From Beethoven To Shostakovich The Psychology of the Composing Process By MAX GRAF PHILOSOPHICAL LIBRARY NEW YORK To Dagobert D. Runes TABLE OF CONTENTS PART I. SOURCES OF MUSICAL IMAGINATION I. The Magic in Music 3 II Artistic Fancy 23 III. Classical and Romantic Fantasy 35 IV. The Erotic Forces of Fantasy 52 V. The Subconscious 77 VI. Forms and Figures in the Subconscious 118 VII. Childhood Memories 155 VIII. External and Internal Experiences 177 IX. Retrospect The Origin of Beethovens Ninth Symphony 221 PART II. THE WORK. OF MUSICAL FANTASY X Organizing the Musical Fantasy 245 XL Productive Moods 273 XIL Musical Conception 308 XIII. The Beginning of Critical Work The Sketches 329 XIV, The Composition Process 377 XV, Retrospect The Path of Musical Imag ination The Musical Work of Art 448 Index 462 PART I. Sources of Musical Imagination CHAPTER I. L Cagic in THE AVERAGE music lover, listening to one of the great music works, does not give a thought to how these compositions may have originated. He enjoys their grand musical constructions, the sym phonies, sonatas, chamber music, songs and choruses. He derives pleasure from the tonal beauty and from the musical expression and feels his whole being elevated, his sensual powers augmented and his entire personality transformed. The world in which he ordinarily moves, and which is the scene of his activity, seems to vanish. He feels himself transplanted to another world wherein every thing that would normally catch his interest ceases to exist his work, his human relations, his worries and hopes and fears, his plans and his everyday sentiments. In this new and exalted world there are only sound ing forms, and within the tones only thelustre of beau ty a lustre that has always been sensed by all susceptible individuals by some more clearly than by others as a light coming from a loftier region, Even those who seek in the enjoyment of music mere ly the sensual pleasure of sounds, still sense in music firm order and a lawful form which elevate the simplest melody far above the tumult of everyday life. The attitude of musical audiences in the concert hall demonstrates most effectively the transformation of a m FROM BEETHOVEN TO SHOSTAKOVICH crowd of people from its commonplace conduct to a new form of existence. Before the program starts, the audiences gossip and discuss their private affairs they laugh, exchange pleas antries., flirt, tell one another vicious or witty or mean ingless matters about life and society. As yet there is no audience in the concert hall, and no unity only groups or individuals. Then the conductor or the soloist makes his appear ance on the stag cmd as if at a given command, the conglomeration of listeners changes to a single audience that listens as if with a single ear. At the first sound of a tone or chord the attention of thousands converges in one direction. The listeners are transformed into a single being whose entire emo tional life is changed. It f 5 eems as though the souls of thousands would merge fn a new, uniform soul that permits music to penetrate. There is a new tension in the souls of all those present sensations take on a higher degree of warmth emotions move more rapidly than in ordinary life. At this moment an event takes place in the concert halls similar to that in Catholic churches when, at the moment of Transubstantiation the music becomes si lent as the little bellrings through the high room. At this point the pious kneel down as the priest raises the monstrance, and out of hundreds of devout there emerges a single congregation in whose collective soul lives the identical mystic awareness of the presence of their God. One can observe something similar at every theatrical show, every mass meeting and at every sports event the transformation of a gathering of people, and of life and C4 THE MAGIC IN MUSIC sentiments of thousands into a new, more strongly braced, intensified emotion...

