The Stooges Brass Band always had big dreams. From playing in the streets of New Orleans in the mid-1990s to playing stages the world over, they have held fast to their goal of raising brass band music and musicians to new heights - professionally and musically. In the intervening years, the band's members have become family, courted controversy, and trained a new generation of musicians, becoming one of the city's top brass bands along the way. Two decades after their founding, they have decided to tell their story. Can't Be Faded: Twenty Years in the New Orleans Brass Band Game is a collaboration between musician and ethnomusicologist Kyle DeCoste and more than a dozen members of the Stooges Brass Band, past and present. It is the culmination of five years of interviews, research, and writing. Told with humor and candor, it's as much a personal account of the Stooges' careers as it is a story of the city's musicians and, even more generally, a coming-of-age tale about black men in the United States at the turn of the twenty-first century. DeCoste and the band members take readers into the barrooms, practice rooms, studios, tour vans, and streets where the music is made and brotherhoods are shaped and strengthened. Comprised of lively firsthand accounts and honest dialogue, Can't Be Faded is a dynamic approach to collaborative research that offers a sensitive portrait of the humans behind the horns.

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.

Having spent his entire career as a professional singer, songwriter, and musician, Thinking About Tomorrow is the amazing tale of rock and roll survivor Keith West. From being inspired by Elvis in the 1950s to pop stardom and working alongside the greats of the music world in the 1960s, Keith was at the eye of the storm alongside peers including The Who, The Beatles, The Kinks, The Small Faces, Pink Floyd, Jimi Hendrix and many, many more. With his Tomorrow bandmates - Steve Howe, Junior and Twink - Keith was a pioneer of psychedelic music in the 1960s with songs such as My White Bicycle, and he also achieved international fame alongside Mark Wirtz with the song Excerpt from a Teenage Opera (popularly remembered by millions of music fans as Grocer Jack). Tomorrow evolved from the R&B and mod bands Four + 1 and The In Crowd and, while their recorded output is small, their influence on other artists and the way rock music would develop is widely-regarded as enormous. Steve Howe went on to continue his incredible guitar adventures in Yes and Asia, and Twink would continue to influence the rock world as a member of pioneering bands The Pretty Things, The Pink Fairies, and Hawkwind. Keith would go on to have a long career in the music business, embracing punk in the late 70s and indie music in the 80s and 90s. But this is no straightforward tale of rock and roll hedonism; the book also pulls back the curtain on the mysterious world of the music industry. It reveals how agents, managers, publishers, record companies, songwriters, artists and the media are all locked together in an endless pursuit of the elusive elixir of their professional lives - a hit. Yet, once lightning has struck, the tragic consequences, the tremendous opportunities and the money generated can still create ripples half a century later...

It's Chris Jagger's turn to lift the lid on one of the most colourful and exotic periods in British cultural history as he unrolls an insider's tale of growing up among the bombsites and ration books of post-war Dartford, weaving through the glittery underground of late 1960s countercultural London, spending months in India before most trod that path, the highs and lows of acting and film work, and pursuing his own unique musical adventures that have resulted in a number of albums and gigs across the world. Ultimately though it's the beguiling story of a close-knit family and deep brotherly ties, which endure from both sides of the spectrum.

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.

Roderick Chadwick and Peter Hill give a detailed account of the evolution of Olivier Messiaen's Catalogue d'oiseaux for piano solo, from its initial conception in the Black Forest in 1953 to its completion and premiere in the Parisian 'Concerts du Domaine Musical' at the end of the decade. Through close examination of the composer's birdsong cahiers they demonstrate how Messiaen translated nature into music in a way that had a major impact on his later work. They also consider issues of performance, and Messiaen's artistic relationship with his dedicatee and wife-to-be, Yvonne Loriod, including the significance of her two recordings of the cycle. This book illuminates the Catalogue from a variety of angles: its historical significance, as a study of how mimicry of nature can be transformed into music of mesmeric originality, and as a guide that offers a wealth of fresh insights to listeners and performers.

