This revised, enhanced edition of the life and works of composer and Admiral Jean Cras traces, through new research, the remarkable career of this celebrated composer, decorated war hero, scientist and inventor. As Henri Duparc's only protege, his "spiritual son" enjoyed the same level of esteem during the 1920s as his friends Ravel and Roussel. This edition sustains the renaissance of Jean Cras and includes a new chapter devoted to the composer's early songs, to be released concurrently. " Le Canadien Paul-Andre Bempechat, est parfaitement francophone mais c'est en anglais qu'il redige cette somme dediee a Jean Cras ... Tout y est, ... sa carriere marine, ... l'inventeur brilliant, l'esthete petri d'humanisme, le musicien dans son oeuvre. ... Le portrait est vivant, Jean Cras se tient devant vous et tous les secrets de son art subtil sont demontres. " - Diapason "There is no doubt that, in subsequent studies of Jean Cras's life and works, this book will be the first source to which the researcher turns. Bempechat's deft and skilful blending of a beautifully written and engaging biography with lucid and erudite musical analysis, interspersed with tales of military history and scientific discovery, has resulted in a book that is absolutely engaging on its own, as it tells the life story of a most extraordinary man." - Nineteenth-Century Music Review

This book studies the Jesuit culture in Silesia and Klodzko (Glatz) County by focusing on its musical works and traditions. The strategies adopted by the Jesuits achieved notable results in the artistic traditions they cultivated, first of all a creative redefinition of musical culture itself, at various levels of its organization. While allowing music to exert influence on human activity, the Jesuits had to accept that its impact would depend on the peculiarities of local possibilities and conditions. This is why they analysed the qualities of music and its culture-forming potential in such detail and precisely defined its norms and modes of functioning. The impact of music can be observed in the transformations that the cultivation of musical culture brought about in the model of the Order itself, as well as in individuals, communities, and the time and space that defined them.

Riot grrrls, punk feminists best known for their girl power activism and message, used punk ideologies and the literacy practice of zine-ing to create radical feminist sites of resistance. In what ways did zines document feminism and activism of the 1990s? How did riot grrrls use punk ideologies to participate in DIY sites? In Writing a Riot: Riot Grrl Zines and Feminist Rhetorics, Buchanan argues that zines are a form of literacy participation used to document personal, social, and political values within punk. She examines zine studies as an academic field, how riot grrrls used zines to promote punk feminism, and the ways riot grrrl zines dealt with social justice issues of rape and race. Writing a Riot is the first full-length book that examines riot grrrl zines and their role in documenting feminist history.

They say there are no second acts in American lives, and third acts are almost unheard of. That's part of what makes Brian Wilson's story so astonishing. As a cofounding member of the Beach Boys in the 1960s, Wilson created some of the most groundbreaking and timeless popular music ever recorded. With intricate harmonies, symphonic structures, and wide-eyed lyrics that explored life's most transcendent joys and deepest sorrows, songs like In My Room, God Only Knows, and Good Vibrations forever expanded the possibilities of pop songwriting. Derailed in the 1970s by mental illness, drug use, and the shifting fortunes of the band, Wilson came back again and again over the next few decades, surviving and-finally-thriving. Now, for the first time, he weighs in on the sources of his creative inspiration and on his struggles, the exhilarating highs and the debilitating lows. I Am Brian Wilson reveals as never before the man who fought his way back to stability and creative relevance, who became a mesmerizing live artist, who forced himself to reckon with his own complex legacy, and who finally completed Smile, the legendary unfinished Beach Boys record that had become synonymous with both his genius and its destabilization. Today Brian Wilson is older, calmer, and filled with perspective and forgiveness. Whether he's talking about his childhood, his bandmates, or his own inner demons, Wilson's story, told in his own voice and in his own way, unforgettably illuminates the man behind the music, working through the turbulence and discord to achieve, at last, a new harmony.

This book studies George Crumb's Winds of Destiny (2004) and Black Angels (1970) as artefacts of collective memory and cultural trauma. It situates these two pieces in Crumb's output and unpacks the complex methodologies needed to understand these pieces as contributions and challenges to traditional narratives of the Civil War and the Vietnam War. This book shows how this association began and how it endures through connections to iconic Vietnam War media, including films and books. Together these analyses show the legacy of trauma in American collective memory, which is in a continuous crisis. \This book will be of interest to students of contemporary American music, American studies, and memory studies. It benefits readers by newly situating Crumb's music within these three fields of study.

