Agile, flexible and never afraid of controversial innovations (such as abandoning traditional 'black tie' evening dress for its players or giving amplified concerts with creative lighting at the Hammersmith Apollo), the LCO has surfed the waves of history. It has travelled from the early days of broadcasting - which other orchestras shunned, fearing it spelt the end of 'live' music - through the difficult days of the Second World War, when London's largest concert hall was bombed, and the thrill of being invited to play at the wedding of the Duke and Duchess of Cambridge in 2011, to a triumphant return and reinvention after the Covid-19 pandemic when its comeback programmes included Concerto for Turntables by the composer Sergei Prokofiev's grandson Gabriel Prokofiev, featuring DJ Mr Switch. Author and music critic Jessica Duchen traces the LCO's history from the beginning under its founding conductor, the entrepreneurial Anthony Bernard from London's East End, whose contacts included Britain's first female MP, the American Nancy Astor (who kindly lent her house for the orchestra's first concert) and leading composers like Edward Elgar and Ralph Vaughan Williams, up to its current Artistic Director, Christopher Warren-Green, who ensures the LCO continues to delight its devoted audiences at home and abroad with an eclectic and diverse programme of music. Over the years it has performed dozens of world or UK premieres by composers including Stravinsky, Falla, Delius and even Mozart. This engaging book teems with entertaining stories: the composer who relished riding naked on a motor bike in the Gloucestershire countryside, the oboe player who taught her daughter's boyfriend, Paul McCartney, to play the recorder for a much-loved Beatles song, and the times the LCO travelled the length and breadth of the US in a country & western tour bus straight out of Nashville. It adds up to a fascinating celebration of over 100 years of classical music, as well as giving unique insider glimpses into this vibrant and much loved orchestra.

Being an American Romantic composer, Gottschalk was one of the first classically trained pianists to incorporate examples of Creole, Latin American, and Afro American dance rhythms within European musical forms.

Music at German Courts serves to illustrate the extraordinary diversity of eighteenth-century German court music establishments without losing sight of what these Kapellen had in common. What was musical life at German courts really like during the eighteenth century? Were musical ensembles as diverse as the Holy Roman Empire's kaleidoscopic political landscape? Through a series of individual case studies contributed by leading scholars from Germany, Poland, the United States, Canada, and Australia, this book investigates the realities of musical life at fifteen German courts of varied size (ranging from kingdoms to principalities), religious denomination, and geographical location. Significant shifts that occurred in the artistic priorities of each court are presented through a series of "snapshots"- in effect "core sample" years - which highlight both individualand shared patterns of development and decline. What emerges from the wealth of primary source material examined in this volume is an in-depth picture of music-making within the daily life of individual courts, featuring a cast ofmusic directors, instrumentalists, and vocalists, together with numerous support staff drawn from across Europe. Music at German Courts serves to illustrate the extraordinary diversity of eighteenth-century German court music establishments without losing sight of what these Kapellen had in common. SAMANTHA OWENS is Associate Professor in Musicology at the University of Queensland, Brisbane, Australia. BARBARA M. REUL is Associate Professor of Musicology at Luther College, University of Regina, Canada. JANICE B. STOCKIGT is a Principal Fellow of the University of Melbourne, Australia. Contributors: DIETER KIRSCH, URSULA KRAMER, MICHAEL MAUL, MARYOLESKIEWICZ, SAMANTHA OWENS, RASHID-S. PEGAH, BAERBEL PELKER, BARBARA M. REUL, WOLFGANG RUF, BERT SIEGMUND, JANICE B. STOCKIGT, MICHAEL TALBOT, RUEDIGER THOMSEN-FUERST, ALINA ZORAWSKA-WITKOWSKA, STEVEN ZOHN

(Vocal Collection). This is the most serious and useful collection yet published of solo arias from oratorios, masses and cantatas. The literature was confined to work by major composers, and by-passes the dated oratorio literature found in previous collections. The most famous music is here, and so is interesting and less famous music by masters. There are new music engravings for each aria, and extensive historical notes and translations. Solo instrumental obbligato parts, which can be cut from the book, are included on appropriate selections.

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.

Provides examples that instructors can readily apply in their teaching, enabling deeper inclusion of Black composers in the music theory curriculum on a practical level This book includes discussion of a wide variety of genres, including: jazz and popular music (including R&B, funk, and pop), string quartets, piano pieces, concertos, symphonies, and art songs Addresses Black composers and musicians working in a wide range of musical styles, including classical and popular works

What does classical music mean to the Western World? How has it transformed over the centuries? With such a rich tradition, what relevance does it have today? Julian Johnson inspires readers to explore the field, and examines how music is related to some of the big ideas of Western experience including spirituality, emotion, the weight of history, and self identity.

