Olivier Messiaen: A Research and Information Guide, Second Edition presents researchers with the most significant and helpful resources on Olivier Messiaen, one of the twentieth century's greatest composers. With multiple indices, this annotated bibliography will serve as an excellent tool for librarians, researchers, and scholars sorting through the massive amount of material in the field. The second edition has been fully revised and updated.

October 1982: ABC, Culture Club, Shalamar and Survivor dominate the top twenty when the Pogues barrel out from the backstreets of King's Cross, a furious, pioneering mix of punk energy, traditional melodies and the powerfully poetic songwriting of Shane MacGowan. Reviled by traditionalists for their frequently fast, often riotous interpretations of Irish folk songs, the Pogues rose from the sweaty chaos of backroom gigs in Camden pubs to world tours with the likes of Elvis Costello, U2 and Bob Dylan, and had huge commercial success with everyone's favourite Christmas song, 'Fairytale of New York'. Yet, the exuberance of their live performances coupled with relentless touring spiralled into years of hard drinking and excess which eventually took their toll - most famously on Shane, but also on the rest of the band - causing them to part ways seven years later. Here, their story is told with beauty, lyricism and great candour by James Fearnley, founding member and accordion player. He brings to life the youthful friendships, the bust-ups, the amazing gigs, the terrible gigs, the fantastic highs and the dramatic lows in a hugely compelling, humorous, moving and honest account of life in one of our most treasured and original bands.

This is the first volume to explore the reception of the Pythagorean doctrine of cosmic harmony within a variety of contexts, ranging chronologically from Plato to 18th-century England. This original collection of essays engages with contemporary debates concerning the relationship between music, philosophy, and science, and challenges the view that Renaissance discussions on cosmic harmony are either mere repetitions of ancient music theory or pre-figurations of the 'Scientific Revolution'. Utilizing this interdisciplinary approach, Renaissance Conceptions of Cosmic Harmony offers a new perspective on the reception of an important classical theme in various cultural, sequential and geographical contexts, underlying the continuities and changes between Antiquity, the Middle Ages and the Renaissance. This project will be of particular interest within these emerging disciplines as they continue to explore the ideological significance of the various ways in which we appropriate the past.

This book examines the origin, content, and development of the musical thought of Heinrich Schenker and Arnold Schoenberg. One of the premises is that Schenker's and Schoenberg's inner musical lives are inseparable from their inner spiritual lives. Curiously, Schenker and Schoenberg start out in much the same musical-spiritual place, yet musically they split while spiritually they grow closer. The reception of Schenker's and Schoenberg's work has sidestepped this paradox of commonality and conflict, instead choosing to universalize and amplify their conflict. Bringing to light a trove of unpublished material, Arndt argues that Schenker's and Schoenberg's conflict is a reflection of tensions within their musical and spiritual ideas. They share a particular conception of the tone as an ideal sound realized in the spiritual eye of the genius. The tensions inherent in this largely psychological and material notion of the tone and this largely metaphysical notion of the genius shape both their musical divergence on the logical (technical) level in theory and composition, including their advocacy of the Ursatz versus twelvetone composition, and their spiritual convergence, including their embrace of Judaism. These findings shed new light on the musical and philosophical worlds of Schenker and Schoenberg and on the profound artistic and spiritual questions with which they grapple.

The adventures of Beethoven Bear and Mozart Mouse continue in this new series of solo/activity books written to correlate with the Music for Little Mozarts series. In Christmas Fun!, Book 2, Clara Schumann-Cat is having a Christmas party. Students will enjoy the Christmas story with its related pictures, piano solo (with optional teacher duets) and activity pages. Many will also want to color the illustrations found throughout the story. Use this book during the Christmas season after the student has studied page 38 in the Music Lesson Book 2.

The beautiful and tragic saga of the Louvin Brothers - one of the most legendary country duos of all time - is one of America's great untold stories. Charlie Louvin was a good, god-fearing, churchgoing singer, but his brother Ira had the devil in him and was known for smashing his mandolin to splinters onstage, cussing out Elvis Presley, and trying to strangle his third wife with a telephone cord. "Satan is Real" is the incredible tale of Charlie Louvin's sixty-five-year career, the timeless murder ballads of the Louvin Brothers, and the epic tale of two brothers bound together by love, hate, alcohol, blood, and music.

The tensions between utopian dreams and dystopian anxieties permeate science fiction as a genre, and nowhere is this tension more evident than in Star Trek. This book breaks new ground by exploring music and sound within the Star Trek franchise across decades and media, offering the first sustained look at the role of music in shaping this influential series. The chapters in this edited collection consider how the aural, visual, and narrative components of Star Trek combine as it constructs and deconstructs the utopian and dystopian, shedding new light on the series' political, cultural, and aesthetic impact. Considering how the music of Star Trek defines and interprets religion, ideology, artificial intelligence, and more, while also considering fan interactions with the show's audio, this book will be of interest to students and scholars of music, media studies, science fiction, and popular culture.

