This book is about the kind of ordinary dancing you and I might do in our kitchens when a favourite tune comes on. It's more than a social history: it's a set of interconnected histories of the overlooked places where dancing happens . . . Why do we dance together? What does dancing tells us about ourselves, individually and collectively? And what can it do for us? Whether it be at home, '80s club nights, Irish dancehalls or reggae dances, jungle raves or volunteer-run spaces and youth centres, Emma Warren has sought the answers to these questions her entire life. Dancing doesn't just refract the music and culture within which it evolves; it also generates new music and culture. When we speak only of the music, we lose part of the story - the part that finds us dancing as children on the toes of adults; the half that triggers communication across borders and languages; the part that finds us worried that we'll never be able to dance again, and the part that finds us wondering why we were ever nervous in the first place. At the intersection of memoir, social and cultural history, Dance Your Way Home is an intimate foray onto the dancefloor - wherever and whenever it may be - that speaks to the heart of what it is that makes us move.

MUSIC and LITERATURE A Comparison of the Arts By CALVIN S. BROWN THE UNIVERSITY OF GEORGIA PRESS Athens, Georgia Copyright 1948 THE UNIVERSITY OF GEORGIA PRESS PRINTED IN THE UNITED STATES OF AMERICA GG17532 Contents CHAPTER FAOE Acknowledgments ix Preface xi I. Science and Art 1 II. The Fine Arts 7 III. Rhythm and Pitch IS IV. Timbre, Harmony, and Counterpoint 31 V. Vocal Music General Considerations 44 VI. The Literal Setting of Vocal Music 53 VII. The Dramatic Setting of Vocal Music 62 VIII. The Dilemma of Opera 87 IX. Repetition and Variation 100 X. Balance and Contrast 114 XI. Theme and Variations 127 XII. ABA Form and the Rondo 135 XIII. The Fugue 149 XIV. Sonata Form 161 XV. The Musical Development of Symbols Whitman 178 XVI. The Poetry of Conrad Aiken 195 XVII. Fiction and the Leitmotiv 208 XVIII. Literary Types in Music 219 XIX. Program Music a Short Guide to the Battlefield 229 XX. Descriptive Music 245 XXI. Narrative Music 257 XXII. Conclusion-268 Notes 272 Index 279 Tii Acknowledgments THE author wishes to express his thanks to the University System of Georgia for their grant in aid of research and to the General Research Fund of the University of Georgia for a grant in aid of publication. The author also wishes to express his thanks to the following per sons and firms for their kind permission to quote material on which they own copyrights To Mr. Conrad Aiken for passages from Ms Nocturne of Remembered Spring, Selected Poems, Blue Voyage, Time in the Rock, and The Coming Forth by Day of Osiris Jones and to Mr. Aiken and the editors of Poetry for passages from his review of The Charnel Rose. To A. C. Black, Ltd., London, and The Macmillan Co., New York American publishers, for a passage from Albert Schweitzer s . S. Bach. To Dodd, Mead Company, Inc., for three passages from quot Lepanto, quot from The Collected Poems of G. K. Chesterton. Reprinted by permission of Dodd, Mead Company, Inc. Copyright, 1911, by Dodd, Mead Company, Inc. Thanks are also due to A. P. Watt and Son and the executrix of the Chesterton estate for the use of this material. To Mr. John Gould Fletcher for passages from his Goblins and Pagodas and Preludes and Symphonies. To Harper Brothers for passages from Lawrence Oilman s Stories of Symphonic Music and Aldous Huxley s Point Counter Point. To Alfred A. Knopf, Inc., for passages from Ernest Newman s A Musical Motley and Thomas Mann s Stories of Three Decades, translated by H. T. Lowe-Porter. To J. B. Lippincott Co. for a passage from P. H. Goepp s Symphonies and their Meaning reprinted as Great Works of Music, vol. III. To Novello Co., Ltd., for a passage from F. Niecks Programme Music in the Last Four Centuries. To the Oxford University Press for passages from Collected Essays, Papers, Etc., of Robert Bridges, Essay No. XXI from Tovey s Essays in Musical Analysis, Vol. IV and for the rondeau quot In After Days, quot from Collected Poems of Austin Dobson. To G. Schirmer, Inc., and the editors of the Musical Quarterly for material reprinted from the author s articles, quot The Musical Structure of De Quincey s Dream Fugue quot and quot The Poetic Use of Musical Forms. quot x ACKNOWLEDGMENTS To Sir John Squire for quot The Exquisite Sonnet, quot from his Collected Parodies. To The Viking Press, Inc., New York, for two passages from William Ellery Leonard s Two Lives. To Henry Holt Co., The Macmillan Co., The Arthur P. Schmidt Co., andSimon Schuster for material acknowledged on the pages where it is quoted. Preface THIS book was written with the hope that it might open up a field of thought which has not yet been systematically explored. Though vari ous articles and books have dealt separately with many of the problems here brought together, there has been no survey of the entire field. This book attempts to supply such a survey. The desire to make it both interesting to the amateur and useful to the scholar has inevitably led to some compromises...