'In the beginning,' Billy Joel entertained Long Island locals, with The Hassles and Attila, prior to forging a solo career in 1971. One year later, the singer-songwriter-pianist captivated college students when 'Captain Jack' dominated the Philadelphia airwaves. 'And so, it goes...' Cold Spring Harbor was rife with barrelhouse piano and tear-stained balladry but with Turnstiles Joel realised his dream of forming a stellar band. The success of The Stranger led to sold-out arenas and 52nd Street honoured the heyday of American jazz, while The Nylon Curtain highlighted socio-economic inequities and wartime brotherhood. 1993's River of Dreams fused reggae and world music. Then, in the early 2000's, his celebration of classical works ushered in a sea change. Unquestionably, Billy's catalogue has thrived, despite constantly changing trends in the music industry. Over a fifty-plus year span, many of his relatable songs have become standards, covered by countless artists. The third best-selling solo artist in the U.S. has continued to attract multi-generational audiences across the planet, so if you're 'all in the mood for a melody,' read on. Billy Joel On Track contains behind-the-scenes stories and an analysis of Joel's extensive studio recordings, many of which became top 40 hits in the 1970s, 1980s and 1990s. ...

Legendary founding KISS drummer Peter "Catman" Criss has lived an incredible life in music, from the streets of Brooklyn to the social clubs of New York City to the ultimate heights of rock 'n' roll success and excess. KISS formed in 1973 and broke new ground with their elaborate makeup, live theatrics, and powerful sound. The band emerged as one of the most iconic hard rock acts in music history. Peter was the heartbeat of the group. From an elevated perch on his pyrotechnic drum riser, he had a unique vantage point on the greatest rock show of all time, with the KISS Army looking back at him night after night.
Peter Criscuola had come a long way from the homemade drum set he pounded on nonstop as a kid growing up in Brooklyn. He endured lean years, street violence, and the roller-coaster music scene of the sixties, but he always knew he'd make it. Now Peter tells of his eye-opening journey from the pledge to his ma that he'd one day play Madison Square Garden to doing just that. He also faced the perils of stardom and his own mortality, including drug abuse, treatment in 1982, near suicides, two broken marriages, and a hard-won battle with breast cancer. "Makeup to Breakup" is the heartfelt account of one of music's most iconic figures, and the importance of faith and family. Rock 'n' roll has been chronicled many times, but never quite like this. "A must-read for all past and present KISS fans and fans of no-holds-barred rock 'n' roll tell-alls."

'Just be yourself, there is no one better.' From her girl squad to the Swifties to the world at large, Taylor's the BFF of the pop music world. As the go-to shoulder to cry on and chronicler of heartbreak, she relates her personal life and experiences in a 'dear diary' style in her music, but the artist is even more popular than her hit songs. One of the most followed on social media, she is a defender of the underdog, open about her feminist and pro-choice views and frequently speaks up against sexism and LGBTQ discrimination. This collection of Taylor's relatable, inspiring and hugely optimistic quotes and lyrics reveals a caring, generous personality who is all about 'the feels' and following your dreams. Sparkling with positivity and feel-good vibes, Taylor is always there to give you the best advice and lift you up when you're down – she's your own personal cheerleader. SAMPLE FACT: Swift has so far won a whopping 11 Grammys, smashing several records for the most wins as artist and as female artist.

(Amadeus). This first, authorized biography of one of the 20th century's greatest violinists chronicles the life of Michael Rabin from his young boyhood to his premature death at the age of 35. By his teen years in the 1950s, he had already joined the ranks of violin greats and he was being compared to Heifetz, Milstein, Stern, and Francescatti. Lovingly detailed, rich in music history and drama, this biography documents the many forces that shaped Rabin's extraordinary life and career, from his meteoric rise to his surprising decline. Feinstein charts Rabin's many artistic successes, as well as his struggles to make the transition from wunderkind to adult virtuoso, and sheds light on the true reasons for his fall from grace, debunking the many rumors that surrounded him during that time. Feinstein also clarifies the facts relating to Rabin's sudden death. What emerges is a unique profile of a prodiginous talent and a tragic life.

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 'cult' band with a mass following, the band's last five albums have made the top 30 in the UK. Still active, recording and touring. Completely unique - no other band mixes progressive rock, metal and jazz in the same way. There has never been - and never will be - another band like Opeth. Formed in Stockholm, Sweden circa 1989, their roughly thirty-year career showcases a melding of diverse influences; a prevailing commitment to songwriting and instrumental excellence; and unwaveringly chameleonic vision - no matter the cost - that's unmatched by any of their stylistic peers. Be it their most unashamedly brutal early LPs, their multifaceted and near-faultless mid-period opuses, or their somewhat polarizing recent glimpses into macabre 1970s-esque prog/jazz rock eccentricity, mastermind Mikael Akerfeldt and company continuously create records that push themselves, their audience, and progressive music as a whole, forward. The result is easily among the most extraordinary, dependable, and laudable legacies in modern metal. Using a meticulously crafted mixture of original analysis and behind-the-scenes research, this book digs into all facets of Opeth's output to discover how they innovated and evolved with practically every release. After all, each 'observation' - from their 1990s black metal classics (Morningrise and My Arms, Your Hearse) and 2000s progressive death metal masterpieces (Blackwater Park and Ghost Reveries) to their stunning progressive rock/jazz fusion excursions of the 2010s (Pale Communion and In Cauda Venenum) - found Opeth ceaselessly harvesting a one-of-a-kind catalogue that's still remarkably influential and impressive

