Following Roy Newsome's highly acclaimed study Brass Roots: One Hundred Years of Brass Bands and their Music, this book takes up the story of bands and their development from the 1930s to the start of the new millennium. Brass band contests continued to play a significant role in the twentieth century, and this new book contains a detailed consideration of both local and regional contests and larger-scale national events such as the British Open and the National Brass Band Championships. As in previous times, the repertoire of bands has been greatly influenced by these contests. Newsome explores competition works, but also the development of an increasing number of concerto-style works intended for concert performance. One of the keys to the continuing popularity and success of the banding movement has been the creation of school and youth brass bands. Sections of the book devoted to younger generations of band players examine the changes that have taken place in such bands. There is also an investigation of the impact of radio, television and commercial recording on the brass band industry. The book also contains a wealth of information about leading bands and band personalities, and concludes with an overview of the spread of interest in British-style banding overseas.

The Musical Matrix Reloaded proposes a striking new scenario for the music of Beethoven and Schubert in the contemporary world. It draws on the theory of Multiple Worlds in physics, and on sci-fi and movies, as powerful contemporary models of alternative realities to explain radical features of interpolation, dislocation, and ultimately of return. Confronting familiar assumptions about Beethoven's and Schubert's music as long-range consonance, the book proposes instead that musical action is predicated on an underlying disruptive energy, Nietzsche's Dionysian disruptive background re-interpreted in the contemporary world. When it breaks through the musical surface, it dislocates continuity and re-routes tonal narrative into new, unforeseen directions. These unforeseen paths enable us to glimpse in Beethoven's and Schubert's music the beautiful, and often haunting, reality of another world.

Who is the Bill Bailey whose exploits were chronicled in song? How many popular songs have titles containing the words "moon," "heart," or "baby"? Where is the road to Mandalay? How many female names can you think of that have been mentioned in song titles? Discover this fascinating information and more about some of America's most known and loved popular songs in this delightful sampler. The Popular Song Reader contains over 200 short essays on the backgrounds of a wide variety of twentieth-century American popular songs. The witty and knowledgeable essays touch upon several hundred traditional-style pop songs as well as early rock compositions. The essays are filled with anecdotes, humor, irony, and even poetry that reflect the author's offbeat and somewhat irreverent manner, while also presenting a broad spectrum of American popular songs in their historical and cultural contexts. In addition to information about each song and its composer, the author also discusses how the song reflected society at the time and also how the song itself has influenced popular culture. Pop music fans will find this a highly entertaining and readable guide to the best American popular music of the twentieth century. Divided into five sections, the book covers popular songs from the Tin Pan Alley era (By the Light of the Silvery Moon, California, Here I Come, Let Me Call You Sweetheart, She'll Be Comin'Round the Mountain, and When Irish Eyes are Smiling), the swing/big band era (Don't Get Around Much Anymore, Heart and Soul, In the Mood, Stardust, and Stormy Weather), and the rock era (Chances Are, Good Vibrations, Love Me Tender, Misty, Rock Around the Clock, Stop In the Name of Love, and The Twist). The Popular Song Reader provides new insights on all-time favorites from Broadway musicals, movies, and television including Ain't Misbehavin', Give My Regards to Broadway, My Funny Valentine, Aquarius, Cabaret, Luck Be a Lady, Mack the Knife, Don't Fence Me In, Over the Rainbow, Singin'in the Rain, and the theme songs from Star Wars, All in the Family, Cheers, and M*A*S*H.

Merengue-the quintessential Dominican dance music-has a long and complex history, both on the island and in the large immigrant community in New York City. In this ambitious work, Paul Austerlitz unravels the African and Iberian roots of merengue and traces its growth under dictator Rafael Trujillo and its renewed popularity as an international music. Using extensive interviews as well as written commentaries, Austerlitz examines the historical and contemporary contexts in which merengue is performed and danced, its symbolic significance, its social functions, and its musical and choreographic structures. He tells the tale of merengue's political functions, and of its class and racial significance. He not only explores the various ethnic origins of this Ibero-African art form, but points out how some Dominicans have tried to deny its African roots. In today's global society, mass culture often marks ethnic identity. Found throughout Dominican society, both at home and abroad, merengue is the prime marker of Dominican identity. By telling the story of this dance music, the author captures the meaning of mass and folk expression in contemporary ethnicity as well as the relationship between regional, national, and migrant culture and between rural/regional and urban/mass culture. Austerlitz also traces the impact of migration and global culture on the native music, itself already a vibrant intermixture of home-grown merengue forms. From rural folk idiom to transnational mass music, merengue has had a long and colorful career. Its well-deserved popularity will make this book a must read for anyone interested in contemporary music; its complex history will make the book equally indispensable to anyone interested in cultural studies.

