of Rochester Press gratefully acknowledges generous support from the Claire and Barry Brook Endowment of the American Musicological Society and the AMS 75 PAYS Endowment of the American Musicological Society, both funded in part by the National Endowment for the Humanities and the Andrew W. Mellon Foundation.

Barbra Streisand has enjoyed worldwide artistic success for more than three decades, and her recordings are a consistent and integral part of her multifaceted professional life. As part of Greenwood's series, Companions to Celebrated Musicians, this volume explores the musical life and style of Barbra Streisand and places her in the context of American popular music of the second half of the 20th century. Attention is given to other aspects of her career as they relate to her recordings. Chapters proceed chronologically and trace Streisand's evolving musical career and her successes. Analytical sections focus on musical elements, such as instrumentation and orchestration, melody, harmony, rhythm and tone, dynamics, and form, as they examine in detail Streisand's recordings and songs.

This study of Barbra Streisand's music will appeal to American and popular music scholars and fans alike. The detailed musical analysis is written in straightforward prose. An appendix includes an album discography, song discography, and listing of other recordings and videos. An extensive bibliography serves as a guide to further research.

This book introduces every important aspect of the Elizabethan music world. In ten scrupulously researched yet accessible chapters, Lord examines the lives of composers, the evolution of musical instruments, the Elizabethan system of musical notation, and the many textures and traditions of Elizabethan music. Biographical entries introduce the most significant and prolific composers as well as the members of royal society who influenced Elizabethan musical culture. Both familiar and obscure instruments of the era are described with focus on their musical and social contexts. Various types of music are defined and illustrated, along with an explanation of the musical notation used during this era. Chapter bibliographies, glossaries, and an index provide additional tools for both the novice and the experienced student of music and music history. When Elizabeth ascended to the throne in 1558, England was undergoing tremendous upheaval. Power struggles between Protestants and Catholics shaped the English music world as musicians' livelihoods were directly linked to their religious allegiances. Music became a form of strategy within court politics, and secular music evolved through the musical and poetic influences of the Italian Renaissance. Events of the day were told and retold through music, class and social differences were sung with relish, and rituals of love and life were set to story and song. When England defeated the vaunted Spanish Armada in 1588, a victorious nation expressed its jubilance through music.

Released in 1986, Hunters and Collectors' album Human Frailty is one of the most important Australian albums of the last two decades of the twentieth century. It was pivotal in the group's career and marked the group's move into pub rock. It is unashamedly concerned with love and desire. The album challenged traditional understandings of Australian masculinity while playing music to predominantly male audiences. No other Australian group would have dared, or indeed been able, to get their audience to roar 'You don't make me feel like a woman anymore,' the culminating line off Hunan Frailty's first track, and the first single taken from the album, "Say Goodbye". The second track on the album, "Throw Your Arms Around Me" has become an Australian standard, an anthem sung drunkenly more by women than men, in pubs, at weddings and similar occasions. Human Frailty is an album that transcended the critical categories of its time.

Dwight Yoakam has long been known to country music fans as a musiciam who is as much artist as he is superstar. Over the course of his fifteen-year career, he has received fourteen Grammy nominations. One reviewer described his work this way: "Yoakam's lyrics--Leonard Cohen meets Ernest Tubb--work so well because they're literary without being high-minded. The artfulness of the words . . . doesn't always hit you until you read them on the lyric sheet."Newsweek called Yoakam's most recent record--titled, like his book, A Long Way Home--"a daring departure. It's lush and languid, more introspective than hit-driven. He's looking for subtle emotions, melodic evocations of the distances between people, and he draws on sources as varied as Bobby Darin, Chet Baker, and Buck Owens to get there."A Long Way Home is the first collection of Yoakam's lyrics in book form. It spans his career, from such early albums as Hillbilly Deluxe and Buenas Noches from a Lonely Room to the recently released, critically acclaimed A Long Way Home. Yoakam's songwriting is really storytelling--he poetically writes of subjects ranging from God to drinking to love--and proves him to be as fine a writer as he is a musician.

People Magazine"Shady Bizzness was disturbing and intense! It was like a good scary movie!" MSNBC"It was brilliantly written!" Book DescriptionThis story is based on the factual ills of "white rapper" and Hip-Hop phenomenon, "Eminem." "Shady Bizzness" tell about real life events of his public and private lifestyle. The book details the good times, hardships, drug abuse, domestic violence, scandals, sex, near-death experiences, murder, oppression of employees and bitter betrayl. "Shady Bizzness" is everything a parent despises, thugs love, groupies lust over, and wives hate!

