for flute, clarinet, and piano Barn Dances is a set of four abstract pieces drawing their titles from the name of a particular dance step used in cowboy dances. Taking the name of the step as a point of departure, Larsen's idea was to take a flight of fancy in each movement and to create the musical equivalent of a character drawing. Thus this lively set encompasses various styles including hoedown jig, swing, and a waltz. Suitable for concert use by conservatory students and accomplished school musicians.

for soloist, SSA, and piano This setting of one of the most enduringly popular Christmas carols is an ideal piece for a school Christmas concert or nativity play. German and English singing texts are included. There is also a version for SATB.

How are our personal soundtracks of life devised? What makes some pieces of music more meaningful to us than others? This book explores the role of memory, both personal and cultural, in imbuing music with the power to move us. Focusing on the relationship between music and key life moments from birth to death, the text takes a cross-disciplinary approach, combining perspectives from a 'history of emotions' with modern day psychology, empirical surveys of modern-day listeners and analysis of musical works. The book traces the trajectory of emotional response to music over the past 500 years, illuminating the interaction between personal, historical and contextual variables that influence our hard-wired emotional responses to music, and the key role of memory and nostalgia in the mechanisms of emotional response.

This illustrated dictionary, written by the prolific Victorian composer Sir John Stainer (1840-1901) - best remembered today for his oratorio The Crucifixion - and W. A. Barrett, was first published by Novello in 1876. It provides definitions for 'the chief musical terms met with in scientific, theoretical, and practical treatises, and in the more common annotated programmes and newspaper criticisms', ranging from short explanations of the Italian words for tempi, through descriptions of ancient instruments to expansive articles on such topics as acoustics, copyright, hymn tunes, the larynx and temperament. That it subsequently ran to several further editions suggests that it provided welcome guidance for the concert-going public in the nineteenth century.

The Royal Academy of Music in London was founded in 1822 by Lord Burghersh (later the 11th Earl of Westmorland), a soldier and keen amateur musician, to whom this book is dedicated. He was supported by the French harpist and composer Nicolas-Charles Bochsa, who had fled to London to avoid prosecution in France for fraud and forgery. In 1854, the Rev. William Wahab Cazalet (1808 75) wrote a history of the Royal Academy 'compiled from authentic sources' and beginning with an adulatory short biography of the Earl. Cazalet remarks in his preface that 'the history comprises only about eleven years of the life of the Institution; but it is this portion alone that has any interest, for when all the struggles and troubles attending its establishment are at an end, the records of a mere routine of business give no material for publication'.

C. F. Abdy Williams (1855 1923), a noted music scholar, traced the history of the discipline at Oxford and Cambridge from the fifteenth century to the late Victorian period in this 1894 book. He discusses the earliest records of degrees in the subject, the establishment of professorships, the requirements for degrees and the ceremonies associated with their conferral. He provides biographical information for graduates from as early as 1463, noting that English music of this early period was in a very advanced stage compared to that of the rest of Europe. He also includes, in an appendix, the names of those persons who are mentioned as graduates but whose names do not appear in the university records. His book reveals the importance attached to the cultivation of music at the ancient British universities and the prestige attached to their scholars over several centuries.

Co-authored by James D. Brown (also known for A Biographical Dictionary of Musicians) and Stephen S. Stratton, British Musical Biography is an alphabetical reference work to the key achievements of British musical artists, composers and authors from as early as 1042 AD to the end of the nineteenth century. It first appeared in 1897 as an experiment in publishing and was motivated partly by patriotism on the part of the authors. It includes the names of British composers and performers, their dates of birth and death, brief biographies, and details of important works, their first performance, and date of first publication. Interpreting their brief to include the whole of the British empire, the authors have included the names of well over 2,500 famous and lesser-known musicians born in Britain and its colonies.

This 1874 account of the music of ancient Greece, Egypt and Rome was the only volume of the author's proposed history of music to be published. William Chappell, eldest son of the founder of Chappell's the music publishers, was noted for his interest in ancient and traditional music and was the founder of the Musical Antiquarian Society in 1840. Best remembered for his Popular Music of the Olden Time, Chappell justifies the need for his study of ancient music in a long introduction to the volume which criticises the approaches of Charles Burney and Sir John Hawkins and attacks the validity of Helmholtz's work on acoustics. The work explores theory, practice, science, philosophy and the instruments of the time through analysis of ancient sources such as Aristotle, Pythagoras, Boethius and Vetruvius and of iconographical materials. A comprehensive glossary-cum-index is included together with topic summaries for each chapter.