The MIDI Manual is a complete reference on MIDI, written by a well-respected sound engineer and author. This best-selling guide provides a clear explanation of what MIDI is, how to use electronic instruments and an explanation of sequencers and how to use them. You will learn how to set up an efficient MIDI system and how to get the best out of your music. The MIDI Manual is packed full of useful tips and practical examples on sequencing and mixing techniques. It also covers editors/librarians, working with a score, MIDI in mass media and multimedia and synchronisation. The MIDI spec is set out in detail along with the helpful guidelines on using the implementation chart. Illustrated throughout with helpful photos and screengrabs, this is the most readable and clear book on MIDI available.

Streaming Music examines how the Internet has become integrated in contemporary music use, by focusing on streaming as a practice and a technology for music consumption. The backdrop to this enquiry is the digitization of society and culture, where the music industry has undergone profound disruptions, and where music streaming has altered listening modes and meanings of music in everyday life. The objective of Streaming Music is to shed light on what these transformations mean for listeners, by looking at their adaptation in specific cultural contexts, but also by considering how online music platforms and streaming services guide music listeners in specific ways. Drawing on case studies from Moscow and Stockholm, and providing analysis of Spotify, VK and YouTube as popular but distinct sites for music, Streaming Music discusses, through a qualitative, cross-cultural, study, questions around music and value, music sharing, modes of engaging with music, and the way that contemporary music listening is increasingly part of mobile, automated and computational processes. Offering a nuanced perspective on these issues, it adds to research about music and digital media, shedding new light on music cultures as they appear today. As such, this volume will appeal to scholars of media, sociology and music with interests in digital technologies.

Correlates with Level B of Alfred's Basic Piano Prep Course.

Church pianists will rejoice in these additions to the DAVID CARR GLOVER CHRISTIAN PIANO LIBRARY. These exciting arrangements are uplifting in spirit, reflecting the original mood of each hymn. Richardson has carefully retained the meditative attitude of the gentle hymns, and has given great energy to the firm, triumphant hymns. Each arrangement is rich and full, with the melody enhanced but never obscured.

SHORTLISTED FOR THE IRISH BOOK AWARDS 2021 AND THE PENDERYN MUSIC BOOK PRIZE 2022 THE LANDMARK MEMOIR OF A GLOBAL MUSIC ICON Sinead O'Connor's voice and trademark shaved head made her famous by the age of twenty-one. Her recording of Prince's Nothing Compares 2 U made her a global icon. She outraged millions when she tore up a photograph of Pope John Paul II on American television. O'Connor was unapologetic and impossible to ignore, calling out hypocrisy wherever she saw it. She has remained that way for three decades. Now, in Rememberings, O'Connor tells her story - the heartache of growing up in a family falling apart; her early forays into the Dublin music scene; her adventures and misadventures in the world of sex, drugs and rock'n'roll; the fulfilment of being a mother; her ongoing spiritual quest - and through it all, her abiding passion for music. Rememberings is intimate, replete with candid anecdotes and full of hard-won insights. It is a unique and remarkable chronicle by a unique and remarkable artist. 'Inspiring, liberating, hilarious and fascinating' Irish Times 'Beautifully observed ... lyrical, funny and anguished' Guardian 'Her voice on the page is as fearless, riveting and unforgettable as her voice in song. The cadence alone is hypnotic, her story essential. Rememberings is a must-read' Michael Stipe 'So good, you'll want to read it twice' Sunday Independent 'A soul-bearing, brutally honest account of an extraordinary life' BBC Online 'Tremendous . . . fierce and funny' Sunday Times Books of the Year

Hymnody is widely recognised as a central tenet of Methodism's theological, doctrinal, spiritual, and liturgical identity. Theologically and doctrinally, the content of the hymns has traditionally been a primary vehicle for expressing Methodism's emphasis on salvation for all, social holiness, and personal commitment, while particular hymns and the communal act of participating in hymn singing have been key elements in the spiritual lives of Methodists. An important contribution to the history of Methodism, British Methodist Hymnody argues that the significance of hymnody in British Methodism is best understood as a combination of its official status, spiritual expression, popular appeal, and practical application. Seeking to consider what, when, how, and why Methodists sing, British Methodist Hymnody examines the history, perception, and practice of hymnody from Methodism's small-scale eighteenth-century origins to its place as a worldwide denomination today.

