(Boosey & Hawkes Voice). This selection was made with student singers and pianists in mind. These are 12 of the most tangible, useful and approachable of Britten's jewel-like folksong settings. Includes historical notes on the songs. The CD of performances by professional singers will aid in familiarizing students and teachers with these expressive lyrical works. Contents: The Ash Grove * At the mid hour of night * The Brisk Young Widow * Come you not from Newcastle? * Early one morning * Greensleeves * I will give my love an apple * O Waly, Waly * Sail on, sail on * The Salley Gardens * Sweet Polly Oliver * There's none to soothe. 48019746 High Voice, Book/CD $17.95 48019747 Medium/Low Voice, Book/CD $17.95

We're all familiar with the image of a fierce and scowling Beethoven, struggling doggedly to overcome his rapidly progressing deafness. That Beethoven continued to play and compose for more than a decade after he lost his hearing is often seen as an act of superhuman heroism. But the truth is that Beethoven's response to his deafness was entirely human. And by demystifying what he did, we can learn a great deal about Beethoven's music. Perhaps no one is better positioned to help us do so than Robin Wallace, who not only has dedicated his life to the music of Beethoven but also has close personal experience with deafness. One day, Wallace's late wife, Barbara, found she couldn't hear out of her right ear-the result of radiation administered to treat a brain tumor early in life. Three years later, she lost hearing in her left ear as well. Over the eight and a half years that remained of her life, despite receiving a cochlear implant, Barbara didn't overcome her deafness or ever function again like a hearing person. Wallace shows here that Beethoven didn't do those things, either. Rather than heroically overcoming his deafness, Beethoven accomplished something even more challenging: he adapted to his hearing loss and changed the way he interacted with music, revealing important aspects of its very nature in the process. Wallace tells the story of Beethoven's creative life, interweaving it with his and Barbara's experience to reveal aspects that only living with deafness could open up. The resulting insights make Beethoven and his music more accessible and help us see how a disability can enhance human wholeness and flourishing.

The lute was one of the most important instruments in use in Europe from late medieval times up to the eighteenth century. Despite its acknowledged importance, this study is the first ever comprehensive work on the instrument and its music, apart from performance studies or bibliographical and reference publications. The book focuses on the lute's history, but also contains chapters on the lute in concert, lute song accompaniment, the thearbo, and the lute in Scotland. Written for the music student, the serious listener, the player, maker, and lute enthusiast, Spring makes available for the first time over 40 years of musical scholarship previously the preserve of academic journals.

The allure of tango - both the dance and its music - is an extraordinary and enduring phenomenon. This book brings together a collection of classic Argentinean tangos from the golden age of the 1920s, 30s and 40s together with some more recent examples of tango nuevo by Astor Piazzolla.

How do the arts give us pleasure? Covering a very wide range of artistic works, from Auden to David Lynch, Rembrandt to Edward Weston, and Richard Strauss to Keith Jarrett, Pleasure and the Arts offers us an explanation of our enjoyable emotional engagements with literature, music, and painting. The arts direct us to intimate and particularized relationships - with the people represented in the works, or with those we imagine produced them. When we listen to music or look at a purely abstract painting, or when we drink a glass of wine, can we enjoy the experience without verbalizing our response? Do our interpretative assumptions, our awareness of technique, and our attitudes to fantasy, get in the way of our appreciation of art, or enhance it? As the book examines these questions and more, we discover how curiosity drives us to enjoy narratives, ordinary jokes, metaphors, and modernist epiphanies, and how narrative in all the arts can order and provoke intense enjoyment. Pleasurable in its own right, Pleasure and the Arts presents a sparkling explanation of the enduring interest of artistic expression.

These wonderful teaching pieces by the Russian keyboard pedagogue and composer are now available in convenient individual editions.

A group of resourceful kids start "solution-seekers.com," a website where "cybervisitors" can get answers to questions that trouble them. But when one questioner asks the true meaning of Christmas, the kids seek to unravel the mystery by journeying back through the prophecies of the Old Testament. What they find is a series of "S" words that reveal a "spectacular story " With creative characters, humorous dialogue and great music, The "S" Files is a children's Christmas musical your kids will love performing.

