The folk song performer and impresario presents a rollicking account of the historical development and present-day status of an ancient art, including discussions of the contributions of various groups to the American songbag, the principle sources of the American repertory and style, and accounts of the major figures in the American folksong saga.

Beautifully presented and intelligently paced, the Lesson Books combine unusually attractive music and lyrics. The books feature note reading, rhythm reading, sight-reading and technical workouts. Each piece on the CD was recorded at a performance tempo and a slower practice tempo.

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This history aims to strike a mean between the abstruse and the elementary, the scientific and the educational. The first topic is the Gregorian Chant followed by surveys of French, Italian, English, and Russian music.

In the mid- to late 1980s, rave culture developed. It influenced music, design, art, drugs, fashion, language and even the law. Originally emerging in the USA, it was refined in the UK by people who wanted to dance, party and express themselves in terms of art and music. It started in in small, sweaty clubs but such was the popularity that soon enormous Raves, with tens of thousands of people, were common. 'House' music and illegal drug ecstasy were the driving forces behind what turned into a global phenomenon. Events that started as secretive nights in underground clubs, with word-of-mouth advertising grew from one-off take-overs of unusual venues into huge open land-based events. Pager and telephonic communication became the medium of message-passing, and flyers were key to it all: informing the right people about the right place at the right time. Chelsea Berlin was there from the beginning, attending many of the now legendary events, from Club Shoom to Energy and beyond. In Rave Art, the whole exciting movement is documented through the flyers that were handed out freely (often privately) to inform partygoers of the next venue. Flyer design became an artform, and this book contains hundreds of the most significant and rare examples from Chelsea's huge collection. Together with personal reminiscences and quotes from famous, infamous and not-so-famous attendees, Rave Art paints a vivid picture of what is probably the last significant youth culture movement of modern times.

Sonic Thinking attempts to extend the burgeoning field of media philosophy, which so far is defined by a strong focus on cinema, to the field of sound. The contributors urge readers to re-adjust their ideas of Sound Studies by attempting to think not only about sound [by external criteria, such as (cultural) meaning], but to think with and through sound. Series editor Bernd Herzogenrath's collection serves two interconnected purposes: in developing an alternative philosophy of music that takes music serious as a 'form of thinking'; and in bringing this approach into a fertile symbiosis with the concepts and practices of 'artistic research': art, philosophy, and science as heterogeneous, yet coequal forms of thinking and researching. Including contributions by both established figures and younger scholars working on cutting edge material, and weaving artistic responses and interventions in between the more theoretical texts, Herzogenrath's collection provides a lively introduction to a fresh debate.

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In recent years, there has been something of an explosion in the performance of live music to silent films. There is a wide range of films with live and new scores that run from the historically accurate orchestral scores to contemporary sounds by groups such as Pet Shop Boys or by experimental composers and gothic heavy metal bands. It is no exaggeration to claim that music constitutes a bridge between the old silent film and the modern audience; music is also a channel for non-scholarly audiences to gain an appreciation of silent films. Music has become a means both for musicians and audiences to understand this bygone film art anew. This book is the first of its kind in that it aims to bring together writings and interviews to delineate the culture of providing music for silent films. It not only has the character of a scholarly work but is also something of a manual in that it discusses how to make music for silent films.

This open access book examines the political structures and processes that frame and produce understandings of diversity in and through music education. Recent surges in nationalist, fundamentalist, protectionist and separatist tendencies highlight the imperative for music education to extend beyond nominal policy agendas or wholly celebratory diversity discourses. Bringing together high-level theorisation of the ways in which music education upholds or unsettles understandings of society and empirical analyses of the complex situations that arise when negotiating diversity in practice, the chapters in this volume explore the politics of inquiry in research; examine music teachers' navigations of the shifting political landscapes of society and state; extend conceptualisations of diversity in music education beyond familiar boundaries; and critically consider the implications of diversity for music education leadership. Diversity is thus not approached as a label applied to certain individuals or musical repertoires, but as socially organized difference, produced and manifest in various ways as part of everyday relations and interactions. This compelling collection serves as an invitation to ongoing reflexive inquiry; to deliberate the politics of diversity in a fast-changing and pluralist world; and together work towards more informed and ethically sound understandings of how diversity in music education policy, practice, and research is framed and conditioned both locally and globally.

American Music Librarianship is a biographical and historical review of the musical situation in American libraries from its roots in the late 19th century to the 1980s. Beginning with the period from 1854-55 when the Boston Public Library began to buy music for its collections, Bradley tracks the development of the Music Division in the Library of Congress under the guidance of chief librarian Oscar Senneck.