Alfred is pleased to present selections from the Academy Award-nominated film Corpse Bride.
With music written by Danny Elfman, this songbook provides lyrics, melody lines, and chord changes, with professionally arranged piano accompaniments for many of the songs in the film.
Titles: Victoras Piano Solo * Corpse Bride (Main Title) * Remains of the Day * According to Plan * Tears to Shed * The Piano Duet * The Wedding Song * Ball & Socket Lounge Music No. 1 (band version) * Ball & Socket Lounge Music No. 2 * Remains of the Day (combo lounge version a piano solo excerpt).

A method in how to play jazz and hot guitar.

In this newly revised book On Sonic Art, Trevor Wishart takes a wide-ranging look at the new developments in music-making and musical aesthetics made possible by the advent of the computer and digital information processing. His emphasis is on musical rather than technical matters. Beginning with a critical analysis of the assumptions underlying the Western musical tradition and the traditional acoustic theories of Pythagoras and Helmholtz, he goes on to look in detail at such topics as the musical organization of complex sound-objects, using and manipulating representational sounds and the various dimensions of human and non-human utterance. In so doing, he seeks to learn lessons from areas (poetry and sound-poetry, film, sound effects and animal communication) not traditionally associated with the field of music.
About the Author
Trevor Wishart is a composer, living and working in the North of England. His musical works cover a wide range, from environmental music events staged in spe

38 really easy arrangements of the best-loved familiar tunes you will recognize from recordings, radio, and TV. The witty cartoons will bring a smile to the lips of even the most jaded piano pupil.

The Beatles Finally Let It Be includes the January 1969 rehearsals and recording sessions; the unreleased "Get Back" albums; "Let It Be" and "Let It Be...Naked;" along with American; British and Canadian perspectives. This volume also includes a detailed breakdown of every song released from those sessions as well as firsthand stories from lucky fans who were there for the Beatles final public performance on the roof of Apple Studios; January 30, 1969.

After Robert Armin joined the Chamberlain's Men, singing in Shakespeare's dramas catapulted from 1.25 songs and 9.95 lines of singing per play to 3.44 songs and 29.75 lines of singing, a virtually unnoticed phenomenon. In addition, many of the songs became seemingly improvisatory-similar to Armin's personal style as an author and solo comedian. In order to study Armin's collaborative impact, this interdisciplinary book investigates the songs that have Renaissance music that could have been heard on Shakespeare's stage. They occur in some of Shakespeare's most famous plays, including Much Ado About Nothing, Twelfth Night, Hamlet, and The Tempest. In fact, Shakespeare's plays, as we have them, are not complete. They are missing the music that could have accompanied the plays' songs. Significantly, Renaissance vocal music, far beyond just providing entertainment, was believed to alter the bodies and souls of both performers and auditors to agree with its characteristics, directly inciting passions from love to melancholy. By collaborating with early modern music editor and performing artist Lawrence Lipnik, Catherine Henze is able to provide new performance editions of seventeen songs, including spoken interruptions and cuts and rearrangement of the music to accommodate the dramatist's words. Next, Henze analyzes the complete songs, words and music, according to Renaissance literary and music primary sources, and applies the new information to interpretations of characters and scenes, frequently challenging commonly held literary assessments. The book is organized according to Armin's involvement with the plays, before, during, and after the comic actor joined Shakespeare's company. It offers readers the tools to interpret not only these songs, but also vocal music in dramas by other Renaissance playwrights. Moreover, Robert Armin and Shakespeare's Performed Songs, written with non-specialized terminology, provides a gateway to new areas of research and interpretation in an increasingly significant interdisciplinary field for all interested in Shakespeare and early modern drama.

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.

Get inside the head of one of the most influential musicians of our time, a pop music phenomenon turned titan of industry and cultural icon: Taylor Swift. This collection of quotes has been carefully curated from Swift's numerous public statements-interviews, op-eds, social media posts, and more. It's a comprehensive picture of her meteoric rise to the top, her ever-savvy business sense, and her increasingly vocalized perspective on the music world and beyond. Swift's catchy, chart-topping songs have propelled her to become one of the bestselling musicians of all time. But in the 15 years she's been making music, she has also amassed enough power to buck the norms of an industry notorious for controlling the images of its often very young female artists. Her latest, unprecedented record deal gives her ownership of all her master records, the ability to dictate the terms of her albums' streaming releases in order to maximize her profits, and a requirement that her label share proceeds from sale of its stake in Spotify with its musicians. She has championed the rights of artists to earn fair royalties, and more recently, she has inspired tens of thousands of fans to register to vote. Swift's achievements have earned her spots on both Forbes's Most Powerful Women and Time's 100 Most Influential People lists. Now, for the first time, you can find her most inspirational, thought-provoking quotes in one place.