In this penetrating study, Russell Stinson explores how four of the greatest composers of the nineteenth century-Felix Mendelssohn, Robert Schumann, Franz Liszt, and Johannes Brahms-responded to the model of Bach's organ music. The author shows that this quadrumvirate not only borrowed from Bach's organ works in creating their own masterpieces, whether for keyboard, voice, orchestra, or chamber ensemble, but that they also reacted significantly to the music as performers, editors, theorists, and teachers. Furthermore, the book reveals how these four titans influenced one another as "receptors" of this repertory and how their mutual acquaintances-especially Clara Schumann-contributed as well. As the first comprehensive discussion of this topic ever attempted, Stinson's book represents a major step forward in the literature on the so-called Bach revival. He considers biographical as well as musical evidence to arrive at a host of new and sometimes startling conclusions. Filled with fascinating anecdotes, the study also includes detailed observations on how these composers annotated their personal copies of Bach's organ works. Stinson's book is entirely up-to-date and offers much material previously unavailable in English. It is meticulously annotated and indexed, and it features numerous musical examples and facsimile plates as well as an exhaustive bibliography. Included in an appendix is Brahms's hitherto unpublished study score of the Fantasy in G Major, BWV 572. Engagingly written, this study should be read by anyone interested in the music of Bach or the music of the nineteenth century.

This biography of Minna Planer, Richard Wagner's wife of 30 years, reveals her as a self-assured woman and artist who was vital to her husband's creative life. When Richard Wagner first met Minna Planer in 1834, he was an unknown conductor, she a popular actress. His hectic pursuit of her affections culminated in marriage in 1836. Minna endured poverty with him, nursed him through chronic illness, followed him across Europe as he fled from creditors and pursued his artistic goals, and sought to provide him with the stable domestic and erotic life that he craved. He played his works to her as he wrote them, up to Tannhauser and Lohengrin, and set store by her opinions. But when he went on the run as a wanted revolutionary, Minna only reluctantly followed him into Swiss exile. Domestic peace tentatively prevailed, but was ultimately destroyed by Wagner's passion for Mathilde Wesendonck. In 1858, he and Minna separated, she returned home to Germany, and subsequent efforts at reconciliation proved ultimately impossible. They remained married, however, until Minna's death in 1866. Despite having been at Richard's side as he matured into the composer of the Ring and Tristan, Minna has been given short shrift by most Wagner commentators. In Eva Rieger's acclaimed biography, translated into English by Chris Walton, the author reveals Minna as a self-assured woman and artist who played a crucial role in the creative life of her husband.

Tulisa Contostavlos has one of the most fascinating and shocking life-stories in show business. Her childhood included harrowing episodes of self-harm, bullying, witchcraft, drug abuse and suicide attempts. Then there has been the ever-present challenge of her mother's mental disorder which Tulisa--as the only child in a single-parent family--had to face alone. How did she rise from such a troubled and dangerous childhood to become first an edgy urban artist and then the much-loved people's princess of Saturday night television? And how authentic is the "street girl" image that is such a key narrative of her official story? This book, written by leading celebrity biographer Chas Newkey-Burden, tells her eventful and inspirational story for the first time. It uncovers the rich show business heritage of her ancestors and then follows her through her childhood, unflinchingly examining the horrors she faced. It then traces how music became her salvation, thanks to the loving mentorship of Uncle B - the man who formed N-Dubz. The book then follows this never satisfied, always ambitious young woman as she moved into the mainstream and became the nation's sweetheart on The X Factor. The reader is taken behind the scenes to discover the reality of her successful first series on the show, as she guided Little Mix to victory.

