SINGER AND ACCOMPANIST The Performance of Fifty Songs SINGER AND ACCOMPANIST The Performance of Fifty Songs by GERALD MOORE METHUEN CO. LTD. LONDON 36 Essex Street, Strand, W. C. 2 To ENID PREFACE IT has not been my intention in the following pages to attempt critical analyses of the fifty songs under review although an analytical note may occasionally have crept in but rather to explain how the execu tants might sing and play them above all to suggest lines they could think along when practising, rehearsing, and performing them. I hope the word suggest 5 will be noted. I have used it advisedly for there are many roads to heaven and while I am confident that my road will not lead to destruction, I do not claim that it is the only way. Let him who disagrees with my ideas make his own investigation and find out what suits him best. I shall be happy if this book has this stimulating effect. I believe that equal consideration has been given to the two partners, but if more attention than is usual in a book on song interpret ation has been bestowed on the accompaniment I make no apology it has been done for the good of the song and should prove of ultimate benefit to the singer. There is no law, human or divine said Ernest Newman in 1907, c to compel the composer to limit his expressiveness to the voice alone. The Schubert, Wolf, Faure songs to mention three composers at random included here can be called great songs. To the question What are Beethovens Mailied, Rachmaninoffs Spring Waters, Hahns Offrande doing in such distinguished company 5 I would answer that the first song presents difficulties to the singer a the second teases the pianist, while the Hahn song is intriguing if only forits wide dissimilarity to the undeniably finer settings of the same poem by Debussy and Faur6. The only rule I observed when selecting my fifty songs was that they should be interesting interesting either for their intrinsic worth or for the problems they pose for the singer or the accompanist or both partners. The reader who is indulgent enough to imagine there is any benefit to be reaped by a study of this book, should dip into it rather than attempt to read it steadily from cover to cover. Let him see which of these songs he possesses and then after numbering the bars on his score to help him follow me on my wanderings through the song have his music beside him as he reads. He will thus be in a much better vii Vlll SINGER AND ACCOMPANIST position to laugh with me or at me to see how unerringly I hit the nail on the head or how lamentable is my aim. To two great friends I would like to express my deep gratitude to Mr. L. A. G. Strong for his encouragement and patience ever since he approached me with the idea of this book, and to Mr. Alec Robertson for his invaluable and constructive criticism on its completion. ACKNOWLEDGEMENTS i WISH to express my thanks to Miss Astra Desmond and to Messrs. Richard Capell, Martin Cooper, and Ernest Newman for permission to quote from their writings to Mr. G. Bernard Brophy for his trouble and kindness in the selection of gramophone records to Noel Douglas Ltd., publishers, for allowing me to reprint the excerpt from Monsieur Croche 5 and finally to all the publishers enumerated at the end of each song for their generous co-operation in allowing me to reprint so many musical illustrations. London 1953 G. M...

This volume collects twenty of Lawrence Kramer's seminal writings on art song (especially Lieder), opera, and word-music relationships. All examine the formative role of culture in musical meaning and performance, and all seek to demonstrate the complexity and nuance that arise when words and music interact. The diverse topics include words and music, music and poetry, subjectivity, the sublime, mourning, sexuality, decadence, orientalism, the body, war, Romanticism, modernity, and cultural change. Several of the earlier essays have been revised for this volume, which also contains a preface by the author and a foreword by Richard Leppert. The volume should be essential reading for scholars, students, performing musicians, and other music-lovers interested in musicology, word-music relationships, cultural studies, aesthetics, and intermediality.

Bing Crosby recorded nearly 2,000 songs, appeared in more than 100 films, starred in radio shows for nearly 30 years, and remained a hit on television for 25 years. He produced the best-selling record of all time, was the nation's leading film star for a record five years, and was voted one of the most influential Americans of the century by LIFE magazine. This book is a detailed guide to Crosby's fascinating life and career. A biography that overviews and discusses the most important events, influences, and achievements in Crosby's life. The chapters that follow present a full record of his work in film, radio, and the recording industry. Each chapter is devoted to his work in a particular medium, and individual entries for each of his performances describe his work and comment upon it. An extensive bibliography lists books and articles about Crosby, and many entries assess the value of these works.

The author has always thought that poems should be written in a manner that is readable and understood at all levels of education. Furthermore, he believes they should contain a message that induces the reader to think on aspects of life outside his/her own sphere of activity, as well as gaining some pleasure when so doing. For poetry (as is the case in the majority of modern poetry) to consist of a conglomeration of words that do not correlate makes the author think that the poet is sometimes misguidedly interested in proving that the poet should be regarded as some special brand of intelligentsia. For him that is talent wasted. The poems presented in this volume are eminently readable and express meaning and feeling directly and honestly. As for Lyrics

One of Britain's best-loved and most successful fanzines, Jamming! documented the musical landscape as it evolved between 1977 and 1986. Fully illustrated throughout, The Best of Jamming! includes numerous stand-out pieces from the zine's impressive 36 issue-run, from early features on The Jam, The Smiths, Run-D.M.C, Cocteau Twins and The Beat, to surprise exclusive interviews with Paul McCartney, U2 and Pete Townshend. Personal letters from Mark E. Smith, Paul Weller and others appear alongside arts, sports and politics features, poetry and a Foreword by Billy Bragg. Having guided Jamming! from a 6-page school publication to a nationally distributed monthly, editor Tony Fletcher provides behind-the-scenes insights, while musicians and former contributors reflect on their interviews and Jamming!'s long-lasting influence. An immensely evocative read, The Best of Jamming! perfectly encapsulates the excitement and unprecedented potential of the DIY era.