The opening section examines the professional careers of America's first music librarians and the subsequent development of music libraries, taken from information provided in their papers; documentation in their libraries; and from oral interviews with the librarians, their spouses and their successors. In the second and third sections, Bradley covers the librarians involved in the formulation of classification schemes and rules for cataloguing. The fourth section covers the colleagues of these pioneer librarians who are noteworthy for their own efforts on behalf of music in American libraries. The Music Library Association is reviewed in the final section, from its inception in 1931 through the activities of its professionals, to current goals. The book's appendices include tables and plates illustrative of various aspects discussed in the body of the book. A detailed index comprehends personal names, names of libraries, titles of publications, concepts and subjects. This book is a source book for all music libraries and librarians, school libraries, and music research collections.

Is contemporary Black British gospel music a coloniality? What theological message is really conveyed in these songs? In this book, Robert Beckford shows how the Black British contemporary gospel music tradition is in crisis because its songs continue to be informed by colonial Christian ideas about God. Beckford explores the failure of both African and African Caribbean heritage Churches to Decolonise their faith, especially the doctrine of God, biblical interpretation and Black ontology. This predicament has left song leaders, musicians and songwriters with a reservoir of ideas that aim to disavow engagement with the social-historical world, black Biblical interpretation and the necessity of loving blackness. This book is decolonisation through praxis. Reflecting on the conceptual social justice album ‘The Jamaican Bible Remix’ (2017) as a communicative resource, Beckford shows how to develop production tools to inscribe decolonial theological thought onto Black British music(s). The outcome of this process is the creation of a decolonial contemporary gospel music genre. The impact of the album is demonstrated through case studies in national and international contexts.

Music is the great equalizer around the world. No matter where it originates or what form it takes, it has had a profound role in shaping the human experience and preserving the history of that experience for centuries. African American music originated out of a heritage shaped by the Transatlantic Slave Trade and forced enslavement. The music born out of this shared identity was a means of survival, a treatise on the struggle for freedom, and an agent of social change, and generated a vast array of musical styles and performance traditions that have defined American music. Musical Crossroads explores how objects can expand our understanding of the ways African American music-making continues to shape and influence society. Five thematic chapters are introduced with an essay by Dwandalyn R. Reece, and accompanied by shorter features written by museum staff. Striking images include Johnny Mathis on stage; Bo Diddley’s Gretsch Guitar; Nina Simone recording "Don't Let Me Be Misunderstood" to name just a few. Featured objects include Radio Raheem’s original boombox used in Spike Lee’s 1989 film, Do the Right Thing; the original Public Enemy logo necklace alongside a story from rapper Chuck D about where the group’s name comes from; and photos of Queen Latifah taken by Hip-hop photographer Al Pereira while she was filming the music video for “Fly Girl”. Numerous illustrated profiles and stories relating to a host of DJs, producers, Black-owned record labels, Black music press, and artists, include magazines like Defender, Blacks Stars, and Vibe; record labels like Vee-Jay, Stax, Motown and Sussex Records; promoters and producers including Berry Gordy Jr, Isaac Hayes, and Ernie Freeman; as well as artists Otis Redding, Nina Simone, Luther Vandross, Little Richard, Bill Withers, Billie Holiday, Whitney Houston, and Janet Jackson, to name a few – they’re all here.

In this exciting new study of a largely overlooked but nevertheless extremely important figure in American music, author Allen Cohen explores the relationship between theory and practice in the works of Howard Hanson, a prominent twentieth-century composer, conductor, and educator. In Hanson's book Harmonic Materials of Modern Music, he proffered a theory of classification of all possible pitch-class collections in the chromatic scale, showing ways of deriving larger collections from smaller ones, and demonstrating significant relationships among them. This theory anticipated in many ways the standard formulations of music set theory, while also influencing Hanson's own compositions. Following an introduction and biographical overview, Howard Hanson: Theory and Practice summarizes its subject's theoretical writings, examines their usefulness for both musicologists and composers, and analyzes in particular two of Hanson's musical pieces. In this way, Howard Hanson represents an exciting and highly educational look at a man and his work, both unacknowledged for too long.

This early collection of English hymns is both expensive and hard to find in its first edition. It contains a large number of hymns for the Christian calendar complete with sheet music melodies and lyrics. This is thoroughly recommended for anyone with an interest in the Christian musical tradition. 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

for SSAATTBB unaccompanied Commissioned by Sonoro for the second instalment of their Choral Inspirations project, McDowall has composed Crucifixus Reimagined as a response to Lotti's Crucifixus from Credo in F. Use of suspensions, decorated melodies, and counterpoint feel reminiscent of Lotti's original work, while retaining McDowall's distinctive contemporary style.