A unique record of Poulenc (1899-1963) who is considered the greatest composer of melodies of his period, a period that opened with the aftermath of the First World War and closed as recently as 1960. He set to music poetry by all the greatest French twentieth century poets as well as others from earlier times. He wrote this diary of songs as an answer to what he felt were the frequent misinterpretations of his work. It describes the origins of each song, comments on performances he heard and offers guidelines for interpretation. The diary is filled out with explanatory notes, a collection of unfamiliar photographs and the English translation to the text written opposite the French original. It will appeal to singers who include French song in his or her repertoire and also to those who have an interest in music of this period. The translator, Winifred Radford is also the singer who gave the first performance in England of Poulenc's song cycle Fiancailles pour rire in 1945. She was coached by Poulenc and Pierre Bernac with whom she later translated The Interpretation of French Song and Francis Poulenc - The Man and his Songs.

This book focuses on the relationship between identity and music in Europe from different angles. It takes two basic categories into account: identities in music and music in identities. The authors provide studies on identity construction in different historical and geographical contexts. They also evaluate the discourse of popular music in Europe and analyze various topics related to complex and changing concepts of identity, whether it is about an individual composer, issues of style or musical work itself.

Within is a masterful assembly of the most personal details and gorgeous minutiae of Frank Sinatra's way of living--matters of the heart and heartbreak, friendship and leadership, drinking and cavorting, brawling and wooing, tuxedos and snap-brims--all crafted from rare interviews with Sinatra himself as well as many other intimates, including Tony Bennett, Don Rickles, Angie Dickinson, Tony Curtis, and Robert Wagner, in addition to daughters Nancy and Tina Sinatra. Illustrated with scores of photos, The Way You Wear Your Hat captures the timeless romance and classic style of the fifties and the loose sixties and is a stunning exploration of the Sinatra mystique.

This project fills a void in medieval musical scholarship in the West by addressing an area that is virtually terra incognita. Based on newly-accessed primary source material and grounded in the most current scholarship, the English-language monograph-length study, Music and Ritual in Medieval Slavia Orthodoxa: The Exaltation of the Holy Cross investigates the sacred music traditions of the Orthodox Slavs (Bulgaria, Serbia and Russia) during a critical period in the cultural history of the region. The approach taken is interdisciplinary, drawing on recent scholarship in liturgical studies, Byzantine and medieval Slavic history, linguistics and musicology. The study traces the dissemination of liturgical and musical performance practices through the disparate centers of the Eastern Christian world (from Southern Italy, Balkan Peninsula to Kiev and Novgorod). It takes into account the physical locus of the chanting practices, whether urban cathedral or monastery. The medieval Slavs are treated as an autonomous cultural body within the Commonwealth of the Eastern Church. Set against the shifting liturgical backdrop of the 13th century with its pending liturgical reform, the study addresses aspects of chant performance practice in the Slavic-speaking world. Select hymnography for the celebration are sought in the rubrics of liturgical sources describing its placement in the services, singing personnel, the style of the hymnody and the manner of its musical execution (antiphonal, responsorial). The Feasts of the Holy Cross, observed during the week of September 14, the Third Sunday of the Lenten Fast and Holy Week (Holy Tuesday and Good Friday), serve as case studies for which there is an abundance of unexplored material to be brought to light. The current study presents this material to the Western audience for the first time.