Popular music has traditionally served as a rallying point for voices of opposition, across a huge variety of genres. This volume examines the various ways popular music has been deployed as anti-establishment and how such opposition both influences and responds to the music produced. Implicit in the notion of resistance is a broad adversarial hegemony against which opposition is measured. But it would be wrong to regard the music of popular protest as a kind of dialogue in league against 'the establishment'. Convenient though they are, such 'us and them' arguments bespeak a rather shop-worn stance redolent of youthful rebellion. It is much more fruitful to perceive the relationship as a complex dialectic where musical protest is as fluid as the audiences to which it appeals and the hegemonic structures it opposes. The book's contemporary focus (largely post-1975) allows for comprehensive coverage of extremely diverse forms of popular music in relation to the creation of communities of protest. Because such communities are fragmented and diverse, the shared experience and identity popular music purports is dependent upon an audience collectivity that is now difficult to presume. In this respect, The Resisting Muse examines how the forms and aims of social protest music are contingent upon the audience's ability to invest the music with the 'appropriate' political meaning. Amongst a plethora of artists, genres, and themes, highlights include discussions of Aboriginal rights and music, Bauhaus, Black Sabbath, Billy Bragg, Bono, Cassette culture, The Capitol Steps, Class, The Cure , DJ Spooky, Drum and Bass, Eminem, Farm Aid, Foxy Brown, Folk, Goldie, Gothicism, Woody Guthrie, Heavy Metal, Hip-hop, Independent/home publishing, Iron Maiden, Joy Division, Jungle, Led Zeppelin, Lil'Kim, Live Aid, Marilyn Manson, Bob Marley, MC Eiht, Minor Threat, Motown, Queen Latifah, Race, Rap, Rastafarianism, Reggae, The Roots, Diana Ross, Rush, Salt-n-Pepa, 7 Seconds, Roxanne Shante, Siouxsie and the Banshees, The Sisters of Mercy, Michelle Shocked, Bessie Smith, Straight edge Sunrize Band, Bunny Wailer, Wilco, Bart Willoughby, Wirrinyga Band, Zines.

Sounds of the Pandemic offers one of the first critical analyses of the changes in sonic environments, artistic practice, and listening behaviour caused by the Coronavirus outbreak. This multifaceted collection provides a detailed picture of a wide array of phenomena related to sound and music, including soundscapes, music production, music performance, and mediatisation processes in the context of COVID-19. It represents a first step to understanding how the pandemic and its by-products affected sound domains in terms of experiences and practices, representations, collective imaginaries, and socio-political manipulations. This book is essential reading for students, researchers, and practitioners working in the realms of music production and performance, musicology and ethnomusicology, sound studies, and media and cultural studies.

Rock and roll's death has been forecast nearly since its birth; the country song "The Death of Rock and Roll" appeared in September 1956, showing that the music had already outraged a more conservative listening audience. "Is Rock Dead?" sets out to explore the varied and sometimes conflicting ways in which the death of rock has been discussed both within the discourse of popular music and American culture. If rock is dead, when did it die? Who killed it? Why do rock journalists lament its passing? Has its academic acceptance stabbed it in the back or resuscitated an otherwise lifeless corpse? Why is rock music the music that conservatives love to hate? On the other side of the coin, how have rock's biggest fans helped nail shut the coffin? Does rock feed on its own death-and-rebirth? Finally, what signs of life are there showing that rock in fact is surviving?
"Is Rock Dead?" will appeal to all those who take seriously the notion that rock is a serious musical form. It will appeal to students of popular music and culture, and all those who have ever spun a 45, cranked up the radio, or strummed an air guitar.