The publisher John Sainsbury produced this two-volume biographical dictionary of musicians in 1824. The book, as he acknowledges on his title page, borrows from the previously published works of Choron and Fayolle (in French), Gerber (in German), Orloff (Russian, writing in French), and his two notable English predecessors, Dr Burney and Sir John Hawkings. It contains a 'summary of the history of music', as well as biographies and memoirs of musicians. The range of the information provided is immense, including the most obscure as well as the most famous: fourteen pages on Mozart are followed by paragraphs on his wife Constanza and on the now completely forgotten B. F. Mozin, a French piano teacher and composer, while Beethoven is described when still living and composing, albeit afflicted by deafness. This work is a mine of information on musical life and perceptions of music history in the early nineteenth century.

The publisher John Sainsbury produced this two-volume biographical dictionary of musicians in 1824. The book, as he acknowledges on his title page, borrows from the previously published works of Choron and Fayolle (in French), Gerber (in German), Orloff (Russian, writing in French), and his two notable English predecessors, Dr Burney and Sir John Hawkings. It contains a 'summary of the history of music', as well as biographies and memoirs of musicians. The range of the information provided is immense, including the most obscure as well as the most famous: fourteen pages on Mozart are followed by paragraphs on his wife Constanza and on the now completely forgotten B. F. Mozin, a French piano teacher and composer, while Beethoven is described when still living and composing, albeit afflicted by deafness. This work is a mine of information on musical life and perceptions of music history in the early nineteenth century.

The British musicologist Henry Davey (1853 1929) was a noted scholar of the manuscript sources of Tudor music. He published the first edition of History of English Music in 1895 with the aim of providing his fellow-musicians with the first clear scholarly account of the full range of English musical achievements. His main focus is the fifteenth, sixteenth and seventeenth centuries, which he considered the heyday of English music, and he claims that the earliest known free instrumental compositions, as well as the polyphonic style, originated in England during the fifteenth century. In Davey's view, these controversial findings were his most important contribution to general musical knowledge. His work was widely discussed in his own time, attracting both praise and aggressive criticism, and continues to be read with great critical interest today, not least because of its parallels with the socialist utopianism of Ruskin and Morris.

This is a reissue of the first edition of George Grove's Dictionary of Music and Musicians, which has since evolved to become the largest and most authoritative work of its kind in English. The project grew in the making: the title page of Volume 1 (1879) refers to 'two volumes', but by the time Volume 4 appeared in 1889 there was also a 300-page appendix and a separate index volume. The dictionary was an international undertaking, with contributors from Paris, Leipzig, Berlin, Vienna and Boston alongside those based in Britain. It was 'intended to supply a great and long acknowledged want' arising from the increased interest in all aspects of music, which was 'rapidly becoming an essential branch of education', and to cater for the professional while being accessible to the amateur. It is a fascinating document of musical tastes and values in the late Victorian period.

This is a reissue of the first edition of George Grove's Dictionary of Music and Musicians, which has since evolved to become the largest and most authoritative work of its kind in English. The project grew in the making: the title page of Volume 1 (1879) refers to 'two volumes', but by the time Volume 4 appeared in 1889 there was also a 300-page appendix and a separate index volume. The dictionary was an international undertaking, with contributors from Paris, Leipzig, Berlin, Vienna and Boston alongside those based in Britain. It was 'intended to supply a great and long acknowledged want' arising from the increased interest in all aspects of music, which was 'rapidly becoming an essential branch of education', and to cater for the professional while being accessible to the amateur. It is a fascinating document of musical tastes and values in the late Victorian period.

This is a reissue of the first edition of George Grove's Dictionary of Music and Musicians, which has since evolved to become the largest and most authoritative work of its kind in English. The project grew in the making: the title page of Volume 1 (1879) refers to 'two volumes', but by the time Volume 4 appeared in 1889 there was also a 300-page appendix and a separate index volume. The dictionary was an international undertaking, with contributors from Paris, Leipzig, Berlin, Vienna and Boston alongside those based in Britain. It was 'intended to supply a great and long acknowledged want' arising from the increased interest in all aspects of music, which was 'rapidly becoming an essential branch of education', and to cater for the professional while being accessible to the amateur. It is a fascinating document of musical tastes and values in the late Victorian period.

This is a reissue of the first edition of George Grove's Dictionary of Music and Musicians, which has since evolved to become the largest and most authoritative work of its kind in English. The project grew in the making: the title page of Volume 1 (1879) refers to 'two volumes', but by the time Volume 4 appeared in 1889 there was also a 300-page appendix and a separate index volume. The dictionary was an international undertaking, with contributors from Paris, Leipzig, Berlin, Vienna and Boston alongside those based in Britain. It was 'intended to supply a great and long acknowledged want' arising from the increased interest in all aspects of music, which was 'rapidly becoming an essential branch of education', and to cater for the professional while being accessible to the amateur. It is a fascinating document of musical tastes and values in the late Victorian period.