Contributions by Joshua Coleman, Christine Hand Jones, Kevin C. Neece, Charlotte Pence, George Plasketes, Jeffrey Scholes, Jeff Sellars, Toby Thompson, and Jude Warne After performing with Ronnie Hawkins as the Hawks (1957-1964), The Band (Rick Danko, Garth Hudson, Richard Manuel, Robbie Robertson, and Levon Helm) eventually rose to fame in the sixties as backing musicians for Bob Dylan. This collaboration with Dylan presented the group with a chance to expand musically and strike out on their own. The Band's fusion of rock, country, soul, and blues music-all tinged with a southern flavor and musical adventurousness-created a unique soundscape. The combined use of multiple instruments, complex song structures, and poetic lyrics required attentive listening and a sophisticated interpretive framework. It is no surprise, then, that they soon grew to be one of the biggest bands of their era. In Rags and Bones: An Exploration of The Band, scholars and musicians take a broad, multidisciplinary approach to The Band and their music, allowing for examination through sociological, historical, political, religious, technological, cultural, and philosophical means. Each contributor approaches The Band from their field of interest, offering a wide range of investigations into The Band's music and influence. Commercially successful and critically lauded, The Band created a paradoxically mythic and hauntingly realistic lyrical landscape for their songs-and their musicianship enlarged this detailed landscape. This collection offers a rounded examination, allowing the multifaceted music and work of The Band to be appreciated by audiences old and new.

Emma Lou Diemer--a composer who successfully combines a classicist's interest in form with a fresh, contemporary, harmonic vocabulary--has produced a diverse, sophisticated, and largely unheralded opus, including 350 works composed for orchestra, symphonic band, chamber ensemble, keyboard, chorus, voices, and solo and electronic instruments. This complete guide to her extensive work examines her influences and her unique musical style, reveals her philosophy of composing, and offers the reader access to detailed information about her work. Though her organ psalm settings and hymn preludes are considered standard repertoire, as are a number of her choral compositions, Diemer has not received her due attention or acclaim-an oversight fully corrected by this valuable addition to music scholarship.

Beginning with a brief biography that outlines Diemer's life and art, this thoroughly cross-referenced book goes on to enumerate the composer's many works and performances in a section divided by style and instrument. A complete discography and bibliography round out the volume, along with alphabetical, chronological, and genre-specific indexes.

Drawing on a wealth of unpublished sources surrounding Kinkel, this book explores the extent to which Kinkel's Lieder reflect and transcend compositional-aesthetic, cultural, and socio-political facets typically associated with the first half of the nineteenth century. Johanna Kinkel (1810-1858) was a German composer, music pedagogue, pianist, poet, writer, and activist. This is the first study to offer an exhaustive examination of Kinkel's published songs through the lens of her extraordinary biography and reception. Throughout her life, Kinkel was strongly invested in traditional family and household duties. First married to a Catholic book seller, she successfully filed for divorce in 1840, converted to the Protestantfaith, and, in 1843, married the poet, professor, and revolutionary Gottfried Kinkel (1815-1882), with whom she had four children. Many of her love songs reveal a sense of emotional hardship and longing for support and recognition. Similar sentiments can also be traced in Kinkel's private letters. On the other hand, she challenged typical gender conventions of the time in these private correspondences, in her poetry, music, and writings, and through public socio-political participation. Her political songs to words by herself, by Gottfried Kinkel, and by some of their poet-friends draw on such themes as freedom and democracy and are anchored in the German democratic movement during the first half of the century. Furthermore, Kinkel treats in her songs such typical Romantic topoi as nature, loneliness, eternity, and night thoughts. Her compositional aesthetics range from simple strophic settings with straightforward harmony to more diverse harmonic progressions, rhythmic peculiarities, and complex musical interpretations of poetic Romantic irony. This book provides insights into the depth and width of Kinkel's song aesthetics and into her positioning within and between such domains as musical professionalism and amateurism and 'masculine' and 'feminine' musical styles. It argues that Kinkel's songs both reflect and transcend aesthetic, cultural,and socio-political facets typically associated with female composers of the first half of the nineteenth century, thus adding a new layer to our understanding of both the composer Johanna Kinkel and nineteenth-century song moregenerally.

All-new interviews with 33 of the world's leading composers--from Adams and Crumb to Gubaidulina and Rihm--give unique insights into the creative process. Balint Andras Varga is perhaps the world's most respected interviewer of living composers. For The Courage of Composers and the Tyranny of Taste: Reflections on New Music, Varga has confronted thirty-three composers with quotations carefully chosen to elicit their thoughts about an issue that is crucial for any serious creative artist: How can one find courage to deal with the sometimes tyrannical expectations of the outside world? The result is an imaginary roundtable at which we encounter fresh, revealing, previously unpublished statements from such world-renowned composers as John Adams, Friedrich Cerha, George Crumb, Sofia Gubaidulina, Georg Friedrich Haas, Giya Kancheli, Gyoergy Kurtag, Helmut Lachenmann, Libby Larsen, Robert Morris, and Wolfgang Rihm. Also represented are composers who are becoming more prominent with the passing years -- Chaya Czernowin, Pascal Dusapin, and Rebecca Saunders -- as well as conductor-composer Michael Gielen, festival director Nicholas Kenyon, and music critics Paul Griffiths and Arnold Whittall. In The Courage of Composers and the Tyranny of Taste, composers and other insightful individuals comment on choices made, traps avoided, unforeseen consequences, proud accomplishments, occasional regrets: the whole range of experiences central to artistic creativity. Balint Andras Varga isthe acclaimed author of Gyoergy Kurtag: Three Interviews and Ligeti Homages; Three Questions for 65 Composers; and From Boulanger to Stockhausen: Interviews and a Memoir (all available from University of Rochester Press).

