Broadway has body issues. What is a Broadway Body? Broadway has long preserved the ideology of the "Broadway Body": the hyper-fit, exceptionally able, triple-threat performer who represents how Broadway musicals favor certain kinds of bodies. Casting is always a political act, situated within a power structure that gives preference to the Broadway Body. In Broadway Bodies, author Ryan Donovan explores how ability, sexuality, and size intersect with gender, race, and ethnicity in casting and performance. To understand these intersectional relationships, he poses a series of questions: Why did A Chorus Line, a show that sought to individuate dancers, inevitably make dancers indistinguishable? How does the use of fat suits in musicals like Dreamgirls and Hairspray stigmatize fatness? What were the political implications of casting two straight actors as the gay couple in La Cage aux Folles in 1983? How did deaf actors change the sound of musicals in Deaf West's Broadway revivals? Whose bodies does Broadway cast and whose does it cast aside? In answering these questions, Broadway Bodies tells a history of Broadway's inclusion of various forms of embodied difference while revealing its simultaneous ambivalence toward non-conforming bodies.

Mathematical Music offers a concise and easily accessible history of how mathematics was used to create music. The story presented in this short, engaging volume ranges from ratios in antiquity to random combinations in the 17th century, 20th-century statistics, and contemporary artificial intelligence. This book provides a fascinating panorama of the gradual mechanization of thought processes involved in the creation of music. How did Baroque authors envision a composition system based on combinatorics? What was it like to create musical algorithms at the beginning of the 20th century, before the computer became a reality? And how does this all explain today's use of artificial intelligence and machine learning in music? In addition to discussing the history and the present state of mathematical music, Braguinski also takes a look at what possibilities the near future of music AI might hold for listeners, musicians, and the society. Grounded in research findings from musicology and the history of technology, and written for the non-specialist general audience, this book helps both student and professional readers to make sense of today's music AI by situating it in a continuous historical context.

How does music shape the exercise of diplomacy, the pursuit of power, and the conduct of international relations? Drawing together international scholars with backgrounds in musicology, ethnomusicology, political science, cultural history, and communication, this volume interweaves historical, theoretical, and practical perspectives.

This set reissues a host of previously out-of-print books that focus on the phenomenon of popular music in all its many guises. From the early days of professional songwriting, to the innovations of jazz and blues then the cultural revolution of rock 'n' roll, this set forms an essential reference collection that takes us up to the modern art/style/music culture crossovers, including a detailed analysis of the visual portrayal of music via its videos.

Billie Holiday (1915-1959), the legendary jazz singer whose vocal stylings were deeply affecting, continues to enthrall. This biography conveys her hard-luck youth, career triumphs, and then decline and early death. At age 14, despite growing up with an absentee musician father, little schooling, a rape at 10, and jail time for prostitution, this extraordinary girl moved to New York City to find work as a dancer or singer. She soon became the toast of Harlem and went on to tour and record with the biggest names in jazz. Holiday's career took off in the 1930s, during the Depression, and the biography evokes the era and atmosphere of the jazz club scene. The state of race relations in the country is discussed as Holiday tours with white bandleaders such as Artie Shaw and even as she sings about lynching in the controversial "Strange Fruit." The narrative further chronicles Holiday's relationships, descent into drug addiction, the subsequent diminishment of her talent, and tragic early death. Readers today will then want to seek out Holiday's recordings to more fully appreciate her interpretations of the songs of that classic era.

John Finley Williamson, born 1887 and died 1964, was the founder of Westminster Choir and co-founder of Westminster Choir College. Dr. Williamson is considered one of the most influential choral conductors of the twentieth century. He was described by the New York Times as the "dean of American choral directors" and "America's Choral Ambassador." Under his leadership, the Westminster Choir toured Europe, Africa, and Asia gaining worldwide acclaim. The Choir performed and recorded with major symphony orchestras with conductors Toscanini, Walter, Stokowski, Von Karajan, Bernstein and others. They are all featured in this volume, which includes newly discovered historical photos and articles from the Talbott Library Special Collections, Westminster Choir College of Rider University. Included in this edition is a complete discography of the Westminster Choir College through 2013. Also there are various previously published articles and lectures by Dr. and Mrs. Williamson.

