This collection brings the history of music publishing into the realm of social history, looking beyond the printing process to examine why and for whom music publishers produced their work. The book shows how technological limitations and printers' and publishers' preferences significantly influenced musical tastes in Europe from medieval times to the modern age. Contributors are leading scholars from the United States, Canada, Great Britain, and Italy. The essays examine the history of music publishing from its inception to the early twentieth century. The Dissemination of Music provides new insight into the social history of music, illustrating how certain types of music were made popular because publishers made them more available, and how the reputations of composers were made or broken by the whims of publishers. This important reference work will interest scholars and students in all areas of music. Readership: Academics and professionals in the areas of musicology, history of music, history of publishing, as well as collectors of rare books.

Francis Poulenc (1899-1963) is widely acknowledged as one of the twentieth century's most significant masters of vocal music-solo, choral and operatic-quite apart from his achievements in instrumental spheres. But what it cost him has been underestimated. In this seminal biography, which will serve as the definitive guide to the songs, Graham Johnson shows that it is in Poulenc's extraordinary songs and seeing how they fit into his life-his hidden sexuality, addiction and all-that we discover the composer's essential artistic being. With Jeremy Sams's song translations, the first in over forty years, and the insight that comes from a lifetime of performing this music, Johnson provides an essential volume for singers, pianists, listeners and readers interested in the artistic milieu of modernism in the first half of the twentieth century.

Choral Conducting: Philosophy and Practice, Second Edition is an updated resource for conductors and singers alike, a college-level text for students of choral conducting that considers conducting and singing from a holistic perspective. This singer-friendly and voice-healthy approach examines the rehearsal environment alongside its musical performance counterpart. The author explores what is involved in leading a choral group, examining theories of learning and human behavior to understand the impact choral conductors have on the act of singing. Divided into two main parts-Philosophy and Practice-the text begins with an historical look at conducting, exploring questions of why people sing and why they sing together, and ultimately presents the application of this philosophy, showing how a conductor's gestures and patterns can influence vocal outcomes. In addressing how singers learn and respond to choral music, as well as how conductors communicate with singers in rehearsal and performance, Choral Conducting turns an eye to learning how we learn and the role successful choral conductors play in motivating singers, developing healthy singing habits, and improving individual and ensemble vocal quality-all with the aims of enhancing musical understanding. New to this edition: Updated diagrams, photos, and musical examples Revised sample choral programs Increased consideration of the orchestral conductor A renewed focus on the intersections of learning, health and well-being, and the social perspective, supported by new and recent research

Combining the International Who's Who in Classical Music and the International Who's Who in Popular Music, this two-volume set provides a complete view of the whole of the music world. Within the International Who's Who in Classical Music, each biographical entry comprises personal information, principal career details, repertoire, recordings and compositions, and full contact details where available. Appendices provide contact details for national orchestras, opera companies, music festivals, music organizations and major competitions and awards. The International Who's Who in Popular Music boasts detailed entries, including full biographical information, such as principal career details, recordings and compositions, honours and contact information.

Wilhelm FurtwAngler left not only some of the greatest interpretations of operatic and symphonic music on record, but also expressed his views on musical issues of the moment in a number of outspoken essays and talks. His writings range from practical matters of performance and interpretation to aesthetic reflections on what he saw as the alarming direction in which music was developing in the wake of Schoenberg and the twelve-tone system of composition. Professor Ronald Taylor has here, for the first time, translated and annotated a selection of FurtwAngler's writings covering the four decades from the First World War to the conductor's death in 1954, and prefaced them with an essay on FurtwAngler's controversial career and complicated personality. The result is a collection of stimulating pieces with a claim on our attention, made all the greater for reflecting the musical and philosophical ideals of one of the great conductors of the twentieth century.

The International Who's Who in Classical Music 2017 is a vast source of biographical and contact information for singers, instrumentalists, composers, conductors, managers and more. Each entrant has been given the opportunity to update his or her information for the new improved 2017 edition. Each biographical entry comprises personal information, principal career details, repertoire, recordings and compositions, and full contact details where available. Appendices provide contact details for national orchestras, opera companies, music festivals, music organizations and major competitions and awards. International Who's Who in Classical Music includes individuals involved in all aspects of the world of classical music: composers, instrumentalists, singers, arrangers, writers, musicologists, conductors, directors and managers. Key Features: - over 8,000 detailed biographical entries - covers the classical and light classical fields - includes both up-and-coming musicians and well-established names. This book will prove valuable for anyone in need of reliable, up-to-date information on the individuals and organizations involved in classical music.

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.

(Ensemble Collection). This classic series of duets for like instruments is recognizable to nearly everyone who has ever studied an instrument. The wealth of material supplements musical development and provides a rich experience for growing musicians. Duet playing is often a student's first form of ensemble experience - technique, tone quality, intonation and balance are introduced as students do one of the things they enjoy most - making music with a friend. And duet playing leads easily and naturally to competent performance in larger ensembles. (Vol. I Easy to Medium, Vol. 2 Medium to Advanced)

First Published in 1997. Routledge is an imprint of Taylor & Francis, an informa company.