In the 1930s swing music was everywhere-on radio, recordings, and in the great ballrooms, hotels, theatres, and clubs. Perhaps at no other time were drummers more central to the sound and spirit of jazz. Benny Goodman showcased Gene Krupa. Jimmy Dorsey featured Ray McKinley. Artie Shaw helped make Buddy Rich a star while Count Basie riffed with the innovative Jo Jones. Drummers were at the core of this music; as Jo Jones said, "The drummer is the key-the heartbeat of jazz." An oral history told by the drummers, other musicians, and industry figures, Drummin' Men is also Burt Korall's memoir of more than fifty years in jazz. Personal and moving, the book is a celebration of the music of the time and the men who made it. Meet Chick Webb, small, fragile-looking, a hunchback from childhood, whose explosive drumming style thrilled and amazed; Gene Krupa, the great showman and pacemaker; Ray McKinley, whose rhythmic charm, light touch, and musical approach provided a great example for countless others, and the many more that populate this story. Based on interviews with a collection of the most important jazzmen, Drummin' Men offers an inside view of the swing years that cannot be found anywhere else.

Bolcom's commission was originally to write a duet piece for Metropolitan Opera stars soprano Benita Valente and mezzo-soprano Tatiana Troyanos. However, while the composition was in development, Troyanos unexpectedly died. The design was then changed, representing the late mezzo-soprano with a viola instead. The composer selected three poems about the acceptance of death for the set: "Ailey, Baldwin, Floyd, Killens and Mayfield" (Maya Angelou), "'Tis not that Dying hurts us so" (Emily Dickinson), and "Let Evening Come" (Jane Kenyon). Let Evening Come was recorded by soprano Benita Valenti, pianist Cynthia Raim and violist Michael Tree, and released on Centaur Records.

Performers include: * Early music ensembles, such as Chapelle Royale, Lionheart, Sequentia, and the Tallis Scholars * Singers Dietrich Fischer-Dieskau, Renee Fleming, and Joan Sutherland * Cellist Yo-Yo Ma * Pianists Pierre-Laurent Aimard, Malcolm Bilson, and Artur Rubenstein * The Berlin Philharmonic, the Chicago Symphony Orchestra, and the London Symphony Orchestra * Conductors Pierre Boulez, John Eliot Gardiner, James Levine, and Michael Tilson Thomas * String quartets, such as the Concord String Quartet and the Tokyo String Quartet * Jazz artists Louis Armstrong, Duke Ellington, and Dizzy Gillespie

In 1893 the composer Antonin Dvorak prophesied a "great and noble" school of American classical music based on the searing "negro melodies" he had excitedly discovered since arriving in the United States a year before. But while Black music would found popular genres known the world over, it never gained a foothold in the concert hall. Joseph Horowitz ranges throughout American cultural history, from Frederick Douglass and Huckleberry Finn to Gershwin's Porgy and Bess and the work of Ralph Ellison, searching for explanations. Challenging the standard narrative for American classical music fashioned by Leonard Bernstein and Aaron Copland, he looks back to literary figures-Emerson, Melville and Twain-to ponder how American music can connect with a "usable past". The result is a new paradigm, that makes room for Black composers, including Harry Burleigh, Nathaniel Dett, William Dawson and Florence Price, to redefine the classical canon.

Founded in 1935, The American Record Guide is America's oldest classical music review magazine. In 1987, when Donald Vroon assumed its editorship, he took on the Herculean task of writing editorials on a vast array of subjects, amassing a wealth of commentary and criticism on not only the foibles and failings, but glimmers of light in American culture. A staunch defender of the highbrow pleasures of good music composed, played, and heard with intelligence, Vroon takes no prisoners in assessing the challenges and failures and possible successes that confront America's future as a nation of music listeners. In Classical Music in a Changing Culture: Essays from The American Record Guide, Vroon delves into a variety of topics: orchestra finances, contemporary music, classical music marketing, attracting young crowds, musical aesthetics, the future of classical music, the sale and distribution of music in the modern era; the decline of American culture and its causes; the role of misguided ideologies that affect American music, from political correctness to multiculturalism to period performance practice, and the true richness of our music and its subculture. As Vroon argues, since all criticism is cultural criticism, music criticism in the broadest sense-from its composition to its distribution to its reception-is a window onto broader culture issues. Classical Music in a Changing Culture should appeal to anyone serious about classical music and worried about its increasing marginalization in our contemporary culture. These essays are not written for specialists but for thinking readers who love music and care about its place in our lives.