A unique treatment of the key influences on the life of this important Australian composer, consisting of oral histories by people who knew Grainger, as well as reflections from his own writings. Percy Grainger [1882-1961] was a pianist, composer, ethnographer, essayist, and much more. The Australian-American musician aspired to the condition of a polymath, with strong interests in language, culture, ecology and technology. In an age of increasing specialisation Grainger held to a breathless all-roundedness. This book looks at the scrabbling diversity of Grainger's life through the eyes of others. Family and friends, pupils, musical associatesand chance acquaintances recall their experiences of Percy Grainger from his boyhood in colonial Australia, through his conservatorium years in Germany, on to his early professional years in London, and further to the zenith of his career and then years of decline in the United States. In the final chapter, Grainger himself explains the driving passions of his life. Fifty illustrations, including architectural drawings, scores and machine plans, vividly depict the enthusiasms described in over ninety recollections of Grainger. A composer of over four hundred compositions and virtuoso performer in some three thousand concerts, Grainger left a large legacy. He was an importantinfluence upon the folk-song movement in Britain, and, through such masterworks as Lincolnshire Posy, he was enduringly popular with the band movement in America. On a personal level, his development of the language of "blue-eyed English" was stillborn, and his muscular style of pianism found few adherents among the next generation of performers. His frankly expressed views on sexual licence were also many decades ahead of their time. Today, however, Grainger the musician is again in the ascendant. His more innovative works are gaining a belated hearing, while his standards, such as Country Gardens, remain firm favorites. Malcolm Gillies and David Pear areco-editors of Grainger on Music and 'The All-Round Man': Selected Letters of Percy Grainger, 1914-1961

This study of Bob Dylan's art employs a performance studies lens, exploring the distinctive ways he brings words and music to life on recordings, onstage, and onscreen. Chapters focus on the relationship of Dylan's recorded performances to the historical bardic role, to the American popular song tradition, and to rock music culture. His uses of both stage and studio to shape his performances are explored, as are his forays into cinema. Special consideration is given to his vocal performances and to his use of particular personae as a performer. The full scope of Dylan's body of work to date is situated in terms of the influences that have shaped his performances and the ways these performances have shaped contemporary popular music.

Renowned music historian Philipp Spitta has written that of all the German musicians of the 19th century, none has exercised a greater influence over his own generation and that succeeding it than Weber. Spitta s statement reflects Weber s popularity at the end of the nineteenth century both for his place as a foundational figure of German Romantic opera and for his role in the early German Nationalist movement in music. Indeed, Weber s Der Freischutz is still considered the first German Romantic opera, enjoying a place of privilege in the modern operatic repertoire with performances held the world over and at least two cinematic productions. Despite its enormous popularity throughout the nineteenth century, however, Weber s swan song, Oberon, has remained separate from the mainstream thrust of our modern understanding of German Romantic opera. In Carl Maria von Weber: Oberon and the Cosmopolitanism in the Early German Romantic, music historian and theorist Joseph E. Morgan reassesses Weber s work and aesthetics not just for their influence but also as an expression of the aesthetics and cosmopolitanism that underlay the early Romantic and Nationalist movement in Germany. In a discussion with analyses that features nearly one-hundred musical examples, Morgan tracks the development of Weber s musical style across his career. The investigation culminates with Weber s last and long-misunderstood work, explaining its thematic and harmonic organization, its stylistic idiosyncrasies, and the tenuous place that it holds on the margins of the operatic canon. The discussion is enhanced and corroborated by frequent attention to correlating developments in other art from the period, including painting, poetry and literature. This text will be of interest to students, scholars, and connoisseurs interested in acquiring a new insight on the performance, reception, and aesthetics of early German Romantic opera. Further, because of the interdisciplinary nature of the investigation, anyone interested in the early romantic and nationalist movement in Germany will also certainly find interesting and valuable insights in this book."