This is a reissue of the first edition of George Grove's Dictionary of Music and Musicians, which has since evolved to become the largest and most authoritative work of its kind in English. The project grew in the making: the title page of Volume 1 (1879) refers to 'two volumes', but by the time Volume 4 appeared in 1889 there was also a 300-page appendix and a separate index volume. The dictionary was an international undertaking, with contributors from Paris, Leipzig, Berlin, Vienna and Boston alongside those based in Britain. It was 'intended to supply a great and long acknowledged want' arising from the increased interest in all aspects of music, which was 'rapidly becoming an essential branch of education', and to cater for the professional while being accessible to the amateur. It is a fascinating document of musical tastes and values in the late Victorian period.

Suitable for flute or solo soprano and SATB. The lark is depicted either by a solo soprano, as originally written, or by a flute.

A memoir by the iconic singer-songwriter chronicling her story from her beginnings in Brooklyn through her remarkable success as one of the world's most acclaimed musical talents, to her present day as a leading performer and activist.

From her marriage to Gerry Goffin, with whom she wrote dozens of songs that hit the charts, to her own achievements, notably with 'Tapestry', which remained on the charts for more than six years, to her experiences as a mother, this memoir chronicles one of music's most successful and fascinating stars.

The book includes dozens of photos from King's childhood, her own family, and behind-the-scenes images from her performances over the years.

Suitable for SATB and organ or piano duet.

Across spatial, bodily, and ethical domains, music and dance both emerge from and give rise to intimate collaboration. This theoretically rich collection takes an ethnographic approach to understanding the collective dimension of sound and movement in everyday life, drawing on genres and practices in contexts as diverse as Japanese shakuhachi playing, Peruvian huayno, and the Greek goth scene. Highlighting the sheer physicality of the ethnographic encounter, as well as the forms of sociality that gradually emerge between self and other, each contribution demonstrates how dance and music open up pathways and give shape to life trajectories that are neither predetermined nor teleological, but generative.

Bringing the research of musicologists, art historians, and film studies scholars into dialogue, this book explores the relationships between visual art forms and music. The chapters are organized around three core concepts - threshold, intermediality, and synchresis - which offer ways of understanding and discusssing the interplay between the arts of sounds and images. Refuting the idea that music and visual art forms only operate in parallel, the contributors instead consider how the arts of sound and vision are entwined across a wide array of materials, genres and time periods. Contributors delve into a rich variety of topics, ranging from the art of Renaissance Italy to the politics of opera in contemporary Los Angeles to the popular television series Breaking Bad. Placing these chapters in conversation, this volume develops a shared language for cross-disciplinary inquiry into arts that blend music and visual components, integrates insights from film studies with the conversation between musicology and art history, and moves the study of music and visual culture forward.

The Routledge Handbook to Sociology of Music Education is a comprehensive, authoritative and state-of-the-art review of current research in the field. The opening introduction orients the reader to the field, highlights recent developments, and draws together concepts and research methods to be covered. The chapters that follow are written by respected, experienced experts on key issues in their area of specialisation. From separate beginnings in the United States, Europe, and the United Kingdom in the mid-twentieth century, the field of the sociology of music education has and continues to experience rapid and global development. It could be argued that this Handbook marks its coming of age. The Handbook is dedicated to the exclusive and explicit application of sociological constructs and theories to issues such as globalisation, immigration, post-colonialism, inter-generational musicking, socialisation, inclusion, exclusion, hegemony, symbolic violence, and popular culture. Contexts range from formal compulsory schooling to non-formal communal environments to informal music making and listening. The Handbook is aimed at graduate students, researchers and professionals, but will also be a useful text for undergraduate students in music, education, and cultural studies.

During the last thirty years Eastern Europe has been a place of radical political, economic, and social transformation, and these changes have affected the cultural industries of its countries. This volume consists of twelve chapters by leading international researchers. Stories are documented of various organisations that once dominated the 'communist music industries' - such as state-owned record companies, music festivals, and collecting societies. The strategies employed by artists and industries to join international music markets after the fall of communism are explained and evaluated. Political and economic transformations that coincided with the advent of digitalisation and the Internet intensified the changes. All these issues posed challenges both to record labels and artists who, after adjusting to the rules of the free-market economy, were faced with the falling record sales of records caused by the advent of new communication technologies. This book examines how these processes have all affected the music scene, industries, and markets in various Eastern European countries.