Leonard Bernstein was arguably the most highly esteemed, influential, and charismatic American classical music personality of the twentieth century. Conductor, composer, pianist, writer, educator, and human rights activist, Bernstein truly led a life of Byronic intensity-passionate, risk-taking, and convention-breaking. In November 1989, just a year before his death, Bernstein invited writer Jonathan Cott to his country home in Fairfield, Connecticut for what turned out to be his last major interview-an unprecedented and astonishingly frank twelve-hour conversation. Now, in Dinner with Lenny, Cott provides a complete account of this remarkable dialogue in which Bernstein discourses with disarming frankness, humor, and intensity on matters musical, pedagogical, political, psychological, spiritual, and the unabashedly personal. Bernstein comes alive again, with vodka glass in hand, singing, humming, and making pointed comments on a wide array of topics, from popular music ("the Beatles were the best songwriters since Gershwin"), to great composers ("Wagner was always in a psychotic frenzy. He was a madman, a megalomaniac"), and politics (lamenting "the brainlessness, the mindlessness, the carelessness, and the heedlessness of the Reagans of the world"). And of course, Bernstein talks of conducting, advising students "to look at the score and make it come alive as if they were the composer. If you can do that, you're a conductorand if you can't, you're not. If I don't become Brahms or Tchaikovsky or Stravinsky when I'm conducting their works, then it won't be a great performance." After Rolling Stone magazine published an abridged version of the conversation in 1990, the Chicago Tribune praised it as "an extraordinary interview" filled with "passion, wit, and acute analysis." Studs Terkel called the interview "astonishing and revelatory." Now, this full-length version provides the reader with a unique, you-are-there perspective on what it was like to converse with this gregarious, witty, candid, and inspiring American dynamo.

Contents: Haydn Sonatas: C major, G major, D major, C# minor, E minor * Mozart Sonatas: C major (K. 565), F major (K. 280), F major (K. 332), G major (K. 283), A major (K. 331) * Beethoven Sonatas: G minor, Op. 49, No. 1; G major, Op. 49, No. 2; G major, Op. 79; E major, Op. 14, No. 1; G major, Op. 14, No. 2.

(Piano Collection). 12 well-known pieces, including the most often played Sonatas, Rondo in D Major K. 485, Sonatina in C Major, and Twelve Variations on "Ah, vous dirai-je, Maman."

Why are finales different from other movements? Why can we nearly always tell whether a movement comes first or last in a work with several movements? Is the special character of finales necessary as well as traditional? Michael Talbot explores these questions in depth. His wide-ranging analytical and historical survey covers instrumental (and some vocal) music from the Renaissance up to the present day.

Since the 18th century, Western scholars and musicians have been fascinated by the music of India. Whether in the realms of musicological enquiry, or as an exotic flavour on the stage, or in popular songs, Indian music has been part of the West's consciousness for over two hundred years. Indian Music and the West traces the fascinating history of this complex cultural and musical encounter.

Offering innovative approaches to thinking about orchestras, Global Perspectives on Orchestras: Collective Creativity and Social Agency adopts ethnographic, historical and comparative perspectives on a variety of traditions, including symphony, Caribbean steel, Indonesian gamelan, Indian film and Vietnamese court examples. The volume presents compelling analyses of orchestras in their socio-historical, economic, intercultural and postcolonial contexts, while emphasizing the global and historical connections between musical traditions. By drawing on new ethnographic and historical data, the essays describe orchestral creative processes and the politics shaping performance practices. Each essay considers how musicians work together in ensembles, focusing on issues such as training, rehearsal, creative choices, compositional processes, and organizational infrastructures. Testimonies of orchestral musicians highlight practitioners' views into the diverse world of orchestras. As a whole, the volume discusses the creative roles of performers, arrangers, composers and arts agencies, as well as the social environments supporting musical collaborations. With contributions from an international team of researchers, Global Perspectives on Orchestras offers critical insights gained from the study of orchestras, collective creativity and social agency, and the connections between orchestral performances, colonial histories, postcolonial practices, ethnographic writings and comparative theorizations.