Austrian conductor Hans Rosbaud was a leading figure in European musical life from the late 1920s until his death in 1962. Internationally respected as a conductor of Mozart and Haydn, Bruckner and Mahler, his posthumous reputation rests primarily on his standard-setting performances of modern music. In this complete research tool, musicologist Joan Evans brings together all the materials vital for a full assessment of his career. The eminent composer and conductor Pierre Boulez presents his personal recollections of Rosbaud in a foreword. Because Rosbaud's primary sphere of activity was radio, he made relatively few commercial recordings, but his broadcast recordings number in the hundreds. Evans carefully documents all commercial and private recordings, also providing a biography of the conductor, a section of first performances and an annotated bibliography comprising books, articles, record and concert reviews, radio interviews, and documentary broadcasts. A career chronology appears as an appendix, and a description of his musical compositions and other papers, as well as a list of the works he conducted at the annual Donaueschingen Festival, comprise further appendixes. All sections are fully cross referenced and indexed, thereby providing ready access to this wealth of data.

By bringing together the most recent scholarship, this book sheds new light on Berg's life and music. The three main sections are each devoted to a particular genre. The first essay in each section surveys Berg's development within the genre concerned, whilst the subsequent chapters discuss particular works in more detail. An introductory section to the book sets Berg's music in the context of other artistic and musical developments of the period from 1890 to the 1930s.

"The writing of 'The Courage Machine, ' which covers ten years, was retarded by illness. For a long time I lived beside death. But I had a presentiment that something essential -- something foreseen in New York -- would develop for me during these last years. I was not mistaken.

"This book follows an evolution which, for me, is not a curve but an ascending line. There is a beginning and an end; a new beginning, an advance, and a new search; then again an advance -- but this time on an essential plane, where the great events are inner ones."

Georgette Leblanc's first encounter with the celebrated mystic, teacher and philosopher, George Ivanovitch Gurdjieff, was the turning point of her life. Impressed by his vast knowledge and "unknown doctrine," she attended his Institute at the Chateau du Prieure in Fontainebleau-Avon for two years. From then on, she continued to live according to his principles, absorbing his doctrine more and more deeply. Her effort to incorporate what she had assimilated during her years with Gurdjieff is recorded in the last part of the book.

Stephen Morris has had a distinguished career, spanning nearly forty years, as a pivotal member of Joy Division and New Order with his trademark machine-like drumming. After the death of Joy Division's singer, Ian Curtis, in 1980, Bernard Sumner, Peter Hook, Morris and his wife Gillian formed New Order, one of the most critically acclaimed and influential bands of the late twentieth century. New Order became the flagship band for Tony Wilson's Factory Records and, alongside him, opened the infamous Hacienda nightclub, the centre of the acid house movement. In 2015, after a ten-year hiatus, New Order released Music Complete; which charted at #2 in its first week of release (the band's highest position in over twenty years). Stephen's book won't be that typical music autobiography, which tends to be high on mischief and low on the music. Part memoir, part visual scrapbook, part aural history, it will be a hybrid memoir in Stephen's wry and witty voice. Stephen will weave a dual narrative of growing up in the North West during the 1970s with how the music actually works. It will also explore what it is to be part of a mythologised band and the idea of what you do becoming who you are.

Selected and arranged by the author, How To Be Invisible presents the lyrics of Kate Bush in a beautiful new paperback edition featuring a new cover by illustrator Jim Kay. 'The greatest singer-songwriter of the past 40 years, whose work is complex, ethereal and filled with so many secrets that one can listen to the albums for decades and still discover new delights every time [. . .] There's not a spare word anywhere in Bush's work. Everything means something.' Irish Times

In this first comprehensive examination of the music of the most prolific Bach son, David Schulenberg offers new perspectives on the career, style, and originality of Carl Philipp Emanuel Bach. Of Bach's four sons who became composers, Carl Philipp Emanuel Bach (1714-88) was the most prolific, the most original, and the most influential both during and after his lifetime. This is the first comprehensive study of his music, examining not only the famous keyboard sonatas and concertos but also the songs, the chamber music, and the sacred works, many of which resurfaced only recently and have not previously been evaluated. A compositional biography,the book surveys C. P. E. Bach's extensive output of nearly a thousand works while tracing his musical development-from his student days at Leipzig and Frankfurt (Oder), through his nearly three decades as court musician to Prussian King Frederick "the Great," to his final twenty years as cantor and music director at Hamburg. David Schulenberg, author of important books on the music of J. S. Bach and his first son, W. F. Bach, here considers the legacy of the second son from a compelling new perspective. Focusing on C. P. E. Bach's compositional choices within his social and historical context, Schulenberg shows how C. P. E. Bach deliberately avoided his father's style whileborrowing from the manner of his Berlin colleagues, who were themselves inspired by Italian opera. Schulenberg also shows how C. P. E. Bach, now best known for his virtuoso keyboard works, responded to changing cultural and aesthetic trends by refashioning himself as a writer of vocal music and popular chamber compositions. Audio versions of the book's musical examples, as well as further examples and supplementary tables and texts, are available on a companion website. David Schulenberg is professor of music at Wagner College and teaches historical performance at the Juilliard School. He is the author of The Music of Wilhelm Friedemann Bach (University of Rochester Press, 2010).