Phonographs, tapes, stereo LPs, digital remix - how did these remarkable technologies impact American writing? This book explores how twentieth-century writers shaped the ways we listen in our multimedia present. Uncovering a rich new archive of materials, this book offers a resonant reading of how writers across several genres, such as John Dos Passos, Langston Hughes, William S. Burroughs, and others, navigated the intermedial spaces between texts and recordings. Numerous scholars have taken up remix - a term co-opted from DJs and sound engineers - as the defining aesthetic of twenty-first century art and literature. Others have examined modernism's debt to the phonograph. But in the gap between these moments, one finds that the reciprocal relationship between the literary arts and sonic technologies continued to evolve over the twentieth century. A mix of American literary history, sound studies, and media archaeology, this interdisciplinary study will appeal to scholars, students, and audiophiles.

- Must-reading for all interested in the world of web-based music br - Highlights diverse artists from John Cage to Moby to Scanner br - Includes unique CD sampler highlighting the composers and works discussed in the book br br i Virtual Music: How the Web Got Wired /i i for Sound /i is a personal story of how one composer has created new music on the web, a history of interactive music, and a guide for aspiring musicians who want to harness the new creative opportunities offered by web composing. br br For b Bill Duckworth /b, the journey began in 1996 when he developed the idea for an interactive webcast, named "Cathedral," which was developed over a period of 5 years. On its completion, "Cathedral" won numerous awards, including the ASCAP/Deems Taylor Award for composition, and has already inspired further experimentation. br br But this is more than the story of one composer or one piece of music. The book traces the development of interactive music through the 20th century from Erik Satie through John Cage, Brian Eno, Moby, and Scanner. The technology itself is described as it has inspired experimentation by artists, including composers who have developed new ways to involve the audience in their music, plus possibilities for the non-musically trained to "play the Web." Challenges facing the web composer-from copyright issues to commercialization-are analyzed with new solutions suggested. br br i Virtual Music /i is a fascinating story that will appeal to fans of new music, creators, performers, and anyone interested in how technology is transforming the arts. Also includes a 4-page color insert.

Virtual Music: How the Web Got Wired for Sound is a personal story of how one composer has created new music on the web, a history of interactive music, and a guide for aspiring musicians who want to harness the new creative opportunities offered by web composing. For Bill Duckworth, the journey began in 1996 when he developed the idea for an interactive webcast, named Cathedral, which was developed over a period of 5 years. On its completion, Cathedral won numerous awards, including the ASCAP/Deems Taylor Award for composition, and has already inspired further experimentation. But this is more than the story of one composer or one piece of music. The book traces the development of interactive music through the 20th century from Erik Satie through John Cage, Brian Eno, Moby, and Scanner. The technology itself is described as it has inspired experimentation by artists, including composers who have developed new ways to involve the audience in their music, plus possibilities for the non-musically trained to play the Web. Challenges facing the web composer-from copyright issues to commercialization-are analyzed with new solutions suggested. creators, performers, and anyone interested in how technology is transforming the arts.

Provides biographical details on some of the most talented, influential and up-and-coming artists and individuals from the world of popular music.
Now in its fully updated and revised seventh edition, this title includes over 5,000 biographies charting the achievements and careers of pop, rock, folk, jazz, dance, world and country artists throughout the world.
Features include:
*Over 5,000 alphabetically-arranged entries containing full biographical information: major career details, concerts, recordings and compositions, honours and contact address
*Full contact details for companies and organizations throughout the popular music industry - including record companies, management agencies, agents and promoters
*Lists of key festivals and musical events worldwide, with relevant contact details.

First published in 2005. By far the most stimulating and complete introduction to the styles and schools of Western music, this work is certain to remain a classic. Beginning with the music of the early Christian church, the Gregorian chant, the book proceeds through minstrels and troubadours, the Flemish polyphonic schools, the Italian Renaissance, the Viennese school and the Russian school. Music lovers will appreciate the author's sound interpretations and engaging, readable style.

This monograph, translated from the original Danish, concentrates on the plan and execution of 'Messiah', its singers and performances, manuscripts and editions, and aesthetics. . . . For all scholarly collections. "Library Journal"

Popular music studies is a rapidly expanding field with changing emphases and agendas. The music industry has changed in recent years, as has governmental involvement in popular music schemes as part of the culture industry. The distinction between the major record labels and the outsider independents has become blurred over time. Popular music, as part of this umbrella of the culture industry, has been progressively globalized and globalizing. The tensions within popular music are now no longer between national cultural identity and popular music, but between the local and the global.

This four volume collection examines the changing status of popular music against this background. Simon Frith examines the heritage of popular music, and how technology has changed not only the production but the reception of this brand of sound. The collection examines how the traditional genres of rock, pop and soul have broken down and what has replaced them, as well as showing how this proliferation of musical styles has also splintered the audience of popular music.

