This reference work is certainly a valuable addition to the study of Russia and its music. . . . The dictionary is, of course, a must for academic and large public libraries or any library where research is done. "Reference Quarterly"

This important new biographical dictionary is the most comprehensive single-volume work on Russian and Soviet composers published outside of the Soviet Union to date. Incorporating contributions by a distinguished group of performers, musicologists, and other scholars, including many specialists in Russian music, it provides detailed, up-to-date information on over 2,000 composers, the majority of whom are not represented in other English-language references.

Entries vary from brief profiles of lesser-known figures to lengthy articles on major Russian and Soviet composers. Each of the longer essays summarizes current scholarship on the composer, offers new insights, and complements or corrects coverage available in standard music references. Commentary on musical style is presented in most entries, and musical influences are clarified through careful documentation of teacher-student relationships. The biographical section is followed by a selective list of compositions arranged according to media and genre. The accompanying bibliography lists works consulted as well as sources of additional information on the individual composer, and an international discography documents the breadth of the repertory committed to phonodisc, tape, and compact disc. Thorough cross-referencing facilitates the location of materials. Reflecting meticulous research and including first-hand information supplied by living Soviet composers, this work makes a significant contribution to music scholarship. This book is recommended for library reference shelves and courses in Russian music.

This discography is successful in its attempt to `present a complete picture of women instrumentalists' recording activity from 1913 to 1968.' Jan Leder also shows the significant contributions made by women in jazz and their involvement playing jazz since its beginnings. The book contains two parts: Discography of Women in Jazz and Collective Section. The first section arranges names alphabetically by name of player with works arranged chronologically for each player. The second section is a chronological listing of recordings with two or more players. It gives date, place, name of orchestra, director, performers, recording titles, and company. Index of performers. An excellent resource on the subject. Reference Book Review This discography presents as complete a picture as possible of the recording activity of women jazz instrumentalists between 1913 and 1968. It is divided into two sections. The first section is alphabetical by the last name of the player and chronological within each player's section; the second is a chronologically arranged collective section containing information on recordings with two or more women players. An index of all women players with references to the pages where information on their recordings may be found completes the volume.

"This wondrous encyclopedia is an invaluable boon to all movie and opera buffs. I shall be referring to it frequently to slake my curiosity and to settle bets."--Tom Lehrer
This bountiful book is a comprehensive guide to the thousands of films, DVDs, and videocassettes featuring operas and opera singers from 1896 to the present. From ABC Television to Franco Zeffirelli, the encyclopedia is a storehouse of fascinating information for film and opera aficionados and casual browsers alike. Find answers to such questions as:
* What were the first operas filmed?
* Why did they make silent films of operas?
* Why was a pseudo-opera written for "Citizen Kane?
* What was the title of Maria Callas's only film?
Organized alphabetically with more than 1,900 fully cross-referenced entries, the book casts a wide net that covers not only expected topics--operas, operettas, zarzuelas, composers, singers, conductors, writers, and film directors--but also the unexpected and offbeat--animated opera, first operas on film, puppet opera films, silent films about opera, and many other lesser-known topics. Encyclopedia of Opera on Screen illuminates the many intersections between opera and film as never before.

This volume examines pluralism in light of recent music education research history and pluralistic approaches in practice. Pluralistic research holds the potential to blend frameworks, foundations, methods, and analysis protocols, and leads to a sophisticated understanding of music teaching and learning. This blending could take place in a range of contexts that may span an individual study to a lifelong research agenda. Additionally, pluralistic ideals would guide the addressing of questions as a community. The volume also illuminates the work of innovative music education researchers who are constructing pluralistic research studies and agendas, and advocate for the music education profession to embrace such an approach in order to advance shared research goals. The ramifications of this transformation in music education research are a subject of discussion, including the implications for researcher education and the challenges inherent in conducting and disseminating such research.