Drawing upon the philosophical insights of Friedrich Schlegel, Walter Benjamin, Theodor W. Adorno, and Blixa Bargeld, this book explores the persistence of a critical-deconstructive approach to musical production, consumption, and reception in the German cultural sphere of the last two centuries.

This book contains the bulk of Dr. Vaughan Williams' writings on music. The topics of the paper range from Bach to Holst, and all are illuminated by the author's comments.

Griffel has prepared a valuable guide to German opera that can be used profitably by both scholars and amateur devotees of opera. The main body of the dictionary provides a discussion of about 380 operas composed to a German text. The alphabetically organized entries include information on German premieres, as well as first performances in Britain and the US, brief plot summaries, listings of major roles, and occasional historical and analytical remarks. . . . "Operas in German" will, no doubt, serve as one of the major reference sources for any type of research on German opera. Highly recommended. "Choice"

Although a sizable number of opera dictionaries and encyclopedias are available, those devoted to operas in a single language are extremely rare. The present dictionary addresses itself wholly to operas written to a German text. The main body of this dictionary comprises entries on the operas themselves, permitting thorough treatment of some 350 operas. This section is augmented by an appendix of some 800 additional opera titles and annotated listings of composers and librettists. Almost all of the composers represented here were born in German-speaking countries. Among the notable exceptions is the Italian-born Ferruccio Busoni, whose operas were all written to German texts and received premieres in German-speaking cities. Composers such as Kurt Weill who wrote operas in more than one language are represented by their German works only.

The operas are listed alphabetically, excluding the article, which is placed at the end of the title. Each entry includes the title, with the English translation and alternate titles in parentheses; descriptive terms as needed; the number of acts; the composer's name; the librettist's name, the original language, and the original source of the text; the date, place, and cast of the first performance; similar information for the first United States and United Kingdom performances, if applicable; a brief plot summary; the main characters with vocal ranges; citations of especially important or noteworthy numbers; additional information such as comments on special musical problems, techniques, or other significant aspects; and other settings of the text, including non-German ones and/or operas involving the same story or characters. The entry also has a bibliography, a discography, and, in the few instances where they are available, information on video recordings. In addition to the aforementioned appendix, this dictionary contains an alphabetical listing of composers with their places and years of birth and death and an index of their operas included in this volume. The third appendix lists librettists and provides information similar to that in the composer appendix. The fourth and fifth appendices provide characters and performers, respectively, included in the main entries. The volume is completed by a bibliography. This first dictionary devoted exclusively to operas in German belongs in the reference section of music libraries and will also be of interest to scholars and aficionados of opera.

From the condemnation of protest to skepticism of religious ecstasy, radical movement has been defined by freedoms and restrictions relative to class conflict, national policy, and colonialism. In this book, author Kelina Gotman examines choreographies of unrest, rethinking the modern formation of choreomania, a fantastical concept across scientific disciplines used to designate the spontaneous and uncontrolled movements of crowds. In these misformations of body politics, prejudices against spontaneity unravel, suggesting widespread anxieties about impulsiveness and irregularity. In tandem with dialogues of the erratic, Gotman makes use of histories of nineteenth-century control which identify the period as one of increasing regimentation. As she notes, constraints on movement signal constraints on political power and agency and on individuals' capacity to shift their allegiances, inhabiting more hospitable terrains. In each chapter, Gotman confronts the many ways choreomania functions as an extension of colonialism, dismissing expressive bodies as mentally and physically infected others. Through her research, Gotman unearths the many instances of choreomania that represent collective efforts to escape social tyranny inflicted by the upper class.

Following the successful, "The American Musical Theatre Song Encyclopedia" (Greenwood, 1995), this new encyclopedia reviews in-depth individual songs written for the American musical film over the past seventy years. Over 1,800 songs from over 500 musical films are identified and described. In addition to detailing the songs' authors, original singers, and initial film appearances, the encyclopedia also explains how the songs were used in the film, lists subsequent film and stage appearances of the songs, and notes memorable recordings. From Jolson to Elvis, operetta to rock musicals, and Irving Berlin to the Beatles, the comprehensive scope of this work gathers a wealth of information about film musical songs not readily available elsewhere.

The combination of accurate, thoroughly researched information, commentary, and anecdotal background will appeal to both film scholars and fans. Numerous indexes for easy reference include a list of alternate song titles, famous movie songs from other sources, best song Oscars, Oscar-winning film musicals, and a list of film musicals from 1927 through 1998. A bibliography completes this important reference tool and provides helpful sources for further research.