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.

Selected from authoritative sources by musicologist and organist Rollin Smith, this compilation features such famous works as J. S. Bach's "Pastorale, BWV 590"; Couperin's "Chaconne in F"; and Handel's "Concerto No. 13," "The Cuckoo and the Nightingale." Other well-known selections include compositions by Brahms, Gounod, Haydn, Liszt, Mendelssohn, Vierne, and Widor.

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.

Music in the USA: A Documentary Companion charts a path through American music and musical life using as guides the words of composers, performers, writers and the rest of us ordinary folks who sing, dance, and listen. The anthology of primary sources contains about 160 selections from 1540 to 2000. Sometimes the sources are classics in the literature around American music, for example, the Preface to the Bay Psalm Book, excerpts from Slave Songs of the United States, and Charles Ives extolling Emerson. But many other selections offer uncommon sources, including a satirical story about a Yankee music teacher; various columns from 19th-century German American newspapers; the memoirs of a 19th-century diva; Lottie Joplin remembering her husband Scott; a little-known reflection of Copland about Stravinsky; an interview with Muddy Waters from the Chicago Defender; a letter from Woody Guthrie on the "spunkfire" attitude of a folk song; a press release from the Country Music Association; and the Congressional testimony around "Napster." "Sidebar" entries occasionally bring a topic or an idea into the present, acknowledging the extent to which revivals of many kinds of music play a role in American contemporary culture. This book focuses on the connections between theory and practice to enrich our understanding of the diversity of American musical experiences. Designed especially to accompany college courses which survey American music as a whole, the book is also relevant to courses in American history and American Studies.

Approaches the topic of classical music in the GDR from an interdisciplinary perspective, questioning the assumption that classical music functioned purely as an ideological support for the state. Classical music in the German Democratic Republic is commonly viewed as having functioned as an ideological support or cultural legitimization for the state, in the form of the so-called "bourgeois humanist inheritance." The largenumbers of professional orchestras in the GDR were touted as a proof of the country's culture. Classical music could be seen as the polar opposite of Americanizing pop culture and also of musical modernism, which was decried as formalist. Nevertheless, there were still musical modernists in the GDR, and classical music traditions were not only a prop of the state. This collection of new essays approaches the topic of classical music in the GDR from an interdisciplinary perspective, presenting the work of scholars in a number of complementary disciplines, including German Studies, Musicology, Aesthetics, and Film Studies. Contributors to this volume offer a broad examination of classical music in the GDR, while also uncovering nonconformist tendencies and questioning the assumption that classical music in the GDR meant nothing but (socialist) respectability. Contributors: Tatjana Boehme-Mehner, Martin Brady, Lars Fischer, Kyle Frackman, Golan Gur, Peter Kupfer, Albrecht von Massow, Carola Nielinger-Vakil, Jessica Payette, Larson Powell, Juliane Schicker, Martha Sprigge, Matthias Tischer, Jonathan L. Yaeger, Johanna Frances Yunker Kyle Frackman is Assistant Professor of Germanic Studies at the University of British Columbia. Larson Powell is Professor of German at the University of Missouri-Kansas City.

(Piano). 23 piano works from the French musician and composer Yann Tiersen (b. 1970). Includes 6 songs from Amelie (Comptine D'ete No. 2, La Dispute, Sua Le Fil, La Valse D'Amelie, Comptine D'un Autre Ete: L'Apres-Midi, Le Moulin).

'Clemency Burton-Hill makes classical music absolutely accessible, magical and medicinal. Another Year of Wonder is, indeed, another wonder.' Dolly Alderton, broadcaster, writer and bestselling author 'Clemmie's recommendations have broadened my mind, sharpened my imagination, tugged on my heartstrings and given me a song for every mood. Read this book and let yourself float away for a moment or two. What a gift.' Emma Gannon, bestselling author and host of the Ctrl Alt Delete podcast ANOTHER YEAR OF WONDER IS A CAREFULLY CURATED COLLECTION OF CLASSICAL MUSIC OFFERING ONE PIECE TO LISTEN TO EVERY DAY OF THE YEAR. WITH A FOREWORD BY ELIZABETH DAY In this follow-up to her much-loved Year of Wonder, award-winning broadcaster, journalist and violinist Clemency Burton-Hill continues her mission to demystify and open up the world of classical music to everyone, offering up one extraordinary piece of music to listen to every day of the year. 'There is no algorithm to this book: it is a thoughtfully curated selection given from one human to another. It is not a history book, or a formal 'guide to classical music'. It is simply from my heart to yours. I have chosen pieces I love, or think historically interesting, or which have some resonance for me personally or in the world. But what matters is what you think; how they make you feel as you listen. I hope that you will fall in love with most of them, or at least be fascinated by their historical context, or find them curious in other ways, because then you are already in a relationship with classical music. This is your book, as much it is mine.' Another Year of Wonder shows that, whoever you are and wherever you come from, classical music can be a soundtrack for your everyday life and a reminder that finding a space to sit and listen to a piece of music every day can be a singular gift.