Our Singing Country A Second Volume of American Ballads and Folk Songs COLLECTED AND COMPILED BY JOHN A. LOMAX Honorary Consultant and Curator of the Archive of American Folk Song of the Library of Congress AND ALAN LOMAX Assistant in Charge of the Archive of American Folk Song of the Library of Congress RUTH CRAWFORD SEEGER Music Editor New York The Macmillan Company 19 49 TO WILL C. HOGG Classmate and Friend Whose life was a ballad INTRODUCTION In any country it Is the people who make the differences. The landscapes with the thumb-mark and the heel-mark of the people on them are the land scapes you remember. In Chile it is not the mountains which make the unbelievable loveliness of that country but the rows of poplars standing under the stone of the Andes, leaf against granite. It is the same way in other countries. France with the fields so and the roads so and the villages square to them. England with the roofs set this way not in any other way. Persia with the water courses in the wild gardens and the peach boughs over the mud walls. Japan where the pines on the ridge-poles of the moun tains are warped by the wind but not by the wind only. It is the mark of the people on any country which gives it the feel it leaves in a mans mind. Even the sense of time in a country is the sense of the people in it now and before now. But it is not only the heel-marks on the hill-sides and the way the roads run that show the traces of the people. There are other marks in other mate rials and not least in the substance of words and the substance of music. Music and words will wear under the use of a people as easily as the earth will wear and the marks will last longer. Devoted writers write asthough the body of the people of a country made songs for themselves and poems for themselves the folk songs and the folk music. But to speak prosaically the people do not make songs and poems for themselves. The folk songs and the folk poems come from far back and like any song or any poem they have had beginnings in a single mind. What the people of a country do with the music they take over for themselves and the poems they take over for themselves is to pass them along from hand to hand, from mouth to mouth, from one generation to the next, until they wear smooth in the shape the people this particular people is obliged to give them. The people make their songs and poems the way the people make a stone stair in an old building of this republic where the treads are worn down and shaped up the way their users have to have them. The folk songs and the folk poems show the mark of a people on them the way the old silver dollars show the mark of shoving thumbs but with far more meaning. They show the peoples mark more even than the line of the roads in a country or the shape of the houses hopeful or not so hopeful and they last longer. The people or the poets either who can leave their mark on the words or on the music of a country, leave it for a long time and in an honorable place. This second volume of American ballads and folk songs collected by vii Introduction John Lomax of Texas and his son Alan, the two men who created, under the brilliant direction of Herbert Putnam and Dr. Harold Spivacke, the Archive of American Folk Song in the Library of Congress, is a body of words and of music which tells more about the American people than all the miles of their quadruple-lane expresshighways and all the acres of their bill-board plastered cities a body of words and of music which tells almost as much about the American people as the marks they have made upon the earth itself. It is a book which many Americans will delight to open, and not once but many times. But behind this book is another body of material also a product of the work of Mr. Putnam and the Lomaxes which reveals with even greater precision the character and the distinction of the mark left upon their music and their words by the people of this country...

(Amadeus). In 65 perceptive pieces, including some of the work that earned him the Pulitzer Prize for Criticism in 1997, Page offers what he calls "a collection of illumined moments," now gathered in a single volume for the wider audience who will treasure their insights.

The first and only collection of its kind, "Sacred Symphony" contains 100 transcriptions of muscial excerpts from the chanted sermons of contemporary black preachers. In his introduction to the pieces that follow, author John Michael Spencer argues that there is an observable correlation between the chanted sermons of today's black preachers and the antebellum spiritual. He shows that the pieces collected here, each of which spontaneously evolved during the course of a sermon or prayer service, are themselves spirituals containing similar musical components--melody, rhythm, call and response, counterpoint, harmony, form, and improvisation.

Genevieve Straus: a Parisian Life is the first biography in English of Genevieve Straus (1849-1926), a Parisian salon hostess and political activist. Joyce Block Lazarus explores myths surrounding Straus and offers an account of her life and accomplishments. Making use of historical materials, including previously unpublished letters, Lazarus shows that Straus was a female intellectual during an era when women were non-citizens. Scholars have well documented the Dreyfus Affair (1894-1906), but have overlooked archival documents which spotlight Straus's role as a political activist in the affair. In Genevieve Straus: a Parisian Life, Lazarus highlights Straus's thirty-four-year friendship with Marcel Proust and examines her influence on Proust's novel, In Search of Lost Time, finding echoes of Straus and her family in his masterpiece.

In his memoir, Dr. George E. Allen looks back at a career spanning more than five decades of teaching music to Philadelphia students. Early on in life, he learned about many styles of music, and he took his love of the art to college, where he earned multiple degrees before joining the Philadelphia School District. There, he earned the respect of students, fellow music teachers, and music administrators. It wasn't easy, but he did it his way and enjoyed positive results. He inspired the same type of dogged effort in his students, relying on a phrase that he placed at the beginning of all his syllabi: "It is better to know than to think you know." He first heard that on the phone from Ellis Marsalis, the father of jazz musician Wynton and a well-known musician in his own right. Allen adopted the phrase as one of his own mantras, never allowing his students to say "I think" or "I can't." Whether you are someone who loves music, an education professional, or someone thinking about becoming a teacher, you can find inspiration in Allen's love for music, education, and his students. It was time for me to begin serious work on writing about my experience as a music educator in Philadelphia because I did it differently with satisfying results.