The Amadeus Quartet, which was active from 1948 until 1987 when its viola player Peter Schidlof died, is probably the most famous and distinguished string quartet of the 20th century. It played to a wide variety of audiences on innumerable occasions in all the major countries of the world, and produced a galaxy of recordings, many of which are still available. The intensity of its music-making was breathtaking. Muriel Nissel, the author of Married to the Amadeus, is the wife of Siegmund Nissel, the second violinist. Her book tells the extraordinary and moving story of the Quartet, with its many triumphs and its periodic setbacks and traumas, from the inside for the forty years from its inception during the time after the Second World War up to the 1980s. She reveals how it moulded the lives of the four players and their wives and families in unexpected ways, and how they all became inextricably involved in this unique joint enterprise. The fashion in which work and family life interacted was crucial to the Quartet's survival.She returned to her professional life as a statistician when the children went to school and describes how difficult it was in the 1960s for a married woman with children to achieve equal status with men at work; and she tells of the problems she also had to face at home finding satisfactory ways of caring for her family. Remarkably, the four members of the Quartet remained unchanged throughout. They each of them had exceptional qualities. Norbert Brainin, the first violin, Siegmund Nissel and Peter Schidlof, all refugees from Vienna, had first met in internment camps in Britain in 1940. Martin Lovett, the cellist, joined them not long after the war, at a moment when the musical climate was sympathetic to chamber music and the record industry was booming. They never looked back. Nobody who has read Muriel Nissel's absorbing book will ever be able to listen to a string quartet again without being aware of the immense commitment such a group demands of the players and of their families too, and of the longstanding emotional, aesthetic and organizational complexities it entails.

In Inside Studio 54, the former owner takes you behind the scenes of the most famous nightclub in the world, through the crowd, to a place where celebrities, friends, and the beautiful people sip champagne and share lines of cocaine using rolled-up hundred-dollar bills. In the early eighties, Mark Fleischman reopened Studio 54, the world's most glamorous and notorious nightclub, after it was closed down by the State of New York. Ten thousand people showed up that night, ready to restart the party that abruptly ended after the raid in 1978 landed its former owners in jail. Inside Studio 54 invites you to revisit the happening scenes of the 1960s, '70s, and '80s, the post-Pill, pre-AIDS era of free love, consequence-free sex, and seemingly endless partying. Following Fleischman as he built connections as a hotel, restaurant, and club owner that lead him to Studio 54. Inside Studio 54 takes the reader from Brazil to the heights of debauchery in the Virgin Islands and finally to New York City. A star-studded thrill ride through decadent and drug-fueled parties at the legendary Studio 54.

On December 15, 1944, Maj. Alton Glenn Miller, commanding officer of the Army Air Force Band (Special), boarded a plane in England bound for France with Lt. Col. Norman Francis Baessell. Somewhere over the English Channel the plane vanished. No trace of the aircraft or its occupants has ever been found. To this day Miller, Baessell, and the pilot, John Robert Stuart Morgan, are classified as missing in action. Weaving together cultural and military history, Glenn Miller Declassified tells the story of the musical legend Miller and his military career as commanding officer of the Army Air Force Band during World War II. After a brief assignment to the Army Specialist Corps, Miller was assigned to the Army Air Forces Training Command and soon thereafter to Supreme Headquarters, Allied Expeditionary Force, in the UK. Later that year Miller and his band were to be transferred to Paris to expand the Allied Expeditionary Forces Programme, but Miller never made it. Miller's disappearance resulted in numerous conspiracy theories, especially since much of the information surrounding his military service had been classified, restricted, or, in some cases, lost. Dennis M. Spragg has gained unprecedented access to the Miller family archives as well as military and government documents to lay such theories to rest and to demonstrate the lasting legacy and importance of Miller's life, career, and service to his country.

Der Band vereint vierzehn Beitrage zu Theorie und Praxis im zeitgenoessischen (Musik-)Theater fur Kinder und Jugendliche. Neben WissenschaftlerInnen kommen ExpertInnen aus der Theaterpraxis wie Oper- und TheaterpadagogInnen, SchauspielerInnen und TheaterverlegerInnen zu Wort. Die Beitrage geben Einblick in Produktions- und Vermittlungsprozesse an Theaterhausern wie der Oper Frankfurt, dem Staatstheater Mainz sowie in Kulturprojekten an Schulen und im oeffentlichen Raum. Die Abhandlungen diskutieren kulturelle Teilhabe und Partizipation, Formen kultureller und asthetischer Bildung sowie aktuelle Inszenierungen. Mit Blick auf die Corona-Krise stellt das Buch auch Moeglichkeiten des digitalen Theaters fur Kinder und Jugendliche vor.

Diese Festschrift ist dem Musikwissenschaftler Jurgen Maehder anlasslich seines 70. Geburtstags gewidmet und versammelt Beitrage internationaler Wissenschaftlerinnen und Wissenschaftler. Mit fokussiert der Band Forschungsfelder des Jubilars, die seine wissenschaftliche Vita nicht nur begleitet haben, sondern von ihm auch wesentlich gepragt worden sind. Sein Blick auf das Phanomen Musiktheater hat viele in ihrem akademischen Leben nachhaltig beeinflusst: seine Doktorandinnen und Doktoranden ebenso wie langjahrige Weggefahrten in den unterschiedlichen Communitys der Opernforschung. Ein Grossteil dieser Kolleginnen und Kollegen ist in der vorliegenden Festgabe vertreten.