The Crisis of Classical Music in America by Robert Freeman focuses on solutions for the oversupply of classically trained musicians in America, problem that grows ever more chronic as opportunities for classical musicians to gain full-time professional employment diminishes year upon year. An acute observer of the professional music scene, Freeman argues that music schools that train our future instrumentalists, composers, conductors, and singers need to equip their students with the communications and analytical skills they need to succeed in the rapidly changing music scene. This book maps a broad range of reforms required in the field of advanced music education and the organizations responsible for that education. Featuring a foreword by Leonard Slatkin, music director of the Detroit Symphony Orchestra, The Crisis of Classical Music in America speaks to parents, prospective and current music students, music teachers and professors, department deans, university presidents and provosts, and even foundations and public organizations that fund such music programs. This book reaches out to all of these stakeholders and argues for meaningful change though wide-spread collaboration.

The image of Vienna as a musical city is a familiar one. This book explores the history of music in Vienna, focussing on three different epochs, 1700, 1800 and 1900. The image of Vienna as a musical city is a familiar one. Vienna has long been associated with many of the most significant composers in Western music - from Haydn, Mozart, Beethoven and Schubert, through the Strauss family, Brahms, Bruckner and Wolf, to Mahler, Lehar, Schoenberg and Webern. Today, venerable institutions like the Vienna Philharmonic Orchestra, the Staatsoper and the Vienna Boys' Choir, together with the shared pride of residents and visitors in its musical inheritance, ensure that the image of a musical city is undimmed. This book explores the history of music in Vienna, focussing on three different epochs, 1700, 1800 and 1900, an approach which allows the very different relationships between music and society that existed in each of these periods to be distinguished. Patronage, social function and audience are key considerations, set within wider political and cultural developments. The volume is populated by emperors, princes, performers, publishers and writers as well as composers, and deals with institutional and commercial characteristics alongside representative individual works. Music in Vienna focusses on the political and social role of music, broadening our understanding of the city as a musical capital. It will appeal to a wide readership, including music historians and political, cultural and social historians, as well as the interested general reader. DAVID WYN JONES is Professor of Music at Cardiff University.

Uncovering Music of Early European Women (1250 - 1750) brings together nine chapters that investigate aspects of female music-making and musical experience in the medieval and early modern periods. Part I, "Notes from the Underground," treats the spirituality of women in solitude and in community. Parts II and III, "Interlude" and "Music for Royal Rivals," respond to Joan Kelly's famous feminist question and suggest that women of a certain stature did have a Renaissance. Part IV, "Serenissime Sirene," plays with the notion of the allure of music and its risks in Venice during the Baroque. The process of uncovering requires close listening to women's creative endeavors in an ongoing effort to piece together equitably the terrain of early music. Contributors include: Cynthia J. Cyrus, Claire Fontijn, Catherine E. Gordon, Laura Jeppesen, Eva Kuhn, Anne MacNeil, Jason Stoessel, Elizabeth Randell Upton, and Laurence Wuidar. An invaluable book for college students and scholars interested in the social and cultural meanings of women in early music.

Written to help teachers understand and adapt Dacroze techniques in the teaching of music. Part One introduces Emile Jaques-Dalcroze, the musician and teacher, and explains the three main areas of the approach * eurhythmics, ear training and improvisation. Part Two covers the use of 'games' and exercises and their intended purpose at different levels in the junior school.

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. Beginning with the early decades of the eighteenth century, the essays in this volume consider some of the musical traditions and practices of this little understood period of music history. Four main areas are covered: orchestral music, sacred music, opera and keyboard music.