This publication is intended for the Elder's of any community, educators, the young and old. More specifically, those individuals who are presently encountering difficulty in their transformational process in making productive career decisions, as well as, those who have reached the final stage of adolescence, in their quest for psycho-social development. The greatest experience that an individual can have is being empowered with knowledge of self, i.e., cultural awareness, which emanates into self-pride and confidence in one's ability to achieve success in all of their endeavors in life. Culture becomes the vessel that propels the individual into action in a conscious state of existence. Once bought into this state of consciousness, one is enabled to make proactive decisions in their lives, no longer allowing the media, environmental conditions, and others to become enablers for them. Each chapter represents different phases of mentally transforming instructive messages, thus, initiating a new way of listening, contemplating and reacting to the conditions of the Pied Piper. The order and arrangement of this book is a governing line of thought, all of which corresponds to the Pharonic mentality. As one synthesis the information of each proceeding chapters it embark the reader on a journey of self-exploration. This book heightens the individual's ability to convert words of power, into inner strength and spiritual ascendancy. This book is not to be read like a novel, but explored chapter by chapter as a mean of grasping the intricate nature of the subject matter. Also, it is an excellent introductory examination of the various facets involved in the Pied Piper Effect and the impact that music has on society as a whole. As my Grandmother use to say, "If You Dance To The Music, You Have To Pay The Piper."

A history of the Academy of St Martin in the Fields - one of the most celebrated chamber orchestras in he world.

"Speak It Louder: Asian Americans Making Music" documents the variety of musics-from traditional Asian through jazz, classical, and pop-that have been created by Asian Americans. This book is not about "Asian American music" but rather about Asian Americans making music. This key distinction allows the author to track a wide range of musical genres. Wong covers an astonishing variety of music, ethnically as well as stylistically: Laotian song, Cambodian music drama, karaoke, Vietnamese pop, Japanese American taiko, Asian American hip hop, and panethnic Asian American improvisational music (encompassing jazz and avant-garde classical styles). In Wong's hands these diverse styles coalesce brilliantly around a coherent and consistent set of questions about what it means for Asian Americans to make music in environments of inter-ethnic contact, about the role of performativity in shaping social identities, and about the ways in which commercially and technologically mediated cultural production and reception transform individual perceptions of time, space, and society. "Speak It Louder: Asian Americans" "Making Music" encompasses ethnomusicology, oral history, Asian American studies, and cultural performance studies. It promises to set a new standard for writing in these fields, and will raise new questions for scholars to tackle for many years to come.

"Speak It Louder: Asian Americans Making Music" documents the variety of musics-from traditional Asian through jazz, classical, and pop-that have been created by Asian Americans. This book is not about "Asian American music" but rather about Asian Americans making music. This key distinction allows the author to track a wide range of musical genres. Wong covers an astonishing variety of music, ethnically as well as stylistically: Laotian song, Cambodian music drama, karaoke, Vietnamese pop, Japanese American taiko, Asian American hip hop, and panethnic Asian American improvisational music (encompassing jazz and avant-garde classical styles). In Wong's hands these diverse styles coalesce brilliantly around a coherent and consistent set of questions about what it means for Asian Americans to make music in environments of inter-ethnic contact, about the role of performativity in shaping social identities, and about the ways in which commercially and technologically mediated cultural production and reception transform individual perceptions of time, space, and society. "Speak It Louder: Asian Americans" "Making Music" encompasses ethnomusicology, oral history, Asian American studies, and cultural performance studies. It promises to set a new standard for writing in these fields, and will raise new questions for scholars to tackle for many years to come.

Fully updated and revised, the "International Who's Who in Popular Music 2004" offers comprehensive biographical information covering the leading names on all aspects of popular music. It brings together the prominent names in pop music as well as the many emerging personalities in the industry, providing full biographical details on pop, rock, folk, jazz, dance, world, and country artists.
Over 5,000 biographical entries include major career details, concerts, recordings and compositions, honors and contact addresses. Wherever possible, information is obtained directly from the entrants to ensure accuracy and reliability. Appendices include details of record companies, management companies, agents and promoters. The reference also details publishers, festivals and events and other organizations involved with music.

