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...

This book proposes that new music technologies attract unconscious desires for socialism and collectivity, enabling millions of people living under capitalism to dream of repressed social alternatives. Grounded in the philosophical writings of Ernst Bloch and Walter Benjamin, the book examines file sharing technologies, streaming services, and media players, as well as their historical antecedents, such as the player piano, cassette tape, radio and compact disc, alongside interpretations of fiction, memoir, and albums. Through the concept of wish images-the unconscious hopes and desires for social alternatives that gather around new technologies-the book identifies the repressed pre- and post-capitalist urges that attend our music technologies. While these desires typically remain unconscious and tend to pass away not only unmet but also unrecognized, Hope and Wish Image in Music Technology attempts to bring wishes for social alternatives to the surface at an auspicious moment of technological transition.

Featuring the latest music business and social media concepts as well as brand-new interviews with a variety of the industry's top movers and shakers, Music 3.0: A Survival Guide for Making Music in the Internet Age, Third Edition is a completely updated version of the previous best-selling editions! How has streaming music impacted the artist and the industry? Who are the new industry players? Why do traditional record labels, television, and radio have increasingly less influence in an artist's success? How should music be marketed and distributed in this new world? How do you make money when listeners stream your music? What's the best way to develop your brand? How are Facebook, Twitter, and YouTube best used as marketing tools? What are the new technologies being introduced that will influence how we sell and market our work? All these questions are answered in this updated version of Music 3.0, along with some new high- and low-tech tips for inexpensive marketing and promotion.

Britain has attracted many musical visitors to its shores. A varied and often eccentric collection of individuals, some were invited by royalty with musical tastes, some were refugees from religious or political oppression, some were spies, and others came to escape debt or even charges of murder. This book paints a broad picture of the changing nature of musical life in Britain over the centuries, through the eyes and ears of foreign musicians. After considering three of the eighteenth century's greatest musical figures, the authors consider the rise of the celebrity composer in the nineteenth century, and go on to consider the influence of new forms of transport which allowed travel more freely from the Continent and the USA. Musical Visitors to Britain also charts the new opportunities presented by the opening of public halls, the growth of music festivals, and the regular influx of composers in the twentieth and twenty-first centuries, ending with the impact of new musical forms such as jazz. As much a social as a musical history of Britain, this book will be of interest to anyone studying or working in these fields, as well as to general readers who want to discover more about our musical heritage.

- 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.

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.

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.

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."

Book by book, year by year, the ultimate literary trip through Bowie's greatest decade. It is 1973. David Bowie is finally a superstar. All he has to do to remain there is to keep pretending he's Ziggy Stardust, keep playing to thousands, keep selling to millions and keep on staying relatively sane ... As glam rock crashes and burns in a sleazy scandal-ridden Britain, a world tour convinces David to make radical changes with devastating consequences for Ziggy, his fans and his band. However, his planned 'retirement' is anything but quiet - now a friend of the Jaggers, with more lovers than he can count on one hand, more appetites than he can satisfy with one nose and still more success. But at what cost? Continuing his vivid real-time journey through the decade David changed pop forever, the fourth volume of the Bowie Odyssey series sees Simon Goddard mainline to the dark heart of Seventies sex, drugs and debauched rock'n'roll - a gripping, unsentimental portrait of inspiration, insanity and the thin line that divides. PRAISE FOR THE BOWIE ODYSSEY SERIES 'My god, it's brilliant. A delicious romp.' MIKE SCOTT, THE WATERBOYS 'The best book written about its subject... Stupendous.' CLASSIC ROCK 'The wonderful Bowie Odyssey series ... Goddard's prose is like an all-seeing eye.' RECORD COLLECTOR 'A full-on sensory immersion in Bowie's universe.' SUNDAY TIMES 'It's as if we were there.' 4**** MOJO 'Goddard's scintillating series... with its meticulous fact-checking and almost poetic prose, paints a beautifully written portrait that's almost as otherworldly as its subject... [it] strikes the perfect balance... granting us an all-access-areas pass to accompany Bowie to every gig, every engagement and to some of the most important moments in rock' 4*** Classic Pop 'The project's ambition is matched only by the sumptuousness of Goddard's writing... At times as I read Bowie Odyssey 73 I felt like his shadow.' Chris Charlesworth

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"

The guidance of a skilled music producer will always be a key factor in producing a great recording, and this is no small matter in an age when the recording industry is undergoing its most radical change in over half a century. Music Production: A Manual for Producers, Composers, Arrangers, and Students, Third Edition serves as a comprehensive road map for navigating the continuous changes in the music industry and music production technologies. From dissecting compositions to understanding studio technologies, from coaching vocalists and instrumentalists to arranging and orchestration, from musicianship to marketing, advertising and promotion, Michael Zager takes readers on a tour of the world of music production, helping students and professionals keep pace with this rapidly changing profession. This third edition features: New interviews with eminent industry professionals Updated information on current trends in producing popular music and the impacts of the Music Modernization Act Additional material on video game music End-of-chapter assignments for course usage An instructor's manual is available. Please email [email protected].