This early works is a fascinating composition by G.F.Handel from the year 1746. Many of the earliest books, particularly those dating back to the 1900's and before, are now extremely scarce and increasingly expensive. We are republishing these classic works in affordable, high quality, modern editions, using the original text and artwork.

Based on fieldwork in Kinshasa and Paris, Breaking Rocks examines patronage payments within Congolese popular music, where a love song dedication can cost 6,000 dollars and a simple name check can trade for 500 or 600 dollars. Tracing this system of prestige through networks of musicians and patrons - who include gangsters based in Europe, kleptocratic politicians in Congo, and lawless diamond dealers in northern Angola - this book offers insights into ideologies of power and value in central Africa's troubled post-colonial political economy, as well as a glimpse into the economic flows that make up the hidden side of the globalization.

Why is music so important to most of us? How does music help us both in our everyday lives, and in the more specialist context of music therapy? This book suggests a new way of approaching these topical questions, drawing from Ansdell's long experience as a music therapist, and from the latest thinking on music in everyday life. Vibrant and moving examples from music therapy situations are twinned with the stories of 'ordinary' people who describe how music helps them within their everyday lives. Together this complementary material leads Ansdell to present a new interdisciplinary framework showing how musical experiences can help all of us build and negotiate identities, make intimate non-verbal relationships, belong together in community, and find moments of transcendence and meaning. How Music Helps is not just a book about music therapy. It has the more ambitious aim to promote (from a music therapist's perspective) a better understanding of 'music and change' in our personal and social life. Ansdell's theoretical synthesis links the tradition of Nordoff-Robbins music therapy and its recent developments in Community Music Therapy to contemporary music sociology and music studies. This book will be relevant to practitioners, academics, and researchers looking for a broad-based theoretical perspective to guide further study and policy in music, well-being, and health.

The Renaissance was not a spontaneous cultural explosion, but rather an evolution and cross-fertilization of artistic, philosophical, and scientific principles. This reference presents and examines the rich and varied world of music in Renaissance Europe. Giulio Ongaro offers an advanced technical knowledge of music, presented accessibly in a multidisciplinary approach. After an introductory essay on the cultural backdrop of the Renaissance, narrative chapters provide an overview of Renaissance music, recreate the lives of Renaissance musicians, describe the different genres of music, and explain the relationships between Renaissance music and dance. Coverage also includes musical instruments from the period and the business of music publishing during this period. These chapters synthesize music theory, history, and culture into a comprehensive narrative on music throughout Continental Europe and the British Isles. Illustrations, chapter bibliographies, a timeline, and a subject index complete the volume. In many ways, this is a companion volume to Music from the Age of Shakespeare in its accessible, interdisciplinary examination of music history. Ongaro's volume on Renaissance Music synthesizes music theory, history, and culture into a comprehensive narrative on music throughout Continental Europe and the British Isles

This encyclopedia includes entries for 1,153 world premiere (and other significant) performances of operas in Europe, the United States, Latin America and Russia. Entries offer details about key persons, arias, interesting facts, and date and location of each premiere. There is a biographical dictionary with 1,288 entries on historical and modern operatic singers, composers, librettists, and conductors. Fully indexed and with a bibliography.

Over ten years since his death, Biggie Smalls, also known as The Notorious B.I.G., is considered one of the most influential rappers of all time, a credit continually given by numerous hip-hop artists. Raised in Brooklyn during the crack-cocaine boom of the late 1970s and early 1980s, Smalls (born Christopher Wallace) worked as a drug dealer before ultimately deciding to become a rapper. With Sean "Puffy" Combs and Bad Boy Entertainment, Biggie rocketed to fame as one of hip hop's most popular artists. But with the success came controversy: the friendship-turned-feud between Biggie and Tupac fueled the rivalry between East Coast and West Coast hip hop, a gangsta-rap battle that many believe led to the murder of both rappers. While still unsolved, the murder of Biggie in 1997 sparked numerous investigations, litigation, and the dismantling of a Los Angeles Police Department task force in what is considered the largest scandal in LAPD history. Ten years later, Biggie is celebrated as the King of East Coast hip hop. In this biography author Holly Lang recounts the life, music, and legacy of Biggie and investigates the events surrounding his murder.