Hearing Rhythm and Meter: Analyzing Metrical Consonance and Dissonance in Common-Practice Period Music is the first book to present a comprehensive course text on advanced analysis of rhythm and meter. This book brings together the insights of recent scholarship on rhythm and meter in a clear and engaging presentation, enabling students to understand topics including hypermeter and metrical dissonance. From the Baroque to the Romantic era, Hearing Rhythm and Meter emphasizes listening, enabling students to recognize meters and metrical dissonances by type both with and without the score. The textbook includes exercises for each chapter and is supported by a full-score anthology. PURCHASING OPTIONS Textbook (Print Paperback): 978-0-8153-8448-9 Textbook (Print Hardback): 978-0-8153-8447-2 Textbook (eBook): 978-1-351-20431-6 Anthology (Print Paperback): 978-0-8153-9176-0 Anthology (Print Hardback): 978-0-367-34924-0 Anthology (eBook): 978-1-351-20083-7

inch....this work is likely to become a standart work very quickly and is to be recommended to all schools where recorder studies are undertaken inch. (Oliver James, Contact Magazine) A novel and comprehensive approach to transferring from the C to F instrument. 430 music examples include folk and national songs (some in two parts), country dance tunes and excerpts from the standard treble repertoire ofBach, Barsanti, Corelli, Handel, Telemann, etc. An outstanding feature of the book has proved to be Brian Bonsor's brilliantly simple but highly effective practice circles and recognition squares designed to give, in only a few minutes, concentrated practice on the more usual leaps to and from each new note and instant recognition of random notes. Quickly emulating the outstanding success of the descant tutors, these books are very popular even with those who normally use tutors other than the Enjoy the Recorder series.

This book answers questions from real classical music lovers about things they have always wondered but didn't know whom to ask. The information in this book is not readily found in music history or appreciation books, nor can it be found on line. Questions explored are: Do string players in orchestras get paid more because they play more than other instruments? Why does an orchestra tune to an oboe when there are electronic tuners? How does a composer decide what key to compose in? Why is the 1812 Overture played on the 4th of July? And many, many more! The answers represent behind the scenes, real world, insights into how classical musicians view and discuss these questions. There is even some insight into the jokes classical musicians find funny. This book is intended for the person who loves listening to classical music, either live or recorded and will provide hours of enjoyment as the reader invariably shakes his or her head and asks in wonderment "Who knew!"

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.

Redefining Music Studies in an Age of Change: Creativity, Diversity, Integration takes prevailing discourse about change in music studies to new vistas, as higher education institutions are at a critical moment of determining just what professional musicians and teachers need to survive and thrive in public life. The authors examine how music studies might be redefined through the lenses of creativity, diversity, and integration. which are the three pillars of the recent report of The College Music Society taskforce calling for reform. Focus is on new conceptions for existent areas-such as studio lessons and ensembles, academic history and theory, theory and culture courses, and music education coursework-but also on an exploration of music and human learning, and an understanding of how organizational change happens. Examination of progressive programs will celebrate strides in the direction of the task force vision, as well as extend a critical eye distinguishing between premature proclamations of "mission accomplished" and genuine transformation. The overarching theme is that a foundational, systemic overhaul has the capacity to entirely revitalize the European classical tradition. Practical steps applicable to wide-ranging institutions are considered-from small liberal arts colleges, to conservatory programs, large research universities, and regional state universities.

Brings together contributions from across a wide array of musicological topics and subdisciplines, connecting different approaches to applied musicology and collecting the explosion in work over the past decade. Addresses questions of defining applied musicology as a field. Provides a go-to reference for students and scholars working in musicology and seeking applications beyond traditional academic paths.

"La Musica de Haydn en la "Creacion" no es patetica como la de Haendel en sus Oratorios: tiene siempre ese verdor de primavera, esa sutileza que entrega la linea ondulante en la danza de la Corte, esa inspiracion de frescura y optimismo que solo se encuentra en algunos pintores del Renacimiento y en los poetas bucolicos de la Helade y del Lacio."