Warren Roberts has discovered a Rossini that others have not seen, a composer who commented ironically and satirically on religion and politics in Post-Napoleonic Europe. This book examines Rossini within the context of his own time, one of Napoleonic domination of Italy, restoration of the Bourbon monarchy in Naples in 1815, and the 1830 Revolution in Paris. Using the techniques of the historian,and reading librettos as texts, the author analyzes the five operas treated in detail in the book (Il barbiere di Siviglia, Cenerentola, La gazza ladra, Matilde di Shabran, and Il viaggio a Reims) as responses, each in its own way, to the history that the composer experienced. Roberts shows that Rossini made probing commentaries on politics and religion in a time of reaction and revolution, and that the composer was well-informed on post-Napoleonic politics. Rossini's comic writing served very serious purposes, exposing the problems and complications of an age that he observed with striking clarity. Warren Roberts is Professor Emeritusof History at the University at Albany, SUNY, and has published extensively on eighteenth-century French culture.

In this unique homage to an American icon, journalist and award-winning author Pete Hamill evokes the essence of Sinatra--examining his art and his legend from the inside, as only a friend of many years could do. Shaped by Prohibition, the Depression, and war, Francis Albert Sinatra became the troubadour of urban loneliness. With his songs, he enabled millions of others to tell their own stories, providing an entire generation with a sense of tradition and pride belonging distinctly to them. With a new look and a new introduction by Hamill, this is a rich and touching portrait that lingers like a beautiful song.

The first book in nearly a century dedicated to a close examination of the musical works of Wilhelm Friedemann Bach, first son of Johann Sebastian Bach. The first-born of the four composer sons of Johann Sebastian Bach, Wilhelm Friedemann was often considered the most brilliant. Yet he left relatively few works and died in obscurity. This monograph, the first on the composer in nearly a century, identifies the unique features of Friedemann's music that make it worth studying and performing. It considers how Friedemann's training and upbringing differed from those of his brothers, leading to a style that diverged from that of his contemporaries. Central to the book are detailed discussions of all Friedemann's extant works: the virtuoso sonatas and concertos for keyboard instruments, the extraordinary chamber compositions (especially for flute), and the hitherto-neglected vocal music, including sacred cantatas and a remarkable work in honor of King Frederick the Great of Prussia. Special sections consider performance questions unique to Friedemann's music and provide a handy list of his works and their sources. Numerous musical examples provide glimpses of many little-known compositions, including a concerto ignored by previous students of Friedemann's music, here restored to hislist of works. David Schulenberg, Professor of Music at Wagner College in New York City, has performed much of W. F. Bach's output on harpsichord, clavichord, and fortepiano. His previous writings include The Keyboard Music of J. S. Bach and The Instrumental Music of C. P. E. Bach.

Unquestionably the founding work of minimalism in musical composition, Terry Riley's In C (1964) challenges the standards of imagination, intellect, and musical ingenuity to which "classical" music is held. Only one page of score in length, it contains neither specified instrumentation nor parts. Its fifty-three motives are compact, presented without any counterpoint or evident form. The composer gave only spare instructions and no tempo. And he assigned the work a title that's laconic in the extreme. At the same moment of its composition, Elliott Carter was working on his Concerto for Piano, a work Stravinsky was to hail as a masterpiece. Having almost completed Laborinthus II, Luciano Berio would soon start the Sinfonia. Karlheinz Stockhausen had just finished Momente. In context of these other works, and of the myriad of compositional styles and trends which preceded them, In C stands the whole idea of musical "progress" on its head.
Forty years later, In C continues to receive regular performances every year by professionals, students, and amateurs, and has had numerous recordings since its 1968 LP premiere. Welcoming performers from a vast range of practices and traditions, from classical to rock to jazz to non-Western, these recordings range from the Chinese Film Orchestra of Shanghai -- on traditional Chinese instruments -- to the Hungarian 'European Music Project' group, joined by two electronica DJs manipulating the Pulse. In C rouses audiences while all the while projecting an inner serenity that suggests Cage's definition of music's purpose -- "to sober and quiet the mind, thus making it susceptible to divine influence."
Setting the stage for a most intriguing journey into the world of minimalism, Robert Carl's Terry Riley's In C argues that the work holds its place in the canon because of the very challenges it presents to "classical" music. He examines In C in the context of its era, its grounding in aesthetic practices and assumptions, its process of composition, presentation, recording, and dissemination. By examining the work's significance through discussion with performers, composers, theorists, and critics, Robert Carl explores how the work's emerging performance practice has influenced our very ideas of what constitutes art music in the 21st century.