Alongside readings of modern novels (including work by David Mitchell, Zadie Smith, Jackie Kay and Andrew O'Hagan), Gerry Smyth offers an extended theoretical analysis of the relationship between music and fiction, as well as a critical overview of the role played by music in the canon of British fiction since the eighteenth century.

As a sociologist Simon Frith takes the starting point that music is the result of the play of social forces, whether as an idea, an experience or an activity. The essays in this important collection address these forces, recognising that music is an effect of a continuous process of negotiation, dispute and agreement between the individual actors who make up a music world. The emphasis is always on discourse, on the way in which people talk and write about music, and the part this plays in the social construction of musical meaning and value. The collection includes nineteen essays, some of which have had a major impact on the field, along with an autobiographical introduction.

Dedicated to Dr. Frank Damrosch EXERCISES IN ELEMENTARY COUNTERPOINT BY PERCY GOETSCHIUS, Mus. Doc. Royal JFurttemburz Professor Author cf The Mztifizl wed in Musicd Composition The Theory and Practice cf Tsne-Rflztions, The Hvmuphjnic Fwms cf Musical Cmtwitiun Models c the Principal Music Forms, Exercises in Mthdy Writing Applied Cwnterpoitt, Lessens in Music t ett. G. SCHIRMER, INC., NEW YORK COPYRIGHT, 1910 BY G. SCHIRMER, INC. COPYRIGHT RENEWAL ASSIGNED, 1938, To G. SCHIRMER, INC. 21946 Printed in the U, S. A. PREFACE. THE present volume is intended and expected to cover more ground than its title implies. In the authors mind it represents a course in Harmony, quite as much as in Counterpoint. It owes its inception to the authors often expressed conviction that these two courses of study cannot be separated and also to a constantly strength ening belief that the most rational, quickest and best way to acquire a thorough knowledge of the chords and their uses the recognized purpose of the study of Harmony is to begin with one part, to pass from that to two, from that to three, and thus gradually arrive at full four-part harmony. For this reason, an extensive preparatory knowledge of Harmony is not at all necessary, though a general knowledge of the chords will facili tate the study of this book, and is therefore recommended. Such general familiarity may be gained by the study of Part II of my Material, or Chapters III to XXX of my Tone-Relations. The full four-part texture, when approached in this way, as system atized in these chapters, will have developed itself naturally into Counter point and its acquisition will fully prepare the student to undertake the subsequent tasks inhomophonic and polyphonic composition. THE AUTHOR. NEW YORK, February, 1910. TABLE OF CONTENTS. SAGS INTRODUCTION. i Chapter L THE SINGLE MEIODIC LINE, STEPWISE PROGRESSIONS AND NAR ROW LEAPS S Exercise i 7 Chapter H. WIDER LEAPS 8 Exercise 2 n Chapter HI. EXCEPTIONAL PROGRESSIONS, AND THE MINOR MODE n Exercise 3 15 Chapter IV. THE ASSOCIATION OF Two MELODIC LINES. CORRESPONDING RHYTHM. FUNDAMENTAL INTERVALS. MAJOR MODE 15 Exercise 4 20 Chapter V. FUNDAMENTAL INTERVALS, MINOR MODE 22 Exercise 5 23 Chapter VI. EXCEPTIONAL INTERVALS 24 Exercise 6 28 Chapter VIL RHYTHMIC DIVERSITY. Two NOTES TO EACH BEAT 29 Exercise 7 36 Chapter VIE. MODULATIONS 37 Exercise 8 41 Chapter IX. THREE NOTES TO EACH BEAT 43 Exercise g 46 Chapter X. SYNCOPATION, OR SHITTED RHYTHM. TIES. Two AND THREE NOTES TO EACH BEAT 47 Exercise 10 50 Chapter XL THE TIE, CONTINUED. RESTS 51 Exercise n 56 Chapter XIE. FOUR NOTES TO EACH BEAT 57 Exercise 12 62 Chapter xm. FOUR NOTES TO EACH BEAT, AS AMPLIFIED FORMS 63 Exercise 13 7 TABLE OF CONTENTS PAGE Chapter XIV. DIVERSITY OF RHYTHMIC MOVEMENT IN THE Two PARTS 67 Exercise 14 73 -. u Chapter XV MOTIVE-DEVELOPMENT. IMITATION. THE SMALL INVENTION 73 Exercise 15 81 Chapter XVI. THREE-PART HARMONY, MELODY HARMONIZATION WITH PRI MARY CHORDS 83 Exercise 16 91 Chapter XVII. SECONDARY CHORDS. SEQUENCES 92 Exercise 17 94 Chapter XVDI. MODULATION, DIATONIC AND CHROMATIC. ALTERED SCALE STEPS 96 Exercise 18 99 Chapter XIX. CONTRAPUNTAL HARMONY, THREE PARTS. SIMPLE AND AMPLIFIED 101 Exercise 19 105 Chapter XX. THREE-PART COUNTERPOINT 106 Exercise 20 113 Chapter XXI. MOTIVE-DEVELOPMENT. THE SMALL INVENTION, THREE PARTS 114 Exercise 21 121 Chapter XXII. FOUR-PART HARMONY. MELODYHARMONIZATION. . PRIMARY AND SECONDARY CHORDS. SEQUENCES 122 Exercise 22 126 Chapter XXm, MODULATION 126 Exercise 23 131 Chapter XXIV. CONTRAPUNTAL HARMONY, FOUR PARTS. SIMPLE AND AMPLIFIED 132 Exercise 24 137 Chapter XXV. FOUR-PART COUNTERPOINT ANALYSIS 138 Exercise 25 p . 145 Chapter XXVL MOTIVE-DEVELOPMENT. THE SMALL INVENTION, FOUR PARTS 146 Exercise 26 149 APPENDIX 151 EXERCISES IN ELEMENTARY COUNTERPOINT INTRODUCTION. Music, theoretically considered, consists altogether of LINES OF TONE...