This collection provides English translations for the Propers of the Mass—those portions of the Roman Catholic Mass which change from day to day throughout the Liturgical Year. Since the Middle Ages, these texts were set to music in the form of chant, and later as motets, and sung during the service of the Mass. Many of these musical works are the standard literature for choirs today and are regularly performed in concert and worship settings. New settings of Mass propers continue to be written by major contemporary composers. Because these settings of Latin texts are often published without English translations, this collection of more than 900 propers is a valuable reference for choral directors and church musicians and is the most comprehensive book of its type. The proper's liturgical function provides the reader with information regarding the specific feast day (or days) for which particular texts were used. This is useful not only as basic background information but also as a valuable aid to assist in the artistic interpretation of the musical setting of a text. A listing of the feast days of the liturgical year is helpful to church musicians who wish to select music with Latin texts for use in worship services or as an aid for conductors as they program Latin sacred music in concert settings.

This great London orchestra made its debut in a recording session shortly before its first public concert in 1932 and now has well over a thousand recordings to its credit. All are dated and detailed for the first time in this meticulous study researched from primary sources. Commercial sessions account for most of the 1300 entries, but the main chronological sequence also includes live recordings and videos. Copious indexing allows access to the main chronological listings via performers, repertoire, record companies, or locations. The study can also be read as a cross-section of the work of the classical recording industry. Appendixes cover film soundtracks, recordings made by the London Philharmonic Choir independently of the orchestra, controversial attributions, and principal players in the orchestra. Indexes of (and notes on) the recorded repertoire, conductors who have recorded with the orchestra, and the studios, halls, and churches used as recording venues are supplemented by a comprehensive general index of soloists, singers (including full casts of operas), producers, engineers, and recording companies, giving easy access to a wealth of information, most of which has previously been unpublished.

Johnny Flannigan developed a sixth sense about trouble at an early age: it always happens when you're not dressed.

Johnny grew up in a ragtag family full of what other folk called "characters." His dad and mother, who lived on small change and laughs, had Johnny late in life. But when Johnny was seventeen, things began to look up. He and his new friend, Jesse Davidson, teamed up with Eddie Freeman, a fast-talking kid who would later became manager for the singing duo, Jesse and Johnny. Together, the three boys began to make a little money, learning the entertainment business by trial and error.

Eddie will do whatever it takes to make his friends (and clients) into superstars. Johnny loses his heart to a faithful hometown girl named Joyce, and all is bliss-that is, until Ruby Van-Heusen, an older woman with more than enough money (but not enough scruples), steps in with her own agenda.

When Levi, Johnny's unpredictable older brother, follows him to Hollywood with big dreams of his own, Johnny's world spins out of control even more. In an effort to regain a bit of balance, Johnny and his partners form a record company which in turn brings on some unwelcome surprises, including the Mob.

From Indiana to New York and then Hollywood, Johnny's life is never short on adventure, laughs, heartbreak-or the struggle it takes to never give up.

Prior to the stock market crash of 1929 American music still possessed a distinct tendency towards elitism, as songwriters and composers sought to avoid the mass appeal that critics scorned. During the Depression, however, radio came to dominate the other musical media of the time, and a new era of truly popular music was born. Under the guidance of the great Duke Ellington and a number of other talented and charismatic performers, swing music unified the public consciousness like no other musical form before or since. At the same time the enduring legacies of Woody Guthrie in folk, Aaron Copeland in classical, and George and Ira Gershwin on Broadway stand as a testament to the great diversity of tastes and interests that subsisted throughout the Great Depression, and play a part still in our lives today. The lives of these and many other great musicians come alive in this insightful study of the works, artists, and circumstances that contributed to making and performing the music that helped America through one of its most difficult times. The American History through Music series examines the many different styles of music that have played a significant part in our nation's history. While volumes in this series show the multifaceted roles of music in our culture, they also use music as a lens through which readers may study American social history. The authors present in-depth analysis of American musical genres, significant musicians, technological innovations, and the many connections between music and the realms of art, politics, and daily life. Chapters present accessible narratives on music and its cultural resonations Music theory and technique is broken down for the lay readerEach volume presents a chapter of alphabetically arranged entries on significant people and terms

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.

While music lovers from all over the world have tried to recreate the ambience of French cafes by playing music from stars such as Piaf, Trenet and Chevalier, intellectuals, sociologists and policy makers in France have been embroiled in passionate debate about just what constitutes 'real' French music. In the late 1950s and 1960s a wave of Anglo-American rock 'n' roll and pop hit Europe and disrupted French popular music forever. The cherished sounds of the chanson were sidelined, fragmented or merged with pop styles and instrumentation. From this point on, French music and music culture have been splintered into cultural divides - pop culture vs high culture; mass culture vs 'authentic' popular culture; national culture vs Americanization. This book investigates the exciting and innovative segmentation of the French music scene and the debates it has spawned. From an analysis of the chanson as national myth, to pop, rap, techno and the State, this book is the first full-length study to make sense of the complexity behind the history of French popular music and its relation to 'authentic' cultural identity.

