Richard Chigley Lynch's latest discography completes his trio of reference works published by Greenwood Press. These review commercially available albums of show music, providing the researcher with the information given on album covers. This volume's 657 entries list some 6500 song titles and cover the years from 1874 (Die Fledermaus) to 1988 (Goya). Compiler Lynch has included every significant recording with the exception of some albums with uncredited vocals or those of well-represented scores with obscure vocalists. All commercially recorded tv musicals including some produced for younger viewers are contained here with--where available--the date of the recording. Studio cast albums are limited to those sung in English and performed in New York City and include English recordings of American shows. In addition to tv and studio cast recordings 14 other categories of recordings are listed under descriptive headings, including Archival Recreation, Concert Recording, Demo Recording, Failed Musical, Film Score, Ice Revue, Musical for Records, Night Club Revue, Original Concept Album, Pre-Broadway Recording, Puppet Show, Radio Production, Television Production, and Television Special. Following an introduction, the lengthy discography section arranges show titles alphabetically and lists the date of the show's first performance as well as the date of the first New York production of foreign shows. Also included here are original record label, number and information on reissues, and whether the recording is in mono or stereo or is available as a compact disc (CD). Major composer, lyricist, and musical conductor are credited and cast members who sing on the recording are listed alphabetically. Each entry also lists all songs included on the album in the order they are performed on the record followed, when available, by the name of the performer(s). Entries conclude with additional composers and lyricists who also contributed to the score and an occasional note of interest to the researcher. A separate television chronology includes the network that aired the musical, while the studio cast chronology indicates the musicals for records included. The movie chronology identifies the studio which originally presented the film. An index to performers lists each alphabetically followed by the titles of all albums on which the artist sings. The technical index alphabetically lists composers, lyricists, and musical directors with the show album titles following. This impeccable reference along with Lynch's Broadway on Record (Greenwood Press, 1987) and Movie Musicals on Record (Greenwood Press, 1989) are necessary additions to college and university libraries as well as to the reference collections of larger public libraries.

The considerable number of musicians experiencing physical and emotional problems has led doctors around the world to become increasingly concerned. The twelve articles in this issue of the journal "Musical Performance" bring together both the thoughts of British and North American doctors who discuss the main problems experienced by musicians and their cures. Topics range from voice disorders and deafness, to stress and the causes and cures of stage fright. A glossary is included that explains the meaning of those medical terms likely to be unfamiliar to the general reader.
Basil Tschaikov was appointed artistic and executive director of the National Center for Orchestral Studies at London University at Goldsmith's College, London, England 1979. Since 1987 he has served as chairman of the Music Performance Research Center and directs its oral history of musicians program in Britain.

Musical Life in Guyana is the first in-depth study of Guyanese musical life. It is also a richly detailed description of the social, economic, and political conditions that have encouraged and sometimes discouraged musical and cultural creativity in Guyana. The book contributes to the study of the interactions between the policies and practices by national governments and musical communities in the Caribbean. Vibert C. Cambridge explores these interactions in Guyana during the three political eras that the society experienced as it moved from being a British colony to an independent nation. The first era to be considered is the period of mature colonial governance, guided by the dictates of ""new imperialism,"" which extended from 1900 to 1953. The second era, the period of internal self-government and the preparation for independence, extends from 1953, the year of the first general elections under universal adult suffrage, to 1966, the year when the colony gained its political independence. The third phase, 1966 to 2000, describes the early postcolonial era. Cambridge reveals how the issues of race, class, gender, and ideology deeply influenced who in Guyanese multicultural society obtained access to musical instruction and media outlets and thus who received recognition. He also describes the close connections between Guyanese musicians and Caribbean artists from throughout the region and traces the exodus of Guyanese musicians to the great cities of the world, a theme often neglected in Caribbean studies. The book concludes that the practices of governance across the twentieth century exerted disproportionate influence in the creation, production, distribution, and consumption of music.

This book shows the continuing importance of art education. Art education attracts students who see multiple meanings and justifications for the worth of that education. Their engagement in art education is not limited to the uncertain prospects for jobs or routes into employment in the arts. Furst and Nylander approach art education through a rich array of empirical examples derived from Swedish folk high school programs in music, visual arts, and creative writing. Based on an analytical framework of pragmatic sociology, the book allows the reader to understand the competences and critical capacities held by students and teachers. The book challenges the dominant public perception of art education and broadens our understanding of what it is good for. The Value of Art Education is essential reading for those defending the status of this vital sector of education, offering a deeper understanding of why people engage, what they gain, and the social importance of the arts.