Gustav Mahler war ein ungemein energischer Kunstler. Sein berufliches Leben verbrachte er meistens intensiv probend und dirigierend. Seine recht abenteuerliche "aussere" Biographie liest sich wie ein Roman. Daneben existiert eine nicht weniger vielschichtige "innere" Biographie. Diese ist gepragt von literarischer Bildung, Religiositat und Weltanschauung im weitesten Sinne, aber auch Fragen der AEsthetik, die hier unter dem Begriff der Spiritualitat vereint sind. Sie bildet den geistigen Hintergrund fur seine Kompositionen. Der Band prasentiert die Ergebnisse einer Tagung in Hamburg zu dieser Thematik. Daneben enthalt er Beitrage uber Mahlers Beziehungen zu zwei Zeitgenossen: dem nahezu gleichaltrigen Edward Elgar und dem mehr als eine Generation jungeren Erich Wolfgang Korngold.

Am 15. September 1680 fand die feierliche Translation der Reliquien der Katakombenheiligen Sergius, Bacchus, Hyacinthus und Erasmus im Kloster St. Gallen statt. Als Director musicae bekam der Stiftsorganist Pater Valentin Muller (Molitor) die Aufgabe, die Musik fur die Feier zu verfassen. 1681 wurde ein Teil des dafur komponierten Repertoires unter dem Titel Missa una cum tribus Mottetis in Solemni Translatione SS. MM. Sergii, Bacchi, Hyacinthi et Erasmi ab octo vocibus concertantibus, et 7. Instrumentis, sed tantium quatuor necessariis in Monasterio S. Galli decantata herausgegeben. Der im Kloster St. Gallen produzierte Musikdruck enthalt ein vollstandiges Ordinarium missae (Kyrie, Gloria, Credo, Sanctus und Agnus Dei) sowie drei Motetten. Grandios ist die aufwendige Besetzung mit zwei vierstimmigen Choeren sowie einem reichen, dem Festcharakter angemessenen Instrumentarium. Die Musik stellt damit ein wertvolles Zeugnis des benediktinischen Musikrepertoires dar, wie es im Kloster St. Gallen in der zweiten Halfte des 17. Jahrhunderts gepflegt wurde. Der vorliegende Band enthalt die vollstandige kritische Ausgabe der 1681 erschienenen Werke von Pater Valentin Muller (Molitor) sowie eine historische Einleitung.

Following Roy Newsome's highly acclaimed study Brass Roots: One Hundred Years of Brass Bands and their Music, this book takes up the story of bands and their development from the 1930s to the start of the new millennium. Brass band contests continued to play a significant role in the twentieth century, and this new book contains a detailed consideration of both local and regional contests and larger-scale national events such as the British Open and the National Brass Band Championships. As in previous times, the repertoire of bands has been greatly influenced by these contests. Newsome explores competition works, but also the development of an increasing number of concerto-style works intended for concert performance. One of the keys to the continuing popularity and success of the banding movement has been the creation of school and youth brass bands. Sections of the book devoted to younger generations of band players examine the changes that have taken place in such bands. There is also an investigation of the impact of radio, television and commercial recording on the brass band industry. The book also contains a wealth of information about leading bands and band personalities, and concludes with an overview of the spread of interest in British-style banding overseas.

Komponieren - im Sinne eines Entwerfens und Entwickelns von Musik als Schreibvorgang und gedanklicher Prozess - ist direkt verbunden mit einem jeweils spezifischen neuzeitlichen Kunstlerbild und Kunstbegriff. Dieser Band hat zum Ziel, die musikalische Skizzenforschung aus der unmittelbaren Verbindung zur philologischen Erschliessung von Werkgenesen zu loesen und in den groesseren Kontext einer Schreib- und Kreativitatsforschung zu stellen. Bezogen auf die drei Schwerpunkte Schriftbildlichkeit, Rekonstruktion des musikalischen Denkens und interdisziplinarer Methodendiskurs werden neue Ansatze fur die Musik des langen 19. Jahrhunderts diskutiert. UEbergeordnet soll der Band dazu beitragen, das Studium der Skizzen als eine als Problemgeschichte des Komponierens zu definierenden Kulturgeschichte musikalischen Schaffens formulieren zu koennen.