Van Morrison is primal but sophisticated; he's accessible but inscrutable; he's a complex songwriter and a raw blues shouter; he's a steady influence on the musical scene but wildly unpredictable as well, and it's these complex and often conflicting qualities that make him such a compelling subject for the Singer-Songwriter series. Journalist Erik Hage here eschews a cold, empirical study of structures and influence, and seeks instead more natural and intuitive means of appreciating all that is unique, eclectic, and surprising about Van Morrison's impressive output. In addition to covering almost all of Van Morrison's musical work and offering new readings of many iconic songs, Hage also provides a biographical introduction and a complete discography that can help listeners find new perspective on Morrison's body of work.

Even in his darkest and most naked moments-in "Astral Weeks" for instance-Van Morrison's songs can still suggest something uplifting. Sometimes these two poles are present simultaneously, and at other times they each find distinct expression in a different musical moment. Even on his first solo album, "Blowin' Your Mind" (which contained the iconic Brown-Eyed Girl) Van Morrison was wrestling with something thornier and deeper, as evidenced by the wrenching T.B. Sheets - a nine-minute opus about the discomfort of visiting a lover in a small room as she lies in bed, wracked with Tuberculosis. Those two songs, at artistic odds with each other and on the same album, are representative of the oppositional forces that fuel much of his work. Hage here provides a guide through all the layers of emotional meaning and musical resonance present in Morrison's work.

We communicate multimodally. Everyday communication involves not only words, but gestures, images, videos, sounds and of course, music. Music has traditionally been viewed as a separate object that we can isolate, discuss, perform and listen to. However, much of music's power lies in its use as multimodal communication. It is not just lyrics which lend songs their meaning, but images and musical sounds as well. The music industry, governments and artists have always relied on posters, films and album covers to enhance music's semiotic meaning. Music as Multimodal Discourse: Semiotics, Power and Protest considers musical sound as multimodal communication, examining the interacting meaning potential of sonic aspects such as rhythm, instrumentation, pitch, tonality, melody and their interrelationships with text, image and other modes, drawing upon, and extending the conceptual territory of social semiotics. In so doing, this book brings together research from scholars to explore questions around how we communicate through musical discourse, and in the discourses of music. Methods in this collection are drawn from Critical Discourse Analysis, Social Semiotics and Music Studies to expose both the function and semiotic potential of the various modes used in songs and other musical texts. These analyses reveal how each mode works in various contexts from around the world often articulating counter-hegemonic and subversive discourses of identity and belonging.

This volume looks forward and re-examines present day education and pedagogical practices in music and dance in the diverse cultural environments found in Oceania. The book also identifies a key issue of how teachers face the prospect of taking a reflexive view of their own cultural legacy in music and dance education as they work from and alongside different cultural worldviews. This key issue, amongst other debates that arise, positions Intersecting Cultures as an innovative text that fills a gap in the current market with highly appropriate and fresh ideas from primary sources. The book offers commentaries that underpin and inform current pedagogy and bigger picture policy for the performing arts in education in Oceania, and in parallel ways in other countries.

Claudio Arrau was one of the most distinguished and influential concert pianists of the twentieth century. His particular approach to the creation of sound was legendary. Concert pianist Ruth Nye studied with Arrau in New York and maintained a very active professional and personal relationship with the maestro until his death some 30 years later. Ruth Nye's performance career continued for many years until she developed Dupuytren's contracture of the fifth finger of her left hand, which left her unable to play professionally. Ruth Nye, MBE, FRCM, is now one of the most highly regarded piano teachers in the UK. This is the story of her life and her musical philosophy.

Dave Lamb's collection of poetry and song lyrics, i'll be alright, contains love songs, fun songs, and poems of beauty and the heart filled with descriptions of life experiences to which everyone can relate. His songs have inspired listeners with passionate rhythm and heartfelt lyrics painting portraits of love, despair, anger, laughter, and solitude. Seasons of Life In the spring of life with all its bloom So much ahead, no wall of doom And in the spring you're blossoming You bring new buds of hope you think The summer time with all its splendor Life is filled with excitement and grandeur And in the summer you progress Do what you like improve your quest The fall of life comes far too fast The ride downhill runs like a dash And in the fall when leaves change color There's one gray hair after another The blustery winter wind blows cold Time will pass you by till old And in the winter feel the ice Time passes by with such a price