John Lenwood McLean - sugar free saxophonist from Sugar Hill, Harlem - is widely known as one of the finest, most consistent soloists in jazz history. From early in his career Jackie's powerful, unsentimental, sometimes astringent sound and inventive style made audiences and critics sit up and listen. Steeped in - but eventually moving well beyond - the influence of his mentor and friend Charlie Parker, he built an attractive, instantly recognisable musical personality. As author Derek Ansell says, his career trajectory is far from the typical jazz story of the tragic artist in which early brilliance leads to later decline. McLean's story is one of glorious triumph over the drug addiction that affected so many of his friends and might have destroyed him. Able to produce uniformly fine recordings through the darkest periods of his personal life, he saw his reputation as a musician steadily grow and became not only a living legend as an improviser but a much respected educator whose students carry on his legacy. Fortunately, McLean's discography is large and Derek Ansell is a surefooted guide through the recordings, presenting them in the context in which they were made and indicating the special gems among a vast body of recorded work that is one of jazz's greatest treasures.

This book, first published in 1934, contains the recollections of the varied and coloured life of a great pianist and composer, who is one of the most striking figures of the musical world. Rachmaninoff dictated his memoires to the author of this book, and much of the story is therefore told in the first person. The final chapter is Riesemann's own contribution. It is an estimate of Rachmaninoff's qualities as composer; it shows knowledge of all his more important works; and it shows discrimination. The whole book is an authoritative and interesting study of a popular artist.

This book is the authorized chronicle of the Atlanta Rhythm Section, the legendary southern rock band that created such memorable hits as "Champagne Jam," "So Into You," "Imaginary Lover," "Spooky," and "Doraville." Already seasoned studio professionals when they formed in 1970, the A.R.S. forged a new direction in southern rock by focusing on the integrity of their music onstage and in the studio. Through platinum and gold albums-A Rock and Roll Alternative, Champagne Jam, and Underdog-as well as international tours, huge outdoor concerts, and personnel changes, the band has staunchly maintained its dedication to its craft over the decades. This story contains recollections from original and current band members, producers, technicians, other musicians, and fans, as well as more than 120 photos of band members from the early days as backup musicians for Roy Orbison and other iconic artists to the present day.

A brief, detailed biography of the composer/architect, student and protege of Honegger, Milhaud, Messiaen, Le Corbusier. Xenakis himself is a major proponent of advancing the boundaries of musical possibilities.

Carole King's early compositional work in the 1970s paved the way for many women songwriters of popular music. Among her best-known compositions are You've Got a Friend, Up on the Roof, Will You Love Me Tomorrow? and (You Make Me Feel Like) A Natural Woman. This reference encompasses Carole King's musical career from her compositions in the early 1960s through the 1990s, including her recently composed My One True Friend for the film "One True Thing" and Anyone at All for the film "You've Got Mail." A brief biography of Carole King, which includes a critical analysis of her music, precedes an extensive discography of 1,275 recording entries and bibliography sections.

Popular music scholars, along with Carole King fans, will appreciate this detailed source of available research materials on Carole King. The discography is divided into three sections: a performance discography, a miscellaneous discography, and a composition discography. Separate bibliographies cover writings, such as reviews, that focus on King's recordings, a general bibliography, and a brief bibliography of electronic resources. A filmography and videography are also included.