Only Nick Tosches, bestselling author of Dino and The Devil and Sonny Liston, could have woven this irresistible tale: part mystery, part biography, part meditation on the meaning and power of music.

A forgotten singer from the early days of jazz is at the center of this riveting narrative. For twenty years, Nick Tosches searched for facts about the life of Emmett Miller, a yodeling blackface performer whose songs prefigured jazz, country, blues, and much of the popular music of the twentieth century. Beginning with a handful of 78-rpm records and ending at a tombstone in a Macon, Georgia graveyard, Tosches pieces together a life—and illuminates the spirit of musicmakers from Cab Calloway to Bob Dylan, from Homer to the Rolling Stones.

This is a brilliant, inspired journey by one of the most original writers at work today.

Giuseppe Fortunino Francesco Verdi (1813-1901) was an Italian Romantic opera composer, best known for Rigoletto, Aida, and La Traviata -- which follows the life, lioves and death of a courtesan, Violetta, from tuberculosis. Francesco Maria Piave (1810-1876) was an Italian opera librettist who worked with many of the significant composers of his day, writing 10 libretti for Verdi.

What does it mean to say that music is deeply moving? Or that music's aesthetic value derives from its deep structure? This study traces the widely employed trope of musical depth to its origins in German-language music criticism and analysis. From the Romantic aesthetics of E. T. A. Hoffmann to the modernist theories of Arnold Schoenberg, metaphors of depth attest to the cross-pollination of music with discourses ranging from theology, geology and poetics to psychology, philosophy and economics. The book demonstrates that the persistence of depth metaphors in musicology and music theory today is an outgrowth of their essential role in articulating and transmitting Germanic cultural values. While musical depth metaphors have historically served to communicate German nationalist sentiments, Watkins shows that an appreciation for the broad connotations of those metaphors opens up exciting new avenues for interpretation.

What makes a classical song a song? In a wide-ranging 2004 discussion, covering such contrasting composers as Brahms and Berberian, Schubert and Kurtag, Jonathan Dunsby considers the nature of vocality in songs of the nineteenth and twentieth centuries. The essence and scope of poetic and literary meaning in the Lied tradition is subjected to close scrutiny against the backdrop of 'new musicological' thinking and music-theoretical orthodoxies. The reader is thus offered the best insights available within an evidence-based approach to musical discourse. Schoenberg figures conspicuously as both songsmith and theorist, and some easily comprehensible Schenkerian approaches are used to convey ideas of musical time and expressive focus. In this work of scholarship and theoretical depth, Professor Dunsby's highly original approach and engaging style will ensure its appeal to all practising musicians and students of Romantic and modern music.

Disaster Songs as Intangible Memorials in Atlantic Canada draws on a collection of over 600 songs relating to Atlantic Canadian disasters from 1891 up until the present and describes the characteristics that define them as intangible memorials. The book demonstrates the relationship between vernacular memorials - informal memorials collectively and spontaneously created from a variety of objects by the general public - and disaster songs. The author identifies the features that define vernacular memorials and applies them to disaster songs: spontaneity, ephemerality, importance of place, motivations and meaning-making, content, as well as the role of media in inspiring and disseminating memorials and songs. Visit the companion website: www.disastersongs.ca.

Putting forward an extensive new argument for a humanities-based approach to big-data analysis, The Music in the Data shows how large datasets of music, or music corpora, can be productively integrated with the qualitative questions at the heart of music research. The author argues that as well as providing objective evidence, music corpora can themselves be treated as texts to be subjectively read and creatively interpreted, allowing new levels of understanding and insight into music traditions. Each chapter in this book asks how we define a core music-theory topic, such as style, harmony, meter, function, and musical key, and then approaches the topic through considering trends within large musical datasets, applying a combination of quantitative analysis and qualitative interpretation. Throughout, several basic techniques of data analysis are introduced and explained, with supporting materials available online. Connecting the empirical information from corpus analysis with theories of musical and textual meaning, and showing how each approach can enrich the other, this book provides a vital perspective for scholars and students in music theory, musicology, and all areas of music research.

- Shows how a specialized music performance course can be reimagined to achieve greater inclusivity and foster student creativity - Connects traditional music teaching with contemporary education goals and issues - By centering African American vocal repertoire, enables instructors to challenge the Eurocentrism of traditional vocal music canon