While many dream of a career as a singer/songwriter, few know how to go about getting bookings, copywrighting and protecting their songs, making promotional recordings, getting radio and print coverage and negotiating contracts for appearances. This book covers all of these topics and more, aimed at everyone from the absolute beginner to the more seasoned performer, to help them avoid the common pitfalls and problems encountered along the road to success.

The authors draw on years of experience as songwriters and performers. They have conducted interviews with many singer/songwriters who share their experiences, both good and bad, as they've worked their way up from local gigs to full-time careers. Throughout, practical tips are highlighted and real-life stories help illuminate common issues faced by all performers/songwriters.

First published in 2006. Routledge is an imprint of Taylor & Francis, an informa company.

A NEW YORK TIMES BESTSELLER This "beautiful tribute to a legendary artist" (Quincy Jones) is the first in-depth biography of Nipsey Hussle, the hip-hop mogul, artist, and activist whose transformative legacy inspired a generation with his motivational lyrics and visionary business savvy-before he was tragically shot down in the very neighborhood he was dedicated to building up. For Nipsey Hussle, "The Marathon" was more than a mixtape title or the name of a clothing store; it was a way of life, a metaphor for the relentless pursuit of excellence and the willpower required to overcome adversity day after day. Hussle was determined to win the race to success on his own terms, and he wanted to see his whole community in the winner's circle with him. A moving and powerful exploration of an extraordinary artist, The Marathon Don't Stop places Hussle in historical context and unpacks his complex legacy. Combining on-the-ground reporting and candid interviews, "Rob Kenner has given us the book the world-and hip-hop and pop culture-has been waiting for...one that should be celebrated alongside the best biographies ever about iconic figures we have loved-and lost" (Kevin Powell, author of When We Free the World).

Contents Include: Part 1 The Technique of Conducting - The Beat - Starting position - Action - Gesture - "Getting Hold of the Orchestra" Change of Speed, Change of Time - Beginning a Piece of Movement - Pauses and Leads - Rehearsing - The Score and Parts - Concertos, Solos and Recitative - Arrangement of the Orchestra on the Platform, Customs, Pitch - Part 2 The Instruments of the Orchestra: The Constitution of the Orchestra - String Technique - Wind Instruments, Practical Acoustics - Wood-Wind Instruments - Brass Instruments - Reeds and Mouthpieces - Transposition - Wind Instruments - Part 3 - A Short History of Conducting - Vocabulary of Orchestral Terms - Bibliography: Historical: Conducting; Orchestration

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.

"International Whos Who in Popular Music 2006" provides biographical details on some of the most talented and influential artists, as well as up-and-coming individuals from the world of popular music. International in scope, this new edition provides information on artists, varying from Eminem to Wynton Marsalis; Ray Davies to Talvin Singh.
Listed alphabetically by surname, entries provide full biographical profiles, including personal information, principal career details, recordings and compositions, and full contact details, where available. A directory section includes details of record companies, management companies and booking agents and promoters, music publishers, festivals and events, and other organizations in the popular music industry.
The careers of pop, rock, folk, jazz, dance, world and country music artists from around the world are profiled in this new edition. New artists are included, as well as established names in popular music. Entrants include Elvis Costello, Carlos Santana, Wayne Shorter, Dizzee Rascal, Gil Scott-Heron and Joss Stone.

• Over 6,000 alphabetically arranged entries
• Fully revised and updated for this 7th edition
• Spans the full range of popular music
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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.