This unique compilation is a wonderful, substantial sampling of art song in the English language, with composers from both sides of the Atlantic. The publication includes many first-time transpositions, as the song list is the same for the High Voice and Medium/Low Voice editions.

Evgeny Kissin's musicality, the depth and poetic quality of his interpretations, and his extraordinary virtuosity have earned him the veneration and admiration deserved only by one of the most gifted classical pianists of his generation. He is internationally renowned and hugely admired for his interpretations of the works of the classical and Romantic repertoire of Beethoven, Schubert, Chopin, Liszt, Schumann, Brahms, Rachmaninov and Prokofiev. He is in demand the world over, and has appeared with many of the world's great conductors, as well as all the great orchestras of the world. In Memoirs and Reflections, the intensity of Kissin's thinking and of his very being shines through, which displays his astonishing memory, fondness for his family and teachers, and an exalted sense of self that is essentially Russian.

Combining the International Who's Who in Classical Music and the International Who's Who in Popular Music, this two-volume set provides a complete view of the whole of the music world. Within the International Who's Who in Classical Music, each biographical entry comprises personal information, principal career details, repertoire, recordings and compositions, and full contact details where available. Appendices provide contact details for national orchestras, opera companies, music festivals, music organizations and major competitions and awards. The International Who's Who in Popular Music boasts detailed entries, including full biographical information, such as principal career details, recordings and compositions, honours and contact information.

Combining the International Who's Who in Classical Music and the International Who's Who in Popular Music, this two-volume set provides a complete view of the whole of the music world. Within the International Who's Who in Classical Music, each biographical entry comprises personal information, principal career details, repertoire, recordings and compositions, and full contact details where available. Appendices provide contact details for national orchestras, opera companies, music festivals, music organizations and major competitions and awards. The International Who's Who in Popular Music boasts detailed entries, including full biographical information, such as principal career details, recordings and compositions, honours and contact information.

Nicholas Kenyon explores the enduring appeal of the classical canon at a moment when we can access all music-across time and cultures "Nicholas Kenyon is an amiable and enthusiastic guide to a thousand years of classical music."-Neil Fisher, The Times "A wonderfully engaging survey. . . . It is what every music lover needs close by. . . . We are left in no doubt about music's extraordinary power."-Ian Thomson, Financial Times Immersed in music for much of his life as writer, broadcaster, and concert presenter, former director of the BBC Proms Nicholas Kenyon has long championed an astonishingly wide range of composers and performers. Now, as we think about culture in fresh ways, Kenyon revisits the stories that make up the classical tradition and foregrounds those that are too often overlooked. This inclusive, knowledgeable, and enthusiastic guide highlights the achievements of the women and men, amateurs and professionals, who bring music to life. Taking us from pianist Myra Hess's performance in London during the Blitz, to John Adams's composition of a piece for mourners after New York's 9/11 attacks, to Italian opera singers singing from their balconies amidst the 2020 pandemic, Kenyon shows that no matter how great the crisis, music has the power to bring us together. His personal, celebratory account transforms our understanding of how classical music is made-and shows us why it is more relevant than ever.

The International Who's Who in Classical Music 2013 is a vast source of biographical and contact information for singers, instrumentalists, composers, conductors, managers and more. Each entrant has been given the opportunity to update his or her information for the new improved 2013 edition. Each biographical entry comprises personal information, principal career details, repertoire, recordings and compositions, and full contact details where available. Appendices provide contact details for national orchestras, opera companies, music festivals, music organizations and major competitions and awards. Entries include individuals involved in all aspects of the world of classical music: composers, instrumentalists, singers, arrangers, writers, musicologists, conductors, directors and managers. Key Features: over 8,000 detailed biographical entries covers the classical and light classical fields includes both up-and-coming musicians and well-established names. This book will prove valuable for anyone in need of reliable, up-to-date information on the individuals and organizations involved in classical music.

During the Chinese Cultural Revolution's rebellion against foreign influence, the piano, the musical embodiment of Western culture, became the object of intense hostility. In a nation where the world of politics and the world of art are closely linked, Western classical music was considered an imperialist intrusion, in direct conflict with the native aesthetic. In this revealing chronicle of the relationship between music and politics in 20th century China, Richard Kraus examines the evolution of China's ever-changing disposition towards European music and demonstrates how the late 1900s have seen the steady Westernization of Chinese music. Placing China's cultural conflicts in global perspective, Kraus traces the lives of four Chinese musicians and reflects on how their experiences are indicative of China's place at the furthest edge of an expanding Western international order. From Kraus' study there emerges a picture of an ambivalent nation in which politicians, artisans, and intelligentsia alike feel the uneasy tensions that arise when the forces of modernization and xenophobic nationalism clash.