Many can attest to the importance of the self-growth that occurs for young people through the arts and their accompanying communities of support, understanding, and caring. Yet even professionals who work daily with adolescents, and parents or guardians who raise adolescents, sometimes have difficulty collectively articulating why musicking experiences are important for young people. In Adolescents on Music, author Elizabeth Cassidy Parker proves that this challenge stems from failing to ask adolescents to share their ideas richly and fully. Accordingly, Parker argues for deeper efforts to connect adolescent perspectives with established theories and philosophies in the social sciences and humanities. Organized into three sections-Who I Am; My Social Self; and Toward a Future Vision-Parker seeks new and diverse perspectives from the young people sharing their voices and experiences in each chapter. Chapters begin with a description from adolescents, in their own words, of the music they make, the meanings they ascribe to their music-making, and contributions to their development. The voices highlighted in these chapters come from adolescent solo musicians, autonomous and vernacular players, composers, school and community music-makers, and listeners between the ages of 12-20. By familiarizing readers with the multiplicity of adolescent music-making experiences and perspectives; discussing relevant theories within and outside of music and music education that support adolescent musical and personal growth; promoting adolescent health and well-being and greater understanding of young people; and providing a common language toward advocacy for adolescent music-making, Adolescents on Music serves as an invaluable resource for individual and group music teachers and practitioners, parents of adolescents, music mentors, and music education students.

When a musician dies, it is rarely the end of their story. While death can propel megastars to even further success, artists overlooked in their lifetime might also find a new type of fame. But a badly timed move or the wrong deal can see the artist die all over again. Colonel Tom Parker, the former carnival huckster, understood this high-wire act implicitly and the posthumous career of Elvis Presley has provided a template for everyone else. Estates have two jobs: keeping the artist's name alive and ensuring they continue to make money. These can sometimes be compatible goals, but often they spark a tension that is unique in the music business. Drawing on interviews with those running music estates as well as music lawyers, record company executives and archivists, Leaving the Building reveals how the music industry is constantly striving to perfect the business of death.

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.

This book examines the American Sixties, and how that period's socio-political essence was reflected and refracted in certain forms of the period's music. Its five main chapters bear the names of familiar musical categories: 'Folk,' 'Rock,' 'Jazz,' 'Avant-Garde,' 'Classical.' But the book's real subject matter-treated at length in the Prologue and the Epilogue but spread throughout all that comes between-is the Sixties' tangled mess of hopes and frustrations, of hungers as much for self-identity as for self-indulgence, of crises of conscience that bothered Americans of almost all ages and regardless of political persuasion.

Popular Music on Screen examines the relationship between popular music and the screen, from the origins of Hollywood musical to contemporary developments in music television and video. Through detailed examination of films, television programmes and popular music, together with analysis of the economic, technological and cultural determinants which impact upon their production and consumption, the book argues that popular music has been incresingly influenced by its visual economy. Though engaging with the debates which surround postmodernism, the book suggests that what most characterizes the relationship between popular music and the screen media is a strong sense of continuity, expressed through institutional structures, representational strategies and the ideology of entertainment.

Acoustic Interculturalism is a study of the soundscapes of intercultural performance through the examination of sound's performativity. Employing an interdisciplinary approach, the book examines an akoumenological reception of sound to postulate the need for an acoustic knowing - an awareness of how sound shapes the intercultural experience.

- One-stop resource explains culturally responsive teaching conceptually and offers practical ways to apply in the classroom - Specifically addresses culturally responsive teaching in music education context, with vivid first-person examples from music educators - Single-authored narrative makes this book clear and accessible for students

What was the role of mousike, the realm of the Muses, in Greek life? More wide-ranging in its implications than the English 'music', mousike lay at the heart of Greek culture, and was often indeed synonymous with culture. In its commonest form, it represented for the Greeks a seamless complex of music, poetic word, and physical movement, encompassing a vast array of performances - from small-scale entertainment in the private home to elaborate performances involving the entire community. Yet the history of the field, particularly in anglophone scholarship, has been hitherto narrowly conceived, and the broader cultural significance of mousike largely ignored. Focusing mainly on classical Athens these new and specially commissioned essays analyse the theory and practice of musical performance in a variety of social contexts and demonstrate the centrality of mousike to the values and ideology of the polis. The so-called 'new musical revolution' in late fifth-century Athens receives serious treatment in this volume for the first time. A major theme of the book is the musical and mousike dimension of Greek religion, rarely analysed in its own right. The ethical and philosophical aspects of Athenian mousike are another central concern, with the figure of the dancing philosopher as an emblem of music's role in intellectual life. The book as a whole provides an integrated cultural analysis of central aspects of Greek mousike, which will be of interest to classical scholars, to cultural historians, and to anyone concerned with understanding the power of music as a cultural phenomenon.

