This volume is the first book-length account of Yves Montand's controversial tour of the Soviet Union at the turn of the years 1956/57. It traces the mixed messages of this internationally visible act of cultural diplomacy in the middle of the turbulent Cold War. It also provides an account of the celebrated French singer-actor's controversial career, his dedication to music and to peace activism, as well as his widespread fandom in the USSR. The book describes the political background for the events of the year 1956, including the changing Soviet atmosphere after Stalin's death, portrays the rising transnational stardom of Montand in the 1940s and 1950s, and explores the controversies aroused by his plan to visit Moscow after the Hungarian Uprising. The book pays particular attention to Montand's reception in the USSR and his concert performances, drawing on unique archival material and oral history interviews, and analyses the documentary Yves Montand Sings (1957) released immediately after his visit.

for SSA and piano An attractive setting of traditional words to a melody ascribed to the American hymnwriter Robert Lowry. Scott employs his considerable arranging skills to stylish effect by contrasting unison verse sections with mellifluous wordless choruses. All is underpinned by an idiomatic and supportive accompaniment for piano or organ. This piece is also available in an SATB version.

This collection contains all the extant shorter pieces by Rebecca Clarke for cello and piano, both original compositions and arrangements. Clarke's transcriptions make up around half of her works for cello. They are always carefully crafted, and are therefore often significantly different from the orginals.

Suitable for SATB and organ, this anthem, for Palm Sunday, contrasts the apparent pomp and majesty of Christ's arrival with the ignominy of his approaching sacrifice.

Suitable for SSA and piano, this title features a setting of an Yeats poem which embraces nature's beauty and the secret joy of solitude. It is intended for concert use.

This book examines the intersection between sound and modernity in dramatic and musical performance in Manila and the Asia-Pacific between 1869 and 1948. During this period, tolerant political regimes resulted in the globalization of capitalist relations and the improvement of transcontinental travel and worldwide communication. This allowed modern modes of theatre and music consumption to instigate the uniformization of cultural products and processes, while simultaneously fragmenting societies into distinct identities, institutions, and nascent nation-states. Taking the performing bodies of migrant musicians as the locus of sound, this book argues that the global movement of acoustic modernities was replicated and diversified through its multiple subjectivities within empire, nation, and individual agencies. It traces the arrival of European travelling music and theatre companies in Asia which re-casted listening into an act of modern cultural consumption, and follows the migration of Manila musicians as they engaged in the modernization project of the neighboring Asian cities.

Suitable for viola (or violin) and cello, Clarke's duo is in two contrasted movements and was originally written as a concert piece for the composer to play with the English cellist May Mukle.

Whether for weavers at the handloom, labourers at the plough, or factory workers on the assembly line, music has often been a key texture in people's working lives. This book is the first to explore the rich history of music at work in Britain and charts the journey from the singing cultures of pre-industrial occupations, to the impact and uses of the factory radio, via the silencing effect of industrialisation. The first part of the book discusses how widespread cultures of singing at work were in pre-industrial manual occupations. The second and third parts of the book show how musical silence reigned with industrialisation, until the carefully controlled introduction of Music While You Work in the 1940s. Continuing the analysis to the present day, Rhythms of Labour explains how workers have clung to and reclaimed popular music on the radio in desperate and creative ways.

This book charts the growth of the Indonesian nationalistic musical genre of lagu seriosa in relation to the archipelago's history in the 1950s and 1960s, examining how folk songs were implemented as a valuable tool for promoting government propaganda. The author reveals how the genre was shaped to fit state ideologies and agendas in the Sukarno and Soeharto eras. It also reveals the very significant role played by Radio Republik Indonesia in the genre's development and dissemination. Little research has been done to investigate how Indonesian music contributed to nation-building during Indonesia's immediate post-colonial period. Emulating the European art song, the genre was adapted to compose songs with the purpose of promoting a strengthened collective Indonesian identity, fostered by a group of musicians who functioned as gatekeepers, monitoring and devising various mechanisms for songs to conform to the propagandistic needs of the Indonesian government at the time. The result was the development of classical style of singing and the cultivation of a patriotic collection of music during the Guided Democracy period (1959-1965), which peaked at the height of the Konfrontasi (1963-1966). Lagu seriosa lost popularity as popular music infiltrated Indonesia in the 1970s, but it remains an iconic yet understudied aspect of the nationalistic agenda in Indonesia. The case studies of selected songs reflected continuity and change in musical style and over time. This book is of interest to scholars studying the intersection between history, politics, identity, arts and cultural studies in Indonesia. It is also of interest to researchers investigating the role of music in identity formation and nation-building more widely.