This work is a revealing chronicle of Hip Hop culture from its beginnings three decades ago to the present, with an analysis of its influence on people and popular culture in the United States and around the world. From Grandmaster Flash and the Furious Five's "The Message," to Jay-Z, Diddy, and 50 Cent, Hip Hop Culture is the first comprehensive reference work to focus on one of the most influential cultural phenomena of our time. Scholarly and streetwise, backed by statistics, documents, and research, it recounts three decades of Hip Hop's evolution, highlighting its defining events, recordings, personalities, movements, and ideas, as well as society's response. How did an inner-city subculture, all but dismissed in the early 1980s, become the ruler of the world's airwaves and iPods? Who are the players who moved Hip Hop from the record bins to the pinnacles of entertainment, business, and fashion? Who are the founders, innovators, legends, and major players? Authoritative and authentic, Hip Hop Culture provides a wealth of information and insights for students, educators, and anyone interested in the ways pop culture reflects and shapes our lives.

This volume describes the traditional vocal and instrumental music of the Lao-speaking people living in Northeast Thailand. Beginning with a description of the cultural and historical contexts of this music, Miller continues with an overview of Northeast Thai music, its instruments, concepts, and certain proto-musical genres. Individual chapters deal separately with the non-technical aspects, including the history, texts, economics, and performance practices of both kaen playing and mawlum singing. Another chapter discusses all technical matters concerning the vocal genres, including the tonal nature of the Lao language, the relationship between melody and linguistic tone, scales, rhythm and meter, form, and tempo. The final two chapters deal specifically with the kaen--a bamboo mouth organ with 6, 14, 16, or 18 tubes, each with a free-reed. This volume is generously illustrated with musical examples transcribed from field recordings made in Northeast Thailand, numerous photographs, and line drawings. Miller concludes with a series of translations of texts from musical examples; an extensive glossary which includes two forms of romanization, the Thai spelling, and a brief description; and, finally, a bibliography, discography, and index.

Musical floodgates were opened after the Beatles' first appearance on "The Ed Sullivan ShoW" on February 9, 1964. Suddenly, the U.S. record charts, radio, and television were overrun with British rock and pop musicians. Although this British Invasion was the first exposure many Americans had to popular music from the United Kingdom, British pop -- and more specifically British rock and roll -- had been developing since the middle of the 1950s. Author James Perone here chronicles the development of British rock, from the 1950s imitators of Elvis Presley and other American rockabilly artists, to the new blends of rockabilly, R&B, Motown, and electric blues that defined the British Invasion as we recognize it today. Die-hard fans of the Beatles, the Who, and the Kinks will all want a copy, as will anyone interested in the 1960s more generally.

May 1964 saw major gang-style battles break out in British resort communities between the Mods and the Rockers. The tensions between the two groups had been developing for several years, with each group claiming their own sense of culture and style. The Mods wore designer clothing, rode Vespa motor scooters, and shared an affinity for black American soul music, while the Rockers favored powerful motorcycles, greased-back hair, and 1950s American rock and roll. It was within this context that the sounds of the British Invasion developed.

"Mods, Rockers, and the Music of the British Invasion" chronicles the development of British rock through the iconic artists who inspired the movement, as well as through the bands who later found incredible success overseas. In addition to analyzing the music in the context of the British youth culture of the early 1960s, Perone analyzes the reasons that the British bands came to so thoroughly dominate the record charts and airwaves in the United States.

The contributions of Cliff Richard, Billy Fury, Johnny Kidd and the Pirates, Tommy Steele, the Tornados, Tony Sheridan, Blues Incorporated, and others to the development of British rock and roll are examined, as are the contributions and commercial and artistic impact of major British Invasion artists such as the Beatles, the Rolling Stones, the Dave Clark Five, the Yardbirds, Manfred Mann, the Who, the Kinks, and others. After investigating these groups and their influences upon one another, Perone concludes by examining the commercial and stylistic impact British rock musicians had on the American music of the time.