With "Thank You Music Lovers," Greenwood Press continues to expand its excellent series of discographies. Meticulously researched and exhaustively detailed, this volume chronicles the career of Spike Jones and his City Slickers from 1941 to 1965. Although subtitled a biodiscography, Mirtle's book is primarily a chronology of recordings, playdates, and radio and television shows. . . . Mirtle's book has a selective bibliography, indexes to the band's personnel, tunes played and recorded, and LP issues. Three appendixes contain further miscellaneous information. . . . "Choice"

After a string of commercial disappointments, in 1986 Australian rock band The Church were simultaneously dropped by Warner Brothers in the US and EMI in Australasia. The future looked bleak. Seemingly from nowhere, their next record, Starfish, became an unlikely global hit. Its alluring and pensive lead single, 'Under the Milky Way', stood in stark contrast to the synth pop and hair metal dominating the 1980s. A high watermark of intelligent rock, Starfish musically anticipated alternative revolutions to come. Yet in making Starfish, The Church struggled with their internal contradictions. Seeking both commercial and artistic success, they were seduced by fame and drugs but cynical towards the music industry. Domiciled in Australia but with a European literary worldview, they relocated to Los Angeles to record under strained circumstances in the heart of the West Coast hit machine. This book traces the story of Starfish, its background, composition, production and reception. To the task, Gibson brings an unusual perspective as both a musician and a geographer. Drawing upon four decades of media coverage as well as fresh interviews between the author and band members, this book delves into the mysteries of this mercurial classic, tracing both its slippery cultural geography and its sumptuous songcraft. Situating Starfish in time and space, Gibson transports the reader to a key album and moment in popular music history when the structure and politics of the record industry was set to forever change.

A pathbreaking study of the Parisian press's attempts to claim Richard Wagner's place in French history and imagination during the unstable and conflict-ridden years of the Third Reich. Richard Wagner was a polarizing figure in France from the time that he first entered French musical life in the mid nineteenth century. Critics employed him to symbolize everything from democratic revolution to authoritarian antisemitism. During periods of Franco-German conflict, such as the Franco-Prussian War and World War I, Wagner was associated in France with German nationalism and chauvinism. This association has led to the assumption that, with the advent of the Third Reich, the French once again rejected Wagner. Drawing on hundreds of press sources and employing close readings, this book seeks to explain a paradox: as the German threat grew more tangible from 1933, the Parisian press insisted on seeing in Wagner a universality that transcended his Germanness. Repudiating the notion that Wagner stood for Germany, French critics attempted to reclaim his role in their own national history and imagination. Claiming Wagner for France: Music and Politics in the Parisian Press, 1933-1944 reveals how the concept of a universal Wagner, which was used to challenge the Nazis in the 1930s, was gradually transformed into the infamous collaborationist rhetoric promoted by the Vichy government and exploited by the Nazis between 1940 and 1944. Rachel Orzech's study offers a close examination of Wagner's place in France's cultural landscape at this time, contributing to our understanding of how the French grappled with one of the most challenging periods in their history.

Despite his premature death in 1982, Canadian pianist Glenn Gould remains extraordinarily influential in contemporary music. Known especially for his interpretations of Bach and a wide range of classical, romantic, and twentieth-century composers, Gould was also an accomplished composer and conductor, as well as provocative lecturer, writer, and critic. His music remains vital on recordings, and his published writings, and taped radio documentaries and television specials are available for archival research. Canning's A Glenn Gould Catalog provides a detailed roadmap to his career as performer, conductor, composer, host, guest, narrator, writer, and producer. The volume's main catalog, organized by composer, documents Gould's commercial discography and Canadian public radio and television recordings with detailed information, including: recording dates and location, release or broadcast date, commercial catalog and internal matrix numbers, album or broadcast name, producer(s), and various notes. The Musical Repertoire and Recording Chronicle sections provide access to the recordings by composition and opus number and by recording data respectively. The Canadian Broadcasting Corporation Archives section lists Gould's radio and television programs by date, and other chronologies are included for his Sony Catalog, Other Commercial Releases, and Unreleased Recordings. A bibliography of Gould's published writings and a bibliographical note on writings about Gould complete the volume. Carefully documented, cross-referenced, and indexed, the Glenn Gould Catalog constitutes an autobiographical outline of Gould's career through his works. It is an important resource for research and a valuableadjunct to published biographies and critical studies. The compiler's lively introductory material is augmented by photographs and interview commentary from Gould's colleagues.