Celebrated musician and entertainer Lizzo wowed audiences and left many "feeling good as hell." Notwithstanding her collective-fat, Black female- identity she catapulted into mainstream success while redefining the social script for body size, race, and gender. This book explores a tale of two narratives: Lizzo's self-curated, fat-positive identity and the media's reaction to an unabashedly proud fat, Black woman. This critical analysis examines how Lizzo challenges fatphobia and reconstitutes fat stigmatization into self-empowerment through her strategic use of hyper-embodiment via social media, and the rhetorical distinctions between Lizzo's self-curated narrative via social media and those offered about her in print media. In part, Lizzo's bodily flaunting is argued as a significant rhetorical act that emancipates her identity of fatness and reframes the negative tropes of (fat) Black women typically curated in American culture.

Lukas Foss's career encompasses the worlds of composition, conducting, performing, teaching, and the organization of major music festivals. His compositional style defies classification; he has used every form of twentieth century style, from neo-classicism to avant-garde, in his works. Karen Perone's bio-bibliography covers Lukas Foss as composer, author, conductor, and performer. This single comprehensive source includes biographical information; bibliographical citations to reviews of compositions, performances, and recordings; general bibliographical citations; discographical citations to compositions by Foss as well as to works conducted and performed by him; and a listing of the numerous awards and honors he has received. It is fully indexed to make it a useful reference tool for scholars and librarians alike.

Giovanni Battista Viotti was unquestionably the most influential violinist of his time, and his style continues to pervade to the present day. The last great representative of the Italian tradition that Corelli began, Viotti is often considered the founder of the modern or 19th-century French school of violin playing. In Amico: The Life of Giovanni Battista Viotti, author Warwick Lister provides the first complete biography in English of this continuously significant violinist. Much of the documentary material Lister cites is previously unknown or not translated. Lister's biography takes the reader on a fascinating journey over the European continent and into the musical culture of the late 18th century. Born one year prior to Mozart and dying three years before Beethoven's death, Viotti rose from the humble origins of a blacksmith's son in a village near Turin, Italy, to international fame. His multifarious career as a concert performer, composer, teacher, opera theater director, and impresario was played out against the backdrop of a dramatically changing world - he served as a court musician for no less a figure than Marie Antoinette before founding an opera house in Paris. Viotti also knew tragedy as well as success: he was forced to flee the French Revolution, he was exiled from England for an extended period based on suspicions of certain Jacobin tendencies, his attempt to establish himself in business met with failure, and he died heavily in debt. Lister concludes Amico by coming to grips with the very things that account for Viotti's greatness and influence: the technical aspects of his violin playing and compositions. With its extensive documentary research and the inclusion of translations of various archival documents, this is the essential English-language biography of Viotti, a significant addition to the libraries of students and scholars of 18th and early 19th century music, as well as violin performers, students, and instructors.

The displacement of European musics and musicians is a defining feature of twentieth-century music history. The displacement of European musics and musicians is a defining feature of twentieth-century music history. Musical Journeys uses vignettes of migratory moments in the works of Hanns Eisler in Paris, Matyas Seiber in London, and Istvan Anhalt in Montreal to investigate concepts of identity construction and musical aesthetics in the light of migratory experiences. Moving between the Austro-Hungarian Empire, proto-fascist Hungary, fascist Germany, war-time Britain, post-war Canada, and socialist East Germany, the book explores aspects of musical migrant culture including creative responses to nationalist ideas and politics, the role of cultural institutions in promoting (or censoring) the works of immigrant composers, and the complex interaction between Jewish identity and memory. It contends that an approach to music through the lens of migration can challenge and enrich socio-cultural understandings of music as well as conceptions of music historiography. Drawing on exile, diaspora, migration and mobilities studies, critical theory, and post-colonial and cultural studies, Musical Journeys weaves detailed biographical and contextual historical knowledge and analytical insights into music into an intricate fabric that does justice to the complexity of the musical migratory experience. FLORIAN SCHEDING is Senior Lecturer in Music at the University of Bristol.