The colonial days of America marked not only the beginnings of a country, but also of a new culture, part of which was the first American music publishers, entrepreneurs, and instrument makers forging musical communities from New England to New Spain. Elements of British, Spanish, German, Scots-Irish, and Native American music all contributed to the many cultures and subcultures of the early nation. While English settlers largely sought to impose their own culture in the new land, the adaptation of native music by Spanish settlers provided an important cultural intersection. The music of the Scots-Irish in the middle colonies planted the seeds of a folk ballad tradition. In New England, the Puritans developed a surprisingly rich--and recreational--musical culture. At the same time, the Regular Singing Movement attempted to reduce the role of the clergy in religious services. More of a cultural examination than a music theory book, this work provides vastly informative narrative chapters on early American music and its role in colonial and Revolutionary culture. Chapter bibliographies, a timeline, and a subject index offer additional resources for readers.

The "American History through Music" series examines the many different types of music prevalent throughout U.S. history, as well as the roles these music types have played in American culture. John Ogasapian's volume on the Colonial and Revolutionary period applies this cultural focus to the music of America's infancy and illuminates the surprisingly complex relationships in music of that time.

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 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.

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

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.

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.

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.

Radiohead's OK Computer OKNOTOK 1997 2017 album topped the UK charts in the week of its release, following the band's third headline appearance at Glastonbury Festival in June 2017. It features the original twelve tracks from the OK Computer 1997 album, plus three unreleased tracks and eight B-sides. This official songbook, arranged for GTAB, includes all tracks featured on the special anniversary edition plus eight colour pages of artwork by the band's album artist Stanley Donwood.

This handbook provides an evidence-based account of psychological perspectives on issues in music education and music in the community through the life course, exploring our understanding of music learning and participation across contexts. The contributors draw on multidisciplinary research from different cultures and contexts in order to set out the implications of music psychology for music education and music in the community. Highlighting the intersecting issues across education and community contexts, the book proposes new theories as well as offering important refinements to existing conceptual models. Split into six parts, it considers the role of music in society as well as for groups and individuals, and explores topics such as processing and responding to music; pedagogical and musical practices that support or pose challenges to the emotional, cognitive, social or physical wellbeing of learners and participants in a range of contexts; and 'music in identity' or 'identity in music'. With the final part on future directions and the implications for professional practice in music education and music in the community, the book concludes by exploring how the two sectors might work more closely together within a post-COVID-19 world. Based on cutting-edge research from an international team, this is essential reading for anyone interested in music psychology, education and community, and it will be particularly helpful for undergraduate and graduate students in music psychology, music education and community music.

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.

For his eighteenth birthday, Dusty Baker's parents gave him a great present: Two tickets to the Monterey Pop Festival of June 1967, a three-day event featuring more than thirty bands, and use of the family station wagon for the weekend so young Dusty could drive down from Sacramento to the Monterey Bay Area. He was another young person, trying to take it all in, sleeping on the beach with his buddy, having the time of his life soaking up the vibe and every different musical style represented there. Baker's lifelong love of music was set in motion, his wide-ranging, eclectic tastes, everything from country to hip-hop. He also caught the Jimi Hendrix Experience, who put on such a show that to this day Baker calls Hendrix the most exciting performer he's ever seen. He went on to years of friendship with musicians from B.B. King and John Lee Hooker to Elvin Bishop. This account grabs a reader from page one and never lets up.

This is the first-ever collection of interviews, photographs, and up-to-date information on our best- loved venues, great and small, many of which have closed.

Includes interviews and anecdotes from promoters, fans, and musicians concerning historic arenas in the United States--the Hollywood Bowl in Los Angeles; the Crocodile Cafe in Seattle; and CBGB, Carnegie Hall, and the Cotton Club in New York. It also features old favorites in Australia like Cloudland Ballroom in Brisbane, the Oxford Funhouse in Sydney, the Crystal Ballroom in Melbourne, and the Tivoli in Adelaide. Major London venues covered include the Astoria, 100 Club, Hammersmith Palais, Roundhouse, Forum, Hackney Empire, and the Marquee.

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.

Jam out with the help of man's best friend -- the Mini SubWOOFer!

Enjoy your favorite tunes at work, home, or on-the-go with this quirky, dachshundshaped wireless speaker that brings the beats wherever it goes. This mini kit includes:

• 3" dog-shaped wireless speaker
• Miniature USB cord
• 32-page illustrated mini book

The Music of Multicultural America explores the intersection of performance, identity, and community in a wide range of musical expressions. Fifteen essays explore traditions that range from the Klezmer revival in New York, to Arab music in Detroit, to West Indian steelbands in Brooklyn, to Kathak music and dance in California, to Irish music in Boston, to powwows in the midwestern plains, to Hispanic and native musics of the Southwest borderlands. Many chapters demonstrate the processes involved in supporting, promoting, and reviving community music. Others highlight the ways in which such American institutions as city festivals or state and national folklife agencies come into play. Thirteen themes and processes outlined in the introduction unify the collection's fifteen case studies and suggest organizing frameworks for student projects. Due to the diversity of music profiled in the book--Mexican mariachi, African American gospel, Asian West Coast jazz, women's punk, French-American Cajun, and Anglo-American sacred harp--and to the methodology of fieldwork, ethnography, and academic activism described by the authors, the book is perfect for courses in ethnomusicology, world music, anthropology, folklore, and American studies.

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.

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.

The Pearson Edexcel AS/A level Anthology of Music introduces the AS and A level set works to a new generation of musicians and will inspire them to develop their music knowledge, understanding and skills and will help them prepare for their assessment. Published in partnership with Edition Peters and Faber Music, and edited by Julia Winterson, the printed Anthology contains: * printed music scores of all 53 new set works in a single volume * a preface to each score, setting the piece in context, highlighting key themes * listening awareness points and suggestions for wider listening * glossary of key terms used in each set work.

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.

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.