Classical music can be a dangerous pastime... What with love affairs, their conductor dropping dead, a stolen cello and no money, Stockwell Park Orchestra is having a fraught season. After Mrs Ford-Hughes is squashed and injured by a dying guest conductor mid-concert, she and her husband withdraw their generous financial backing, leaving the orchestra broke and unsure of its future. Cellist Erin suggests a recovery plan, but since it involves their unreliable leader, Fenella, playing a priceless Stradivari cello which then goes missing, it's not a fool-proof one. Joshua, the regular conductor, can't decide which affair to commit to, while manager David's nervous tic returns at every doom-laden report from the orchestra's treasurer. There is one way to survive, but is letting a tone-deaf diva sing Strauss too high a price to pay? And will Stockwell Park Orchestra live to play another season? What people are saying about Life, Death and Cellos: "I was charmed... a very enjoyable read." Marian Keyes "Life, Death and Cellos is a witty and irreverent musical romp, full of characters I'd love to go for a pint with. I thoroughly enjoyed getting to know the Stockwell Park Orchestra and can't wait for the next book in the series." Claire King, author of The Night Rainbow "Life, Death and Cellos is that rare thing - a funny music book. Rogers knows the world intimately, and portrays it with warmth, accuracy and a poetic turn of phrase. Sharp, witty and richly entertaining." Lev Parikian, author of Why Do Birds Suddenly Disappear? "With its retro humour bordering on farce, this novel offers an escape into the turbulent (and bonkers) world of the orchestra." Isabel Costello, author of Paris Mon Amour "Dodgy post-rehearsal curries, friendly insults between musicians, sacrosanct coffee-and-biscuit breaks, tedious committee meetings: welcome to the world of the amateur orchestra. Throw in a stolen Stradivarius, an unexpected fatality and the odd illicit affair and you have Life, Death and Cellos, the first in a new series by Isabel Rogers." Rebecca Franks, BBC Music Magazine "...a very funny tale of musical shenanigans set in the febrile atmosphere of the Stockwell Park Orchestra" Ian Critchley

Oxford's highly successful listener's guides--The Symphony, The Concerto, and Choral Masterworks--have been widely praised for their blend of captivating biography, crystal clear musical analysis, and delightful humor. Now James Keller follows these greatly admired volumes with Chamber Music. Approaching the tradition of chamber music with knowledge and passion, Keller here serves as the often-opinionated but always genial guide to 192 essential works by 56 composers, providing illuminating essays on what makes each piece distinctive and admirable. Keller spans the history of this intimate genre of music, from key works of the Baroque through the emotionally stirring "golden age" of the Classical and Romantic composers, to modern masterpieces rich in political, psychological, and sometimes comical overtones. For each piece, from Bach through to contemporary figures like George Crumb and Steve Reich, the author includes an astute musical analysis that casual music lovers can easily appreciate yet that more experienced listeners will find enriching. Keller shares the colorful, often surprising stories behind the compositions while revealing the delights of an art form once described by Goethe as the musical equivalent of "thoughtful people conversing."

The definitive study of the LaSalle Quartet, for forty years the premier exponent of 'the new music' for string quartet. The LaSalle Quartet (1946-1987) was the premier exponent of 'the new music' for string quartet. Founded in 1946 at the Julliard School in New York, it became famous for its performances of works by the Second Viennese School and its commissioning of many new pieces by contemporary post-war composers. As a result, the quartets by Lutoslawski, Ligeti and Nono have since entered the standard repertory, sitting comfortably next to those by Schoenberg, Berg andWebern. The LaSalle Quartet's brilliant advocacy of the quartets by Alexander Zemlinsky resulted in best-selling recordings for Deutsche Grammophon. In an informative and critical dialogue between new and old, the LaSalleQuartet was also an incisive interpreter of the classical quartet repertory; many of its recordings are still in print. Its record as a teaching quartet is equally impressive, numbering among its students at the University of Cincinnati the Alban Berg, Brahms, Prazak, Artis, Buchberger, Ponche and Vogler Quartets. The LaSalle Quartet's founder and first violinist, Walter Levin, is himself a highly influential teacher whose students have included the conductor James Levine and the violinist Christian Tetzlaff, as well as many third-generation string quartets. This book, based on extensive interviews with Walter Levin conducted by Robert Spruytenburg over five years, is in equal measure autobiography, history of the Quartet, reminiscences of the contemporary composers who figured so prominently in its career, and penetrating commentary on the LaSalle Quartet's wide-ranging repertory. All these aspectsare artfully woven into a uniquely valuable, informative and entertaining document of musical life in the twentieth century. ROBERT SPRUYTENBURG lives in Basel. He was introduced to Walter Levin in 1988 and took part inhis chamber music courses. Since 2003, Spruytenburg has been working on the LaSalle Quartet's archives located at the Paul Sacher Foundation in Basel. He is a frequent contributor to classical music programmes for Swiss radio.