The thrust of these five volumes is contained in their title, London Opera Observ'd. It takes its cue from the numerous texts and volumes which - during the seventeenth, eighteenth and nineteenth centuries - used the concept of 'spying' or 'observing' by a narrator, or rambler, as a means of establishing a discourse on aspects of London life. The material in this five-volume reset edition examines opera not simply as a genre of performance, but as a wider topic of comment and debate. The stories that surrounded the Italian opera singers illuminate contemporary British attitudes towards performance, sexuality and national identity. The collection includes only complete, published material organised chronologically so as to accurately retain the contexts in which the original readers encountered them - placing an emphasis on rare texts that have not been reproduced in modern editions. The aim of this collection is not to provide a history of opera in England but to facilitate the writing of them or to assist those wishing to study topics within the field. Headnotes and footnotes establish the publication information and provide an introduction to the piece, its author, and the events surrounding it or which caused its publication. The notes concentrate on attempting to identify those figures mentioned within the texts. The approach is one of presentation, not interpretation, ensuring that the collection occupies a position that is neutral rather than polemical.

The thrust of these five volumes is contained in their title, London Opera Observ'd. It takes its cue from the numerous texts and volumes which - during the seventeenth, eighteenth and nineteenth centuries - used the concept of 'spying' or 'observing' by a narrator, or rambler, as a means of establishing a discourse on aspects of London life. The material in this five-volume reset edition examines opera not simply as a genre of performance, but as a wider topic of comment and debate. The stories that surrounded the Italian opera singers illuminate contemporary British attitudes towards performance, sexuality and national identity. The collection includes only complete, published material organised chronologically so as to accurately retain the contexts in which the original readers encountered them - placing an emphasis on rare texts that have not been reproduced in modern editions. The aim of this collection is not to provide a history of opera in England but to facilitate the writing of them or to assist those wishing to study topics within the field. Headnotes and footnotes establish the publication information and provide an introduction to the piece, its author, and the events surrounding it or which caused its publication. The notes concentrate on attempting to identify those figures mentioned within the texts. The approach is one of presentation, not interpretation, ensuring that the collection occupies a position that is neutral rather than polemical.

How was large-scale music directed or conducted in Britain before baton conducting took hold in the 1830s? This book investigates the ways large-scale music was directed or conducted in Britain before baton conducting took hold in the 1830s. After surveying practice in Italy, Germany and France from Antiquity to the eighteenth century,the focus is on direction in two strands of music making in Stuart and Georgian Britain: choral music from Restoration cathedrals to the oratorio tradition deriving from Handel, and music in the theatre from the Jacobean masque to nineteenth-century opera, ending with an account of how modern baton conducting spread in the 1830s from the pit of the Haymarket Theatre to the Philharmonic Society and to large-scale choral music. Part social and musical history based on new research into surviving performing material, documentary sources and visual evidence, and part polemic intended to question the use of modern baton conducting in pre-nineteenth-century music, Before the Baton throws new light on many hitherto dark areas, though the heart of the book is an extended discussion of the evidence relating to Handel's operas, oratorios and choral music. Contrary to near-universal modern practice, he mostly preferred to play rather than beat time.

The thrust of these five volumes is contained in their title, London Opera Observ'd. It takes its cue from the numerous texts and volumes which - during the seventeenth, eighteenth and nineteenth centuries - used the concept of 'spying' or 'observing' by a narrator, or rambler, as a means of establishing a discourse on aspects of London life. The material in this five-volume reset edition examines opera not simply as a genre of performance, but as a wider topic of comment and debate. The stories that surrounded the Italian opera singers illuminate contemporary British attitudes towards performance, sexuality and national identity. The collection includes only complete, published material organised chronologically so as to accurately retain the contexts in which the original readers encountered them - placing an emphasis on rare texts that have not been reproduced in modern editions. The aim of this collection is not to provide a history of opera in England but to facilitate the writing of them or to assist those wishing to study topics within the field. Headnotes and footnotes establish the publication information and provide an introduction to the piece, its author, and the events surrounding it or which caused its publication. The notes concentrate on attempting to identify those figures mentioned within the texts. The approach is one of presentation, not interpretation, ensuring that the collection occupies a position that is neutral rather than polemical.

The thrust of these five volumes is contained in their title, London Opera Observ'd. It takes its cue from the numerous texts and volumes which - during the seventeenth, eighteenth and nineteenth centuries - used the concept of 'spying' or 'observing' by a narrator, or rambler, as a means of establishing a discourse on aspects of London life. The material in this five-volume reset edition examines opera not simply as a genre of performance, but as a wider topic of comment and debate. The stories that surrounded the Italian opera singers illuminate contemporary British attitudes towards performance, sexuality and national identity. The collection includes only complete, published material organised chronologically so as to accurately retain the contexts in which the original readers encountered them - placing an emphasis on rare texts that have not been reproduced in modern editions. The aim of this collection is not to provide a history of opera in England but to facilitate the writing of them or to assist those wishing to study topics within the field. Headnotes and footnotes establish the publication information and provide an introduction to the piece, its author, and the events surrounding it or which caused its publication. The notes concentrate on attempting to identify those figures mentioned within the texts. The approach is one of presentation, not interpretation, ensuring that the collection occupies a position that is neutral rather than polemical.