Offering a unique glimpse into the Gram Parsons legend that has never been offered before this book is the inside story by his bandmate and travelling partner from the The International Submarine Band. Set between September 1965 and June 1968 it follows Gram Parsons as he begins to create country rock and he and the band embark upon an exasperating upstream journey, swimming against a tide of opposition, rejection and astonishment from the establishment. With a cast of characters including Gram Parsons, David Crosby, Peter Fonda, Denis Hopper, Arthur Lee, and Hugh Masekela this is more than a music book, it's a vivid swirling trip across a vanished America.

Music scholarship has been rethinking its understanding of Franz Schubert and his work. How might our modern aesthetic values and historical knowledge of Schubert's life affect how we interpret his music? Schubert's Instrumental Music and Poetics of Interpretation demonstrates how updated analysis of Schubert and his instrumental works reveals expressive meaning. In six chapters, each devoted to one or two of Schubert's pieces, René Rusch explores alternate forms of unity and coherence, offers critical assessments of biographical and intertextual influence, investigates narrative, and addresses the gendering of the composer and his music. Rusch's comparative analyses and interpretations address four significant areas of scholarly focus in Schubert studies, including his use of chromaticism, his unique forms, the impact of events in his own life, and the influence of Beethoven. Drawing from a range of philosophical, hermeneutic, historical, biographical, theoretical, and analytical sources, Schubert's Instrumental Music and Poetics of Interpretation offers readers a unique and innovative foray into the poetics of contemporary analysis of Schubert's instrumental music and develops new ways to engage with his repertoire.

Jimi Hendrix has been for sure a unique guitarist and a master of rock music, who, with his early death, aged 27, entered the Rock'n'roll Hall of Fame with all the glory it takes. The never-heard-before result of his continuous improvement was contained in just three albums "Are You Experienced?", "Axis: Bold as Love" and "Electric Ladyland". A deep focus on the three most important years of Hendrix's career, closely followed by Assante, skilled author and real expert on rock music. Unedited photos, quotes, legendary interviews and deep research to outline the iconic figure of this rock legend.

In this companion volume to Johann Sebastian Bach: The Learned Musician, Christoph Wolff contextualises his famous subject by delving deeply into the composer's rich collection of music. Emerging from this complex and massive oeuvre, Bach's Musical Universe is a focused discussion of a meaningful selection of compositions. Unlike any previous study, this book details Bach's creative process across the various instrumental and vocal genres, and centres on what the composer himself judiciously presented in carefully designed benchmark collections and individual works-all consequential to Bach's musical art. Tracing Bach's evolution as a composer, Wolff compellingly illuminates the ideals and legacy of this giant of classical music in a new, refreshing light for everyone, from the amateur to the virtuoso.

To mark the first issue of this exciting new journal, Liverpool University Press are publishing a commemorative paperback edition of The Journal of Beatles Studies which will be available alongside the Open Access Journal edition. The Journal of Beatles Studies is the first journal to establish The Beatles as an object of academic research, and will publish original, rigorously researched essays, notes, as well as book and media reviews. The journal aims are; to provide a voice to new and emerging research locating the Beatles in new contexts, groups and communities from within and beyond academic institutions; to inaugurate, innovate, interrogate and challenge narrative, cultural historical and musicological tropes about the Beatles as both subject and object of study; to publish original and critical research from Beatles scholars around the globe and across disciplines. The Journal of Beatles Studies establishes a scholarly focal point for critique, dialogue and exchange on the nature, scope and value of The Beatles as an object of academic enquiry and seeks to examine and assess the continued economic value and cultural values generated by and around The Beatles, for policy makers, creative industries and consumers. The journal also seeks to approach The Beatles as a prism for accessing insight into wider historical, social and cultural issues.