"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.

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.

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...

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.

The Routledge Companion to Interdisciplinary Studies in Singing, Volume I: Development introduces the many voices necessary to better understand the act of singing-a complex human behaviour that emerges without deliberate training. Presenting research from the social sciences and humanities alongside that of the natural sciences and medicine alike, this companion explores the relationship between hearing sensitivity and vocal production, in turn identifying how singing is integrated with sensory and cognitive systems while investigating the ways we test and measure singing ability and development. Contributors consider the development of singing within the context of the entire lifespan, focusing on its cognitive, social, and emotional significance in four parts: Musical, historical and scientific foundations Perception and production Multimodality Assessment In 2009, the Social Sciences and Humanities Research Council of Canada funded a seven-year major collaborative research initiative known as Advancing Interdisciplinary Research in Singing (AIRS). Together, global researchers from a broad range of disciplines addressed three challenging questions: How does singing develop in every human being? How should singing be taught and used to teach? How does singing impact wellbeing? Across three volumes, The Routledge Companion to Interdisciplinary Studies in Singing consolidates the findings of each of these three questions, defining the current state of theory and research in the field. Volume I: Development tackles the first of these three questions, tracking development from infancy through childhood to adult years.

Rough Trade Book of the Year Resident Book of the Year A Mojo Book of the Year A Sunday Times Book of the Year Formed in 1988, Lush were part of the London gig scene during one of the most vibrant and creative periods in UK music. Now, Miki Berenyi tells all. From the bohemian ways of her father's social circle to the privileged glamour of her mother's acting career, Miki's young life was a blur of travel, celebrities and peripatetic schooling. But frequent relocation, parental neglect and the dark presence of her abusive grandmother resulted in crippling shyness, mental-health issues and a vulnerability to exploitation. The route out of this hole was music - a passion shared by schoolmate Emma Anderson. The teenagers began attending gigs together and would ultimately go on to form Lush. Talented and exuberant, the band became hot property, swiftly transitioning from shoegaze icons to Britpop darlings. Re-living the tours, recording sessions and music-industry madness they experienced along the way, this uncompromising memoir documents Lush's thrilling rise and untimely fall. Yet at the heart of the book are Miki's own battles: the conflict between her mouthy public persona and her thin-skinned private identity; the trials of being a woman in an infuriatingly male world; the struggle to find a middle ground between 'safe' indie obscurity and 'sell-out' international success. Miki also explores her complicated relationship with Emma - one that has fluctuated between camaraderie and rivalry over the years - and addresses the devastating tragedy that led to the band's split. Told through frank confession, wry humour and searing emotional honesty, this is the incredible tale of a trailblazing woman and a seminal band.

Over the last three decades Slavoj Zizek has become an iconic figure of intellectuel engage and his works have engendered ongoing reflection within as different academic disciplines as philosophy, literature or cultural, gender, postcolonial and film studies. But when it comes to music, things look different. With an emphasis on the German modernist tradition from Wagner to Schoenberg, a whole range of references to music are scattered throughout Zizek's copious body of works. However, these efforts seem to go almost unnoticed within academia - at least on first glance. Looking more closely, one notices a subtle but nevertheless consistent adoption of Zizek's theories within musicology, spreading across a broad range of topics and approaches. So, Zizek has become part of musicology, even if his presence is still uncharted territory. The present volume, which appeals to musicologists and philosophers alike, intends to map different ways in which Zizek's philosophy has been adopted in order to approach many of musicology's core questions, from musical analysis to the opera studies, from contemporary music to the history of the discipline itself. At the same time it both reflects on and questions Zizek's positions on musical aesthetics as expressed in his writings. Last but not least, the volume also features two essays by Zizek himself, reflecting his different approaches to writing about music.

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.

Mediterranean Mosaic examines the diverse musical styles of the region including Turkey, the Middle East, North Africa, Italy, Greece, and Spain and discusses how the cultures within these countries are interconnected. Looking at traditional musics within the region as well as outside influences on these tradition, topics covered include Klapa singing and Cha Wave from Croatia, the pop group Alibina, Pop-Rai from Algeria, and jazz in the Mediterranean.