New research throws light on the history of the viol after Purcell, including its revival in the late eighteenth century through Charles Frederick Abel. It is normally thought that the bass viol or viola da gamba dropped out of British musical life in the 1690s, and that Henry Purcell was the last composer to write for it. Peter Holman shows how the gamba changed its role and function in the Restoration period under the influence of foreign music and musicians; how it was played and composed for by the circle of immigrant musicians around Handel; how it was part of the fashion for exotic instruments in themiddle of the century; and how the presence in London of its greatest eighteenth-century exponent, Charles Frederick Abel, sparked off a revival in the 1760s and 70s. Later chapters investigate the gamba's role as an emblem of sensibility among aristocrats, artists, and intellectuals, including the Countess of Pembroke, Sir Edward Walpole, Ann Ford, Laurence Sterne, Thomas Gainsborough and Benjamin Franklin, and trace Abel's influence and legacy far into the nineteenth century. A concluding chapter is concerned with its role in the developing early music movement, culminating with Arnold Dolmetsch's first London concerts with old instruments in 1890. PETER HOLMAN is Professor of Historical Musicology at Leeds University, and director of The Parley of Instruments, the choir Psalmody, and the Suffolk Villages Festival.

Elvis Presley was never accused of a crime, but for years the FBI kept a file on Presley because of the crimes that went on in the background of his world: death threats made against him; a major extortion attempt while he was in the Army in Germany; complaints about his public performances, a mention of a paternity suit; the theft by larceny of an executive jet which he owned and the alleged fraud surrounding a 1955 Corvette which he owned. These formerly Top Secret Files show dramatically how the FBI and other law enforcement agencies had to react to crimes in Presley's world.

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.

'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.

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.

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

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.

Articles on masterpieces of European religious music, from the middle ages to Stravinsky and Tavener. The late Wilfrid Mellers, who occupies a special place among music critics, described himself as a non-believer; but his preference for music that "displays a sense of the numinous" (in his words) will strike a chord with many wholisten to religious music nowadays, and who share his view that music that confronts first and last things is likely to offer more than music that evades them. The essays form five groups, which together offer a survey of religious music from around the first millennium to the beginning of the second, in the context of the difficult issues of what religious music is, and, for good measure, what is religion? The parts are: The Ages of Christian Faith; The Re-birth of a Re-birth: From Renaissance to High Baroque; From Enlightenment to Doubt; From "the Death of God" to "the Unanswered Question"; and The Ancient Law and the Modern Mind. Musical discussion, with copious examples, is conducted throughout the book in a context that is also religious - and indeed philosophical, social, and political, with the open-endedness that such an approach demands in the presentation of ideas aboutmusic's most fundamental nature and purposes. COMPOSERS: Hildegard of Bingen; Perotin; Machaut; Dunstable, Dufay; William Corniyshes father and son; Tallis; Byrd; Monteverdi; Schutz; J.S. Bach; Couperin; Handel; Haydn;Mozart; Beethoven; Schubert; Bruckner; Berlioz, Faure; Verdi, Brahms; Elgar, Delius; Holst, Vaughan Williams, Howells; Britten; Janacek; Messiaen, Poulenc; Rachmaninov; Stravinsky; Part, Tavener, Gorecki, Macmillan, Finnissy; Copland.

The music of Haydn, Mozart and Beethoven forms a cornerstone of the modern repertoire, but very little is known about the context in which these composers worked. This volume of twelve essays by leading international scholars considers some of the musical traditions and practices of this little-understood period of music history. Beginning with the early decades of the eighteenth century, the volume documents selected aspects of musical life and style from the late Baroque period through to the early years of the nineteenth century. The four main areas covered in this exploration of music history are orchestral music, sacred music, opera and keyboard music. Georg Reutter (Haydn's teacher), Antonio Salieri (Mozart's colleague) and Woelffl (a rival of Beethoven) are just three of the period's prominent musicians who are discussed at length.

Informed by theories pertaining to transnational mobility, ethnicity and race, gender, postcolonialism, as well as Japanese studies, Transnational Musicians explores the way Japanese musicians establish their transnational careers in the hierarchically structured classical music world. Drawing on rich material from multi-sited fieldwork and in-depth interviews with Japanese artists in Japan, France and Poland, this study portrays the structurally - and individually - conditioned opportunities and constraints of becoming a transnational classical musician. It shows how transnational artists strive to conciliate the irreconcilable: their professional identification with the dominant image of 'rootless' classical musicianship and their ethnocultural affiliation with Japan. As such this book critically engages with the neoliberal discourse on talent and meritocracy prevailing in the creative/cultural industry, which promotes the common image of cosmopolitan artists, whose high, universal skills allow them to carry out their occupational activity internationally, regardless of such prescriptive criteria as gender, ethnicity and race. Highly interdisciplinary, this book will appeal to students and researchers interested in such fields as migration, transnational mobility, ethnicity and race in the creative/cultural sector, gender studies, Japanese culture and other related social issues. It will also be instructive for professionals from the world of classical music, as well as ordinary readers passionate about Japanese society.

Race and Gender in the Western Music History Survey: A Teacher's Guide provides concrete information and approaches that will help instructors include women and people of color in the typical music history survey course and the foundational music theory classes. This book provides a reconceptualization of the principles that shape the decisions instructors should make when crafting the syllabus. It offers new perspectives on canonical composers and pieces that take into account musical, cultural, and social contexts where women and people of color are present. Secondly, it suggests new topics of study and pieces by composers whose work fits into a more inclusive narrative of music history. A thematic approach parallels the traditional chronological sequencing in Western music history classes. Three themes include people and communities that suffer from various kinds of exclusion: Locales & Locations; Forms & Factions; Responses & Reception. Each theme is designed to uncover a different cultural facet that is often minimized in traditional music history classrooms but which, if explored, lead to topics in which other perspectives and people can be included organically in the curriculum, while not excluding canonical composers.

An ode to Beethoven's revolutionary masterpiece, his Third Symphony In 1805, the world of music was startled by an avant-garde and explosive new work. Intellectually and emotionally, Beethoven's Third Symphony, the "Eroica," rudely broke the mold of the Viennese Classical symphony and revealed a powerful new expressiveness, both personal and societal. Even the whiff of actual political revolution was woven into the work-it was originally inscribed to Napoleon Bonaparte, a dangerous hero for a composer dependent on conservative royal patronage. With the first two stunning chords of the "Eroica," classical music was transformed. In Sinfonia Eroica, James Hamilton-Paterson reconstructs this great moment in Western culture, the shock of the music and the symphony's long afterlife.

The Classical Music Encylopedia, now fully updated, traces the development of Western music from medieval times through to the twenty-first century. Each chapter begins with an Introduction to the era, followed by an A to Z of the key composers and musicians of the era, with an expert's recommended recording for each entry. Within these, the musical greats - from Mozart to Stravinksy - have more extensive entries. The Styles and Forms sections discuss the many different styles of music, from the earliest notation to the minimalism of the twentieth century, while the development of each era's Instruments is also extensively investigated. Written by many of the world's leading experts in the field, this invaluable encyclopedia is comprehensive, easy-to-use and highly informative - an essential guide for readers of all levels.