Life's a Gamble is the autobiography of iconic singer-songwriter Pauline Murray. It recounts her journey from a small mining village in northeast England, through to gaining national recognition as the frontwoman of her band, Penetration, and how she became a key member of the punk movement. Emerging onto the punk scene at just 18 years old, inspired by an early encounter with the Sex Pistols, Pauline details how she played alongside the leading bands of the era, navigated the demands of the music industry, conquered the post-punk landscape with the Invisible Girls, opened her own music studios and reformed Penetration in 2001. Highly illustrated with unseen photographs and drawing upon Pauline's teenage diaries, interviews and archive material from her personal collection, this book chronicles the life and work of an authentic creative artist and punk rock legend.

Herb Alpert and Jerry Moss founded A&M Records in 1962 with $200. In 1989, they sold the world's largest independent record label for nearly $500 million. From Brass to Gold is the rise of A&M from its start with the Tijuana Brass to a golden success. A&M and its 14 affiliated labels signed over 800 artists in every musical genre including the Carpenters, Quincy Jones, Styx, Supertramp, Burt Bacharach, Joe Cocker, Bryan Adams, Janet Jackson, George Winston, The Go-Go's, Carole King, Amy Grant, the Neville Brothers, and The Police. A&M's affiliates were George Harrison's Dark Horse Records, Windham Hill, Ode Records, IRS Records, Cypress Records, Delos, Denon, Gold Mountain Records, Nimbus Records, Perspective, Tabu, Vendetta Records, and Word Records. From Brass to Gold Vol. II assembles A&M and affiliate discographies from 35 countries with major discographies for Great Britain, Canada, Germany and Japan. Artist and title indexes are provided for each country. This is the only international discography of A&M or it affiliates. Designed for record collectors, music lovers, music historians, and popular culture scholars and enthusiasts, and music retailers in discography format, it invites readers to research A&M, an affiliate, a record series or an individual artist.

Green Day are one of rock history's greatest and most successful bands. Singer/guitarist Billie Joe Armstrong, bassist Mike Dirnt, and drummer Tre Cool have been together creating rock music with a punk heart for over three decades. The trio has reigned supreme, shattering previously conceived notions of how commercially successful a punk rock band can be. They helped extend the boundaries of the genre by adding excellent pop/rock song writing. Green Day harnessed alternative music's creativity with a passion and fire that ignited two of rock's best albums, the influential Dookie, which sold 20 million, and the culturally important rock opera American Idiot, which sold 16 million and went on to become a Broadway show. In their 30-plus years, Green Day revolutionized rock musically and lyrically, inspiring countless bands. During the 1990s, they lead the pop-punk charge, and in the 2000s, they inspired a second generation of fans and bands through a lyrically intelligent and musically complex style of hard rock. Green Day: On Track takes a journey through the Rock N' Roll Hall of Fame band's career, analysing every album and song in their storied catalogue