Paul Simon is commonly acknowledged to be one of the most successful singer-songwriters of the pop-rock era. His work has flourished in the context of Simon and Garfunkel as well as in his own solo career. Starting with the folk-rock style that marked his earliest significant success, he has drawn on a wide variety of influences, including many American traditions and, later, many international ones as well. He has won multiple Grammy awards in both the duo and the solo phases of his career. His songwriting has also provided the impetus for brief forays into film and musical theatre. After providing a brief biographical overview, this work examines Simon's songwriting work in depth, providing a critical discussion of each song as a fusion of text and music so as to help the reader to identify elements that enhance appreciation. A particularly valuable contribution in this context is the discussion of the wide variety of musical elements that contribute significantly to the value of Simon's work. These include such easily-understandable issues as verse-chorus structure, melodic variation, selection of particular instruments and even performers, variation of musical style within a song, general harmonic characteristics, relationships among keys, rhythm and pacing of text, etc. While the book proceeds chronologically through Simon's recorded output, specific threads are developed throughout, and the discussion of individual songs takes place in the context of these threads, both drawing on them and developing them further. The diversity of Paul Simon's work reflects his very American background, and no discussion of American music is complete without accounting for his influence.

(Faber Piano Adventures ). For adult beginners, use Adult Piano Adventures. This comprehensive, "All-In-One" book includes lessons, solos, technique, and theory in a single volume for ease of use. Book 1 presents the fundamentals of music notation, chord playing, and musical form. Songs include: Amazing Grace * Merrily We Roll Along * Ode to Joy * Yankee Doodle * Clock Tower Bells * Catch a Falling Star * Russian Sailor Dance * Sleeping Beauty Waltz * Danny Boy * The Entertainer * and more. Spiral bound.

The Asian continent is composed of multiple political systems, huge populations, and different religions and histories. Yet, the undercurrents of politics and political affairs and how societies function in this vast region are not well known, and in fact often misunderstood. The role of music and its impact on political affairs is just one of these unknown or misunderstood factors about this region. Unlike initial political communication studies, the present book is not about examining established political structures such as parliament or congress and the presidency; political processes such as elections, campaign advertising and voter education; or even political behavior and participation such as voting and the performance of other civic duties. Rather, it recognizes and explores the impact and intersection of music and politics in society, in this case, various societies in the Asian continent. The book is projected to be an invaluable research tool specifically in the hands of researchers and students of Asian politics in the aforementioned fields, and people who are interested in understanding and investigating the intersection of music and politics globally. Therefore, suggested potential targets for the envisaged edited book include such researchers and students across multiple disciplines in the arts and humanities, as well as libraries and research institutes across the globe.

The Beatles meet Sigmund Freud. Bob Marley trades ideas with Carl Rogers, and Joni Mitchell shares thoughts with psychological great Erik Erikson. Those aren't actual face-to-face meetings, but a reflection of the fascinating interplay developed for this book by Barry Farber. In a novel look at rock 'n' roll lyrics, Columbia University professor Farber shows us those lyrics that rise above the rest because they are not only clever but also wise in their psychological themes and conclusions. These great lyrics embody enduring truths about topics as diverse as love, identity, money, sex, religion, aging, social justice, and the search for meaning. Join psychologist Farber in a fun and informative journey across rock 'n' roll history to see how we can learn about significant areas of life through the medium of psychologically wise rock 'n' roll lyrics. No other book has treated rock 'n' roll lyrics so seriously, as a source of both creativity and wisdom. No other book has used rock lyrics to help us understand who we are and why we do what we do. This is a fascinating work that will make readers think about their lives and consider where they have been, as well as where they are going. Featured artists include Bob Dylan, The Beatles, The Eagles, Joni Mitchell, Billy Joel, Stevie Wonder, Alanis Morissette, and more. Rock lyrics from every decade since the 1950s are featured, and intertwined with the theories of such psychological luminaries as Freud, Rogers, Erikson, and John Bowlby. The wisest rock lyrics, says Farber, can teach us something about ourselves that even the greatest psychological figures have sometimes failed to do.

Fight songs, alma maters, and other school songs are as numerous and varied as the colleges and universities in the United States to which they belong. Robert F. O'Brien has compiled a long-needed directory of school songs to serve as a reference work for those who must perform, arrange, or research school songs in the course of their day-to-day work.

O'Brien has arranged the songs alphabetically by state, and, within the state, by the name of the institution. Wherever possible, information is provided on the composer, the tune, and the publisher or copyright status. Arrangers are listed whenever possible and lyricist adaptations are also noted. If the song is not an original composition, the original title is shown in the entry. Alphabetical lists of school names, song sources, references, and song publishers are provided. An index of song titles helps to access the wealth of information in this volume. College music teachers, band directors, orchestral conductors, composers, librarians, and alumni will welcome this informative directory.