Graham Collier's career in jazz lasted over five decades. He was a bassist, a band-leader, a composer, an educator and an author, who wrote extensively about the music. His working life was littered with `firsts'. Amongst his many achievements, he was the first British jazz musician to study at the Berklee School of music in Boston and the first to receive an Arts Council grant. In 1985, Collier began teaching at the Royal Academy of Music, where he later established the first full-time jazz degree course in the UK in 1987. Mosaics draws extensively on Collier's personal archive, as well as on interviews with fellow musicians, ex-students and colleagues from the Royal Academy of Music. It locates Collier and his work within the social and cultural changes which occurred during his life and, particularly, in relation to developments in British and European jazz of the 1960s and 70s. Collier's work as a composer-bandleader represented an attempt to resolve the paradoxes inherent in jazz between composition and improvisation, familiarity and spontaneity and change and tradition. In this regard, Mosaics compares Collier's work with other composers such as Duke Ellington, Charles Mingus, Gil Evans, Mike Westbrook, Stan Tracey, Barry Guy and Butch Morris. Throughout, Collier emerges as a contradictory figure falling between several different camps. He was never an out-and-out musical, cultural or political radical but rather an individualist continually forced to confront the contradictions in his own position - a musical outsider working within a marginalised area of cultural activity; a gay man operating in a very male area of the music business and within heterosexist culture in general; a man of working class origins stepping outside traditionally prescribed class boundaries; and a musician-composer seeking individual solutions to collective problems of aesthetic and ethical value.

John Taverner was the leading composer of church music under Henry VIII. His contributions to the mass and votive antiphon are varied, distinguished and sometimes innovative; he has left more important settings for the office than any of his predecessors, and even a little secular music survives. Hugh Benham, editor of Taverner's complete works for Early English Church Music, now provides the first full-length study of the composer for over twenty years. He places the music in context, with the help of biographical information, discussion of Taverner's place in society, and explanation of how each piece was used in the pre-Reformation church services. He investigates the musical language of Taverner's predecessors as background for a fresh examination and appraisal of the music in the course of which he traces similarities with the work of younger composers. Issues confronting the performer are considered, and the music is also approached from the listener's point of view, initially through close analytical inspection of the celebrated votive antiphon Gaude plurimum.

Interest in Pink Floyd remains as intense as ever even 40 years after the release of Dark Side of the Moon, with lavish box-sets collecting demos and out-takes, and Roger Waters' world tours of The Wall playing to packed stadiums. Now, Mark Blake's superbly comprehensive and engrossing history of the group, rightly acclaimed as the definitive book on the band, has been fully revised and extended with new interviews to bring the story up to date with the recent appearances of David Gilmour and Nick Mason with Roger Waters at a London date on his The Wall tour.

Full of information about living without a permanent residence, this complete collection of the "Dwelling Portably" zines from 1980 through 2012 contains helpful and informative tips for living far outside of cities and bereft of technology. All of the tips and advice have been edited down to what remains relevant in a technologically changing world, and it is crammed full of informative tips for biking, tents, showering, cooking, and living. Whether camping on the edges, living simply, or getting by on the road and loving it, this book is for modern nomads choosing alternative lifestyles to working 9-5 in the same place.

Jazz great Gerald Wilson (1918-2014), born in Shelby, Mississippi, left a global legacy of paramount significance through his progressive musical ideas and his orchestra's consistent influence on international jazz. Aided greatly by interviews that bring Wilson's voice to the story, Steven Loza presents a perspective on what the musician and composer called his ""jazz pilgrimage."" Wilson uniquely adapted Latin influences into his jazz palette, incorporating many Cuban and Brazilian inflections as well as those of Mexican and Spanish styling. Throughout the book, Loza refers to Wilson's compositions and arrangements, including their historical contexts and motivations. Loza provides savvy musical readings and analysis of the repertoire. He concludes by reflecting upon Wilson's ideas on the place of jazz culture in America, its place in society and politics, its origins, and its future. With a foreword written by Wilson's son, Anthony, and such sources as essays, record notes, interviews, and Wilson's own reflections, the biography represents the artist's ideas with all their philosophical, historical, and cultural dimensions. Beyond merely documenting Wilson's many awards and recognitions, this book ushers readers into the heart and soul of a jazz creator. Wilson emerges a unique and proud African American artist whose tunes became a mosaic of the world.