MUSIC AND ITS LOVERS AH EMPIRICAL STUDY 0. MOTIONAL AND fif CJINATIVE RESPONSES TO MUSIC VERNQN LEE S LITT. D NEW YORK E. P, DUTTON AND CO, INC lit U.. A, 1933 Ell rigkis PRINTBD IN ORBAT BRITAIN BY UNWIN BROTHERS LTD, WOK11 J DEDICATION AND THANKSGIVING This book based upon their answers to my Questionnaires I dedicate, after more than twenty years, to all my Answerers, known or unknown to me, living and, alas, also dead. But quite specially to the memory of BESSIE AND ISABELLA FORD OF ADEL And now that the book is actually going to the Printers let me also congratulate myself very gratefully that the same admirable collaborator, Irene Cooper Willis, to whom I owe so much help in the early stages of this work, should be able and willing to edit and pass it through the press when finished. CONTENTS PREFACE AIMS AND METHODS 13 PART I LISTENERS AND HEARERS CHAPTER PACE I, VARIETIES OF MUSICAL EXPERIENCE 23 ii. WHAT is LISTENING 35 III. THE EMOTION OF MUSIC, iv, COMPLICATIONS AND ENTANGLEMENTS 59 v. ANCESTORS OF EMOTION 66 VI. EMOTION OF MUSIC VERSUS EMOTIONAL MUSIC 86 is VII. AESTHETIC CONTEMPLATION HIGHER PLANES 97 VIII, ACTIVE AND PASSIVE ATTENTION. A PSYCHOLOGICAL P. S. 107 IX, EPILOGUE TO LISTENERS 115 PART II EMOTIONAL RESPONSES I. THE POWERS OF SOUND-123 II. CECILIA AND CECILIANS 135 in. AMBIENCE 141 iv. CHAOS THE UNINTELLIGIBLE AND THE OVERHEARD. 150 V. INTERMITTENCE AND EVOCATION. CASE OF DONNA TEODORA 158 VI. MUSICAL MEMORY, A PSYCHOLOGICAL P. S. TO DONNA TEODORA. 167 VII. AFFECTIVE MEMORY. RIBOTS HYPOTHESIS . 1 73 VIII. REFERENCE TO HUMAN PERSONALITY. 1 92 io MUSIC AND ITS LOVERS CHAPTER PAGE EX. PARTICIPATION, INTENSIFICATION, PASS MORT AND PASSE VIVANT. ELSA AND THEVIOLINIST 3 202 x. EVOCATION OF PAST AND FUTURE HERR WOLFRAM AMIE DE GABRIELLE MME. LOUISE YOUNG PEOPLE FRANCES 2 7 XI. INTRODUCTION TO DIONYSIACS. THE CUP OF COMUS 228 xii. DIONYSIACS FRANZ PROFESSOR PAUL MASTER HUGUES P. S. ON NIETZSCHE 240 PART III IMAGINATIVE RESPONSES i. INTERPRETATION MUSIC AS A LANGUAGE 259 n. LAPSES IN LISTENING AND THINKING OF OTHER THINGS 273 III. STIMULATION OF THOUGHT POETS, NOVELISTS AND PHILO SOPHERS 28 J IV. INTERPRETATION AS METAPHOR CASE OF SPIRIDION 20 v. MYSTICAL INTERPRETATION THE MICROCOSM RESPONDING TO THE MACROCOSM THE DOCTOR OF PHILOSOPHY 298 VI. THE IMAGINARY COMPOSER 308 VII. THE POWER OF WORDS 325 VIII. INTERPRETATION BY EQUIVALENCE 340 DC. SUGGESTION BY MOVEMENT FRAU MARIA AND BELLA 350 X. INTERPRETATION BY AS IF . ... 359 XI. INTERPRETATION AS ALLEGORY. PICTURES SUGGESTED BY MUSIC 3 3 XII. INTERPRETATION AS DRAMA. CASE OF LADY VENETIA 383 PART IV HAS MUSIC A MEANING COLLECTIVE EXPERIMENTS SOME RESULTS OF COLLECTIVE EXPERIMENTS CONTENTS ii PART V THE COMPOSERS PHENOMENON CHAPTER PAGE I. TRANSLATION INTO MUSIC 445 II. DIVIDED ATTENTION 456 III. AESTHETIC INTEGRATION. A COMPARISON WITH OTHER ARTS 468 iv. SYNTHESIS SOME EXPERIENCES OF MY OWN 478 PART VI HOW MUSIC COMES INTO OUR LIVES I. THE STATE OF AESTHETIC CONTEMPLATION 489 II. MYSELF AS CORPUS VILE 492 in. BETTINA A DUOLOGUE ON MOZART AND BEETHOVEN 510 IV. BEING ATTUNED TO .... 517 PART VII f E GUSTIBUS . . . I. SOME PREFERENCES CLASSIFIED 5 7 II. . . . NQN EST DISPVTANDUM 543 PART VIII BEYOND GOOD AND EVIL i. BEYOND GOOD AND EVIL 551 II. SOME ETHICAL CONSIDERATIONS 554 III. EXCITEMENT AS A VITAL NEED 558 rv. MUSIC VERSUS WORDS 559 ENGLISH QUESTIONNAIRE 563 INDEX 569 PREFACE AIMS AND METHODSI THIS BOOK, which, after so many years of working at it and dropping it, has at last got finished, is neither for Musicians nor for Musical Critics, though dealing with both. Not even for such intelligent Amateurs as have contributed so largely to it. It can teach no one whether any particular music happens to be good or bad still less how to make music which shall be good rather than bad. It tries to understand why the self-same music will, perhaps must, seem good, i, e, worth having, to some people, and bad, i. e...

Encompassing both the art song and Lieder traditions, this book includes comprehensive lists of the compositions of 125 major Western composers, the identities of the poets who wrote the lyrics, titles used by respective composers with cross-references from variant titles used by other composers, cross-references from the first lines, the publishers of the individual songs, the location of individual songs within the collected works of individual composers and the date of composition.
With this resource, a reader can find the songs written by a composer, who published a specific song, and which composers might have set a particular poem to music. Bradley's guide offers a user-friendly, contemporary index of information for which scholars previously had to search extensively.