Offering a one-of-a-kind approach to music and literature of the Americas, this book examines the relationships between musical protagonists from Colombia, Cuba, and the United States in novels by writers such as Gabriel Garcia Marquez, Alejo Carpentier, Zora Neale Hurston, and John Okada.

It is easy to condemn hip-hop for the condition of our society, but as we condemn our own young people for being who they are, what role do we play in making them who they are, and what do we have to offer them as an alternative to who they are? Hip-Hop Is Not Our Enemy is an insider's critique of the Black church's role and responsibility in co-opting hip-hop culture. It is written by a Black Baptist Pastor who survived a church split that occurred because of his dedication to co-opting hip-hop culture. The final chapter serves as a how-to guide to preparing a sermon that will connect with the hip-hop generation.

From Thomas Mapfumo to Bob Marley, William Parker to Frank Zappa, Edgard Varese to Ice-T; from American blues to West African drumming, hip hop to son, gospel singing to rock'n'roll cabaret, rebel music is at the heart of some of the most incisive critiques of global politics. With explosive lyrics and driving rhythms, a new wave of rebel musicians are helping to mobilize movements for political change and social justice, at home and around the world.

Original in concept, unrivaled in content, Rebel -Musics is alone in placing human rights issues side by side with different forms of music. A wide range of -accomplished contributors, from a variety of disciplines and performance contexts, examine the ways in which human rights and music are explicitly linked, how musical activism resonates in practical, political terms, and how musical resistance is enacted.

Apart from the editors, contributors include: cabaret artist, author, and musician Norman Nawrocki; film makers Marie Boti and Malcolm Guy; musician Jesse Stewart; poet George Elliott Clarke; author Timothy Brennan; economist Spencer Henson; author Martha Nandorfy; radio host Ray Pratt; editor, author, and music -reviewer Ron Sakolsky.

Daniel Fischlin is professor of English at the University of Guelph and co-author with Martha Nandorfy of "Eduardo Galeano: Through the Looking Glass" (Black Rose Books). He has been active as a musician for most of his life and this is his fourth book devoted to an interdisciplinary musical topic.

Ajay Heble is professor of English at the University of Guelph. He is the author of "Landing on the Wrong Note: Jazz, Dissonance, and Critical Practice" and coeditor (with Daniel Fischlin) of "The Other Side of Nowhere: Jazz, -Improvisation, and Communities in Dialogue." Artistic director and founder of The Guelph Jazz Festival, he is also an accomplished pianist.

George Eliot was passionate about music and her writing is steeped in musical allusion. This book explores musical reference in her work and investigates contexts such as Eliot's friendship with Wagner, the legacy of Romanticism, music's role in scientific theory, and the ambivalent status of female musicality. The book establishes how intensely Eliot's musical allusions are informed by her contemporary culture and offers a fresh view of the experimental writing through which she took literary realism into previously uncharted regions.

Under the rubric spirituals are subsumed sorrow songs, jubilee songs, shout songs, chants, homilies, mantras, affirmations, and collective, personal, and historical allegories. Their lyrics tell an impassioned story of an embattled people, while presenting a theology of salvation; in general, they encompass crucial aspects of the Afro-American world view. This research collection contains lyrics of 978 spirituals, including some variants, culled from numerous anthologies and collections. Codes are provided to guide the researcher to an original source with musical notations. The songs are organized in nine thematic categories as follows: lyrics of sorrow, alienation, and desolation; consolation and faith; resistance and defiance; deliverance; jubilation and triumph; judgment and reckoning; regeneration; spiritual progress; and transcendence. Each thematic section is prefaced by an interpretive statement, and the volume introduction discusses the historical background and analyzes the basic poetics of the spirituals with regard to structure, prosody, and figures of speech. Selective bibliographies of song collections and historical and theoretical works are included as well. The lyrics are indexed by title and by first line, and a general index provides access to topics, themes, persons, and places. The spirituals are pervasive in Afro-American life, and this collection will be a basic resource for researchers in all aspects of Afro-American culture, religion, and history, and useful, as well, for musicologists.

for SATB (with divisions) unaccompanied An Affirmation is a setting of an elegiac text by Richard Brett conveying the themes of grief and remembrance. The piece opens with a single voice that grows into a warm chordal passage. It gains momentum with cascading melodies and modulations. Chilcott closes the piece by returning to the opening reflective mood.