Made in Nusantara serves as a comprehensive introduction to the history, sociology, ethnography, and musicology of historical and contemporary popular music in maritime Southeast Asia. Each essay covers major figures, styles, and social contexts of genres of a popular nature in the Nusantara region including Malaysia, Indonesia, Brunei, Singapore, and the Philippines. Through a critical investigation of specific genres and their spaces of performance, production, and consumption, the volume is organised into four thematic areas: 1) issues in Nusantara popular music; 2) history; 3) artists and genres; and 4) national vs. local industries. Written by scholars working in the region, Made in Nusantara brings local perspectives to the history and analysis of popular music and critically considers conceptualisations developed in the West, rendering it an intriguing read for students and scholars of popular and global music.

This far-reaching and absorbing book is designed to help identify and value woodwind instruments made in Europe and the United States during the eighteenth and nineteenth centuries. Drawing upon the author's many years of research in the field, the book includes a brief history of European woodwind instruments made during the eighteenth and nineteenth centuries; biographies of important makers; a glossary of terms that will be a welcome help for the novice; a list of key systems; resources for obtaining further information from books, museums, societies, and online; and most importantly, information and nearly 300 images taken from over 20 trade catalogs printed between 1880 and 1930 in Europe and the United States. Featured among these is a complete translation of William Heckel's rare, circa 1930 catalog. This comprehensive volume is an outstanding resource for beginning and advanced collectors of musical instruments as well as for museum curators.

The aesthetics of imperfection emphasises spontaneity, disruption, process and energy over formal perfection and is often ignored by many commentators or seen only in improvisation. This comprehensive collection is the first time imperfection has been explored across all kinds of musical performance, whether improvisation or interpretation of compositions. Covering music, visual art, dance, comedy, architecture and design, it addresses the meaning, experience, and value of improvisation and spontaneous creation across different artistic media. A distinctive feature of the volume is that it brings together contributions from theoreticians and practitioners, presenting a wider range of perspectives on the issues involved. Contributors look at performance and practice across Western and non-Western musical, artistic and craft forms. Composers and non-performing artists offer a perspective on what is ‘imperfect’ or improvisatory within their work, contributing further dimensions to the discourse. The Aesthetics of Imperfection in Music and the Arts features 39 chapters organised into eight sections and written by a diverse group of scholars and performers. They consider divergent definitions of aesthetics, employing both 18th-century philosophy and more recent socially and historically situated conceptions making this an essential, up-to-date resource for anyone working on either side of the perfection-imperfection debate.

Always steered by Alex Paterson, The Orb were the mischief-making pioneers of the late 80s acid house revolution. Inventing "ambient house", they took it to the top of the charts, before continuing its idiosyncratic flight path through subsequent decades, battling meteor storms en route. Babble On An' Ting, the first full account of Paterson's life, written by long-time friend Kris Needs in close collaboration with Alex, reveals a frequently astonishing journey from traumatic childhood through punk, Killing Joke and KLF to starting The Orb in 1988, then the five decade roller coaster that followed. Moving, shocking, hilarious and inspiring, at the heart of this story lies a true survivor doggedly following their musical passion. First-hand interviews include those with Youth, Andrew Weatherall, Primal Scream, Jah Wobble, Jimmy Cauty and a parade of friends, collaborators and starship mechanics.

The British musical in its formative years has appeared in strikingly different guises: from the lasting hits of Oliver!, and Me and My Girl, to the successes of The Dancing Years, Bless the Bride and Expresso Bongo. This authoritative study traces what made these shows successes in the West End and how their qualities define a uniquely British interpretation of the genre. Cultural, sociological and political influences entwine with close reading of the dramatic and musical elements of this repertory to reveal a fascinating web of connections and contrasts between the times, the shows and the people who made them. Through detailed case studies, such as of The Boy Friend and Bitter Sweet, the rich individuality of each West End work is spotlighted, posing vital questions and intriguing answers as to what a British musical can be. Interdisciplinary in nature, this study brings together all the core materials to discover this period in the story of the British musical. Reviewing the Situation is insightful and lively, an invaluable resource for students and scholars of musical theatre and all those theatregoers drawn to the power of these classic British shows.

Studying the role of music within religious congregations has become an increasingly complex exercise. The significant variations in musical style and content between different congregations require an interdisciplinary methodology that enables an accurate analysis, while also allowing for nuance in interpretation. This book is the first to help scholars think through the complexities of interdisciplinary research on congregational music-making by critically examining the theories and methods used by leading scholars in the field. An international and interdisciplinary panel of contributors introduces readers to a variety of research methodologies within the emerging field of congregational music studies. Utilizing insights from fields such as communications studies, ethnomusicology, history, liturgical studies, popular music studies, religious studies, and theology, it examines and models methodologies and theoretical perspectives that are grounded in each of these disciplines. In addition, this volume presents several "key issues" to ground these interpretive frameworks in the context of congregational music studies. These include topics like diaspora, ethics, gender, and migration. This book is a new milestone in the study of music amongst congregations, detailing the very latest in best academic practice. As such, it will be of great use to scholars of religious studies, music, and theology, as well as anyone engaging in ethnomusicological studies more generally.