This set of four volumes draws together extended material from across the topics of music in Britain in the long nineteenth century, particularly focussing on documents not readily accessible or not commonly quoted in the literature. Together they will form an important resource for students and scholars of music and culture. The general introduction explores the state of research into music in nineteenth-century Britain from a historiographical perspective, as well as an assessment of the most pressing themes for the immediate future of the discipline. Introductions to each thematic section briefly review the relevant literature and the most important points of concern, while a short preface to each document points out particular points of note, context, and explanations of any unusual phrases. Each sub-topic includes four or five documents drawn from newspapers, journals, pamphlets and, where possible, archival material. Documents will span the full length of the nineteenth century and a significant number will be drawn from the writings of Scottish, Welsh and Irish authors.

This early work by Miles Mark Fisher is both expensive and hard to find in its first edition. It details the importance and meaning of slave songs in America. This fascinating work is thoroughly recommended for inclusion on the bookshelf of all with an interest in slave music and the political history of the United States. Many of the earliest books, particularly those dating back to the 1900s and before, are now extremely scarce. We are republishing these classic works in affordable, high quality, modern editions, using the original text and artwork.

Jazz and Death: Reception, Rituals, and Representations critically examines the myriad and complex interactions between jazz and death, from the New Orleans "jazz funeral" to jazz in heaven or hell, final recordings, jazz monuments, and the music’s own presumed death. It looks at how fans, critics, journalists, historians, writers, the media, and musicians have narrated, mythologized, and relayed those stories. What causes the fascination of the jazz world with its deaths? What does it say about how our culture views jazz and its practitioners? Is jazz somehow a fatal culture? The narratives surrounding jazz and death cast a light on how the music and its creators are perceived. Stories of jazz musicians typically bring up different tropes, ranging from the tragic, misunderstood genius to the notion that virtuosity somehow comes at a price. Many of these narratives tend to perpetuate the gendered and racialized stereotypes that have been part of jazz’s history. In the end, the ideas that encompass jazz and death help audiences find meaning in a complex musical practice and come to grips with the passing of their revered musical heroes -- and possibly with their own mortality.

In 1999, as the end of an old century loomed, five musicians entered a recording studio in Paris without a deadline. Their band was widely recognized as the best and most forward-thinking in rock, a rarefied status granting them the time, money, and space to make a masterpiece. But Radiohead didn't want to make another rock record. Instead, they set out to create the future. For more than a year, they battled writer's block, inter-band disagreements, and crippling self-doubt. In the end, however, they produced an album that was not only a complete departure from their prior guitar-based rock sound, it was the sound of a new era, and embodied widespread changes catalyzed by emerging technologies just beginning to take hold of the culture. What they created was Kid A. At the time, Radiohead's fourth album divided critics. Some called it an instant classic; others, including the U.K. music magazine Melody Maker, deemed it "tubby, ostentatious, self-congratulatory... whiny old rubbish." But two decades later, Kid A sounds like nothing less than an overture for the chaos and confusion of the 21st century. Acclaimed rock critic Steven Hyden digs deep into the songs, history, legacy, and mystique of Kid A, outlining the album's pervasive influence and impact on culture, in time for its 20th anniversary in 2020. Deploying a mix of criticism, journalism, and personal memoir, Hyden skillfully revisits this enigmatic, alluring LP and investigates the many ways in which Kid A shaped and foreshadowed our world.

This book (hardcover) is part of the TREDITION CLASSICS. It contains classical literature works from over two thousand years. Most of these titles have been out of print and off the bookstore shelves for decades. The book series is intended to preserve the cultural legacy and to promote the timeless works of classical literature. Readers of a TREDITION CLASSICS book support the mission to save many of the amazing works of world literature from oblivion. With this series, tredition intends to make thousands of international literature classics available in printed format again - worldwide.