Suitable for double SATB choir and handbells, this title celebrates the way in which we can bring our divided world together through singing. The handbell accompaniment is included in the vocal score. It is useful for festival programming.

This collection presents a range of essays on contemporary music distribution and consumption patterns and practices. The contributors to the collection use a variety of theoretical and methodological approaches, discussing the consequences and effects of the digital distribution of music as it is manifested in specific cultural contexts. The widespread circulation of music in digital form has far-reaching consequences: not least for how we understand the practices of sourcing and consuming music, the political economy of the music industries, and the relationships between format and aesthetics. Through close empirical engagement with a variety of contexts and analytical frames, the contributors to this collection demonstrate that the changes associated with networked music are always situationally specific, sometimes contentious, and often unexpected in their implications. With chapters covering topics such as the business models of streaming audio, policy and professional discourses around the changing digital music market, the creative affordances of format and circulation, and local practices of accessing and engaging with music in a range of distinct cultural contexts, the book presents an overview of the themes, topics and approaches found in current social and cultural research on the relations between music and digital technology.

COVID-19 had a global impact on health, communities, and the economy. As a result of COVID-19, music festivals, gigs, and events were canceled or postponed across the world. This directly affected the incomes and practices of many artists and the revenue for many entities in the music business. Despite this crisis, however, there are pre-existing trends in the music business - the rise of the streaming economy, technological change (virtual and augmented reality, blockchain, etc.), and new copyright legislation. Some of these trends were impacted by the COVID-19 crisis while others were not. This book addresses these challenges and trends by following a two-pronged approach: the first part focuses on the impact of COVID-19 on the music business, and the second features general perspectives. Throughout both parts, case studies bring various themes to life. The contributors address issues within the music business before and during COVID-19. Using various critical approaches for studying the music business, this research-based book addresses key questions concerning music contexts, rights, data, and COVID-19. Rethinking the music business is a valuable study aid for undergraduate and postgraduate students in subjects including the music business, cultural economics, cultural management, creative and cultural industries studies, business and management studies, and media and communications.

for TTBB and organ with optional brass and percussion or orchestra A festal setting of this familiar tune, imposing and exciting but not difficult, with a few thrillingly unexpected harmonies and modulations. Score and parts for brass and percussion are available on hire.

Suitable for SATB (with divisions) unaccompanied, this is an arrangement of the well-known tune from Piae Cantiones known as the carol Personent Hodie. It includes words full of Easter joy.

for viola and piano This piece is one of the finest compositions for viola by one of the instrument's greatest players. It is luxuriant in melodic inventions and startlingly beautiful in its instrumental colours. The piano is a full partner to the viola, contributing an equal share of melodic interest and colouristic effects.

It is common to hear talk of how music can inspire crowds, move individuals and mobilise movements. We know too of how governments can live in fear of its effects, censor its sounds and imprison its creators. At the same time, there are other governments that use music for propaganda or for torture. All of these examples speak to the idea of music's political importance. But while we may share these assumptions about music's power, we rarely stop to analyse what it is about organised sound - about notes and rhythms - that has the effects attributed to it.

This is the first book to examine systematically music's political power. It shows how music has been at the heart of accounts of political order, at how musicians from Bono to Lily Allen have claimed to speak for peoples and political causes. It looks too at the emergence of music as an object of public policy, whether in the classroom or in the copyright courts, whether as focus of national pride or employment opportunities.

The book brings together a vast array of ideas about music's political significance (from Aristotle to Rousseau, from Adorno to Deleuze) and new empirical data to tell a story of the extraordinary potency of music across time and space. At the heart of the book lies the argument that music and politics are inseparably linked, and that each animates the other.

for SA and piano four-hands or orchestra This setting of a Catalonian carol is cheerful, tender, and reverent. The interplay of two treble voices with each other and with the transparent orchestration provides many delightful moments. This piece is a great complement to Wilberg's How far is it to Bethlehem and hat shall we give? Orchestral material is available on rental.

I Beheld Her, Beautiful as a Dove is suitable as a motet for SATB unaccompanied voices.

By turns charming, tender, and ironic, these songs make an excellent concert suite and wonderful encores. They are scored for voice and violin.

Suitable for SATB and organ, this is a setting of a inclusive contemporary poem.

The relationship between music and the nervous system is now the subject of intense interest for scientists and people in the humanities, but this is by no means a new phenomenon. This volume sets out the history of the relationship between neurology and music, putting the advances of our era into context.