A groundbreaking Black artist and his career in the Jim Crow South This book is the first biography of Graham Jackson (1903-1983), a virtuosic musician whose life story displays the complexities of being a Black professional in the segregated South. David Cason discusses how Jackson navigated a web of racial and social negotiations throughout his long career and highlights his little-known role in events of the twentieth century. Widely known for an iconic photo taken of him playing the accordion in tears at Franklin D. Roosevelt's funeral, which became a Life magazine cover, Jackson is revealed here to have a much deeper story. He was a performer, composer, and high school music director known for his skills on the piano and organ. Jackson was among the first Black men to enlist in the Navy during World War II, helping recruit many other volunteers and raising over $2 million for the war effort. After the war he became a fixture at Atlanta music venues and in 1971, Governor Jimmy Carter proclaimed Jackson the State Musician of Georgia. Cason examines Jackson's groundbreaking roles with a critical eye, taking into account how Jackson drew on his connections with white elites including Roosevelt, Coca-Cola magnate Robert Woodruff, and golfer Bobby Jones, and was censured by Black Power figures for playing songs associated with Confederate memory. Based on archival, newspaper, and interview materials, The Life and Music of Graham Jackson brings into view the previously unknown story of an ambitious and talented artist and his controversial approach to the politics and culture of his day. Publication of this work made possible by a Sustaining the Humanities through the American Rescue Plan grant from the National Endowment for the Humanities.

Tom Waits in his own words: a collection of three decades' worth of interviews with Tom Waits 'I've never met anyone who made it with a chick because they owned a Tom Waits album. I've got all three, and it's never helped me,' Tom Waits. Born, seemingly, in the back of a taxi cab outside a hospital in California, in December 1949, the young Tom Waits graduated through the jobs of janitor, dishwasher and cook to the position of doorman at a small L.A. club. Existing on a diet of whiskey, cigarettes and beat writing, he now added folk and jazz to his formative influences. In 1969, Captain Beefheart manager Herb Cohen discovered him - and five years later he released his first album, Closing Time, a record soaked in equal parts bourbon and melancholy. His drunken bohemian persona kicked in after this ('The Piano Has Been Drinking, Not Me'), and his familiar hoary rasp ('a voice that could guide ships through dense fog'), tales of losers, outsiders, hobos, dingy bar-room joints and seedy diners became the stuff of cult legend, covered by the likes of the Eagles, championed by Elton John, and instantly recognisable from a thirty-year career that has seeped through music (over 20 albums), theatre and film. Waits has never written an autobiography, has notoriously played fast and loose with the truth, but this collection of interviews is practically Tom Waits in his own words. Witty, enigmatic and currently fired up about the state of America (his latest album 'Real Gone' has been his most successful yet), Innocent When You Dream is a must-have for any Waits fan.

Bach's Changing World is a study of popular culture in the community in which Bach spent the last, the longest, and the most productive part of his life: the Leipzig middle-class. The Leipzig middle-class evolved with the cooperation and gratitude of an extravagant, greedy, and disinterested absolutist ruler. Bach's Changing World documents how this community and other German communities responded toa variety of religious, social, and political demands that emerged during the years of the composer's lifetime. An accepted, admired, and trusted member of this community, as evidenced by the commissions he received for secular celebrations from royalty and members of the middle-class alike -- in addition to functioning as church composer -- Bach shared its values. Contributors: Carol K. Baron, Susan H. Gillespie, Katherine Goodman, Joyce L. Irwin, Tanya Kevorkian, Ulrich Siegele, John Van Cleve, and Ruben Weltsch. Carol K. Baron is Fellow for Life in the Department of Music at Stony Brook University, where she was co-founder and administrator of the Bach Aria Festival and Institute.

Beethoven's often-discussed dark side--marked by paranoia, narcissism, and obsession--is brought into focus by Peter J. Davies, who examines both the composer's genetic roots and the familial cruelty and neglect that defined his childhood. But this book is more than a biography, eschewing facile psychoanalysis in favor of a real exploration of how Beethoven's character shaped the work now universally regarded as among the best music ever written. Davies acutely observes the ways in which suffering can bring, at the same time, both madness and genius.

The author begins by tracing the medical history of mental disorders in Beethoven's family, and then goes on to detail the composer's religious beliefs and attitudes, his daily work habits and pastimes, and elements of his character including manic depression. Though the work does not purport to be a musical analysis, it does consider the many ways in which the things that shape an artist go on to shape his art.