The life and good times of one of the world's favourite songwriters. If you've ever hummed a popular film or stage song from the mid-1950s on, the chances are you've been humming one of Leslie's. The man behind songs such as Talk to the Animals, Goldfinger, Feeling Good and Pure Imagination has been celebrated throughout the music industry. The result is a string of awards to his name, including a Grammy, a couple of Oscars (as well as ten nominations) and eight Ivor Novellos. Leslie's story of talent, determination and a little bit of luck will take you on a fascinating journey from humble beginnings through this hardest of businesses to dizzying heights. Over the years, Leslie has collaborated with a dazzling array of stage and screen stars, including Rex Harrison, Peter O'Toole, Albert Finney, Richard Attenborough, Frank Sinatra, Sammy Davis Jr, Julie Andrews, Roger Moore, Liza Minelli and Peter Sellers, and of course his sensational songwriting partnerships with Anthony Newley as well as with composers Henry Mancini, John Williams and John Barry. "Candid and hilarious, you'll devour Leslie Bricusse's autobiography in one delicious sitting. His recall is amazing and I can vouch for the authenticity." Joan Collins "His catalogue of songs is enormous - his achievements endless." Elton John "The book made me laugh aloud so many times. I'm in awe that you have pulled off such a monumental feat." Julie Andrews

Now appearing in an English translation, this book by Szymon Paczkowski is the first in-depth exploration of the Polish style in the music of Johann Sebastian Bach. Bach spent almost thirty years living and working in Leipzig in Saxony, a country ruled by Friedrich August I and his son Friedrich August II, who were also kings of Poland (as August II and August III). This period of close Polish-Saxon relations left a significant imprint on Bach's music. Paczkowski's meticulous account of this complex political and cultural dynamic sheds new light on many of Bach's familiar pieces. The book explores the semantic and rhetorical functions that undergird the symbolism of the Polish style in Baroque music. It demonstrates how the notion of a Polish style in music was developed in German music theory, and conjectures that Bach's successful application for the title of Court Composer at the court of the Elector of Saxony and King of Poland would induce the composer to deliberately use elements of the Polish style. This comprehensive study of the way Bach used the Polish style in his music moves beyond technical analysis to place the pieces within the context of Baroque customs and discourse. This ambitious and inspiring study is an original contribution to the scholarly conversation concerning Bach's music, focusing on the symbolism of the polonaise, the most popular and recognizable Polish dance in 18th-century Saxony. In Saxony at this time the polonaise was associated with the ceremonies of the royal-electoral court in Dresden, and Saxon musicians regarded it as a musical symbol of royalty. Paczkowski explores this symbolism of the Polish royal dance in Bach's instrumental music and, which is also to be found to an even greater extent, in his vocal works. The Polish Style in the Music of Johann Sebastian Bach provides wide-ranging interpretations based on a careful analysis of the sources explored within historical and theological context. The book is a valuable source for both teaching and further research, and will find readers not only among musicologists, but also historians, art historians, and readers in cultural studies. All lovers of Bach's music will appreciate this lucid and intriguing study.

This book asks what theological messages theologically educated Catholics in late-eighteenth-century Prague might have perceived in Mozart's late opera seria La clemenza di Tito. The book's thesis is two-fold: first, that Catholics might have heard the opera's advocacy of enlightened absolutism as a celebration of a distinctly Catholic understanding of political governance; and second, that they might have found in the opera a metaphor for the relationship between a gracious God and humanity caught up in sin, expressed as sexual concupiscence, pride, and lust for power. The book develops its interpretation of the opera through narrative character analyses of the main protagonists, an examination of their dramatic development, and by paying attention to the biblical and theological associations they may have evoked in a Catholic audience. The book is geared towards academic readers interested in opera, theologians, historians, and those who work at the intersection of theology and the arts. It contributes to a better understanding of the theological implications of Mozart's operatic work.

The first full-length study devoted to Ignaz Moscheles (1794-1870), pianist, conductor and composer. This book, the first full-length study devoted to Ignaz Moscheles (1794-1870), explores how the son of middle-class Jewish parents in Prague became one of the most important musicians of his era, achieving recognition and world-wide admiration as a virtuoso pianist, conductor and composer, a sought-after piano teacher, and a pioneer in the historical performance of early music. Placing Moscheles' career within the context of the social, political and economic milieu in which he lived, the book offers new insights into the business of music and music making; the lives and works of his contemporaries, such as Schumann, Meyerbeer, Chopin, Hummel, Rossini, Liszt, Berlioz and others; the transformation of piano playing from the classical to romantic periods; and the challenges faced by Jewish artists during a dynamic period in European history. A section devoted to Moscheles' engagement as both a performer and editor with the music of J. S. Bach and Handel enhances our understanding of nineteenth-century approaches to early music, and the separate chapters that detail Moscheles' interactions with Beethoven and his extraordinarily close relationship with Mendelssohn adds considerably to the existing literature on these two masters. MARK KROLL has earned worldwide recognition as a harpsichordist, scholar and educator during a career spanning more than forty years. Professor emeritus at Boston University, Kroll has published scholarly editions of the music of Hummel, Geminiani, Charles Avison and Francesco Scarlatti, and is the author of Johann Nepomuk Hummel: A Musician's Lifeand World; Playing the Harpsichord Expressively; and The Beethoven Violin Sonatas.

Born the son of Scotland's last telescope-maker, Stuart Braithwaite was perhaps always destined for a life of psychedelic adventuring on the furthest frontiers of noise in MOGWAI, one of the best loved and most ground-breaking post-rock bands of the past three decades. Modestly delinquent at school, Stuart developed an early appetite for 'alternative' music in what might arguably be described as its halcyon days, the late '80s. Discovering bands like Sonic Youth, My Bloody Valentine, and Jesus and Mary Chain, and attending seminal gigs (often incongruously incognito as a young girl with long hair to compensate for his babyface features) by The Cure and Nirvana, Stuart compensated for his indifference to school work with a dedication to rock and roll . . . and of course the fledgling hedonism that comes with it. Spaceships Over Glasgow is a love song to live rock and roll; to the passionate abandon we've all felt in the crowd (and some of us, if lucky enough, from the stage) at a truly incendiary gig. It is also the story of a life lived on the edge; of the high-times and hazardous pit-stops of international touring with a band of misfits and miscreants.

A giant of postwar music and the most powerful figure in the contemporary French music scene, Pierre Boulez is widely known to American and English audiences as both an important composer and as star conductor of the New York Philharmonic, the Cleveland Orchestra, the BBC Symphony Orchestra, and the Chicago Symphony Orchestra. These candid interviews give us vintage Boulez - his bold views, enigmatic wit, practical wisdom, and uncompromising beliefs. Here the eminent composer, who has been called both "a wild man of the avant-garde" and "the last true maestro" (New York Times), talks about being one of the world's most controversial conductors and daring programmers of musical taste. Boulez sometimes locks horns with French author Jean Vermeil, who confronts him with his past and prods him to discuss the future of music and orchestras. Boulez tells how and why he chose his battles and lays out his vision of the conductor's mission. He tells what he learned - and didn't learn - from other conductors, and how he feels about the composers who compromise his repertoire, including Webern, Berg, Schoenberg, Stravinsky, Messiaen (with whom he studied), and, of course, Boulez himself.

Violet Balestreri Archer is a leading force in contemporary music of North America. One of Canada's most prolific composers, she is also an outspoken advocate of contemporary music. Her career as an educator is exceptional, and she has been untiring in her efforts to persuade composers to write educational pieces for youth and publishers to publish them. Her own music has been performed throughout the world and at international festivals and music congresses. This bio-bibliography is the first book-length study of Archer. It is comprised of four main parts: a short biography; a complete list of more than 290 compositions, organized by genre, with information on premieres and selected performances; a discography; and a bibliography of writings by and about the composer. All sections are fully cross-referenced and indexed, and appendixes organize the works alphabetically by title and chronologically.

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.

Schoenberg is often viewed as an isolated composer who was ill-at-ease in exile. In this book Kenneth H. Marcus shows that in fact Schoenberg's connections to Hollywood ran deep, and most of the composer's exile compositions had some connection to the cultural and intellectual environment in which he found himself. He was friends with numerous successful film industry figures, including George Gershwin, Oscar Levant, David Raksin and Alfred Newman, and each contributed to the composer's life and work in different ways: helping him to obtain students, making recordings of his music, and arranging commissions. While teaching at both the University of Southern California and the University of California, Los Angeles, Schoenberg was able to bridge two utterly different worlds: the film industry and the academy. Marcus shows that alongside Schoenberg's vital impact upon Southern California Modernism through his pedagogy, compositions and texts, he also taught students who became central to American musical modernism, including John Cage and Lou Harrison.