A giant of postwar music and the most powerful figure in the contemporary French music scene, Pierre Boulez is widely known to American and English audiences as both an important composer and as star conductor of the New York Philharmonic, the Cleveland Orchestra, the BBC Symphony Orchestra, and the Chicago Symphony Orchestra. These candid interviews give us vintage Boulez - his bold views, enigmatic wit, practical wisdom, and uncompromising beliefs. Here the eminent composer, who has been called both "a wild man of the avant-garde" and "the last true maestro" (New York Times), talks about being one of the world's most controversial conductors and daring programmers of musical taste. Boulez sometimes locks horns with French author Jean Vermeil, who confronts him with his past and prods him to discuss the future of music and orchestras. Boulez tells how and why he chose his battles and lays out his vision of the conductor's mission. He tells what he learned - and didn't learn - from other conductors, and how he feels about the composers who compromise his repertoire, including Webern, Berg, Schoenberg, Stravinsky, Messiaen (with whom he studied), and, of course, Boulez himself.

- Emphasizes the creative process, not only individual techniques, allowing students to better grasp the full process of composing a piece of music - Includes examples of perspectives on the creative process from wide variety of composers, helping students understand how composers think about their work - Flexible chapter structure allows instructors to adapt the text to their preferred order of teaching topics

- Emphasizes the creative process, not only individual techniques, allowing students to better grasp the full process of composing a piece of music - Includes examples of perspectives on the creative process from wide variety of composers, helping students understand how composers think about their work - Flexible chapter structure allows instructors to adapt the text to their preferred order of teaching topics

Igor Stravinsky left behind a complex heritage of music and ideas. There are many examples of discrepancies between his literate statements about music and musicians and his musical compositions and activity. Per Dahl presents a model of communication that unveils a clear and logical understanding of Stravinsky's heritage, based on the extant material available. From this, Dahl argues the case for Stravinsky's music and his ideas as separate entities, representing different modes of communication. As well as describing a triangular model of communication, based on a tilted and extended version of Ogden's triangle, Dahl presents an empirical investigation of Stravinsky's vocabulary of signs and expressions in his published scores - his communicative mode towards musicians. In addition to simple statistics, Dahl compares the notation practice in the composer's different stylistic epochs as well as his writing for different sizes of ensembles. Dahl also considers Stravinsky's performances and recordings as modes of communication to investigate whether the multi-layered model can soften the discrepancies between Stravinsky the literary and Stravinsky the musician.

* Describes the creative energy of two highly respected 20th century artists, Iannis Xenakis both as engineer and composer, and Roger Reynolds, Pulitzer prize winning musician in 1989 * Will appeal to the professional sector of musicians and architects, and students in both of these disciplines * Connects the creative path of architecture and music, i.e., Xenakis' treatment of "light" in an architectural context parallels his use of varying textural density in his music. * Analyzes chamber works Achorripsis, Thallein, and his string quartet, Tetras, which pertain to the interactive house design

* Describes the creative energy of two highly respected 20th century artists, Iannis Xenakis both as engineer and composer, and Roger Reynolds, Pulitzer prize winning musician in 1989 * Will appeal to the professional sector of musicians and architects, and students in both of these disciplines * Connects the creative path of architecture and music, i.e., Xenakis' treatment of "light" in an architectural context parallels his use of varying textural density in his music. * Analyzes chamber works Achorripsis, Thallein, and his string quartet, Tetras, which pertain to the interactive house design

From its beginnings during the Great Depression, the North Carolina Symphony has touched the lives of countless Tar Heels. One of the state's premier cultural organizations and the oldest continuously state-supported orchestra in the nation, the "Suitcase Symphony" grew from a small group of volunteer players to the world-class orchestra it is today. This book details the contributions of founder Lamar Stringfield, longtime conductor Benjamin Swalin and his wife, Maxine, current music director Grant Llewellyn, and other leaders of this iconic institution. The authors place the symphony's story for the first time in the context of North Carolina's cultural history and, in the process, reveal much about the musical traditions of the "Sahara of the Bozart" and about the trials and triumphs of maintaining a state symphony orchestra.

In this ground-breaking study, Paul Laird examines the process and effect of orchestration in West Side Story and Gypsy, two musicals that were among the most significant Broadway shows of the 1950s, and remain important in the modern repertory. Drawing on extensive archival research with original manuscripts, Laird provides a detailed account of the process of orchestration for these musicals, and their context in the history of Broadway orchestration. He argues that the orchestration plays a vital role in the characterization and plot development in each major musical number, opening a new avenue for analysis that deepens our understanding of the musical as an art form. The orchestration of the score in Broadway musicals deeply shapes their final soundscapes, but only recently has it begun to receive real attention. Linked by a shared orchestrator, in other ways West Side Story and Gypsy offer a study in contrasts. Breaking down how the two composers, Leonard Bernstein and Jules Styne, collaborated with orchestrators Sid Ramin, Irwin Kostal, and Robert Ginzler, Laird's study enables us to better understand both of these two iconic shows, and the importance of orchestration within musical theatre in general.

Opera in Performance elucidates the performative dimension of contemporary opera productions. What are the most striking and decisive moments in a performance? Why do we respond so strongly to stagings that transform familiar scenes, to performers' bodily presence, and to virtuosic voices as well as ill-disposed ones? Drawing on phenomenology and performance theory, Clemens Risi explains how these moments arise out of a dialogue between performers and the audience, representation and presence, the familiar and the new. He then applies these insights in critical descriptions of his own experiences of various singers, stagings, and performances at opera houses and festivals from across the German-speaking world over the last twenty years. As the first book to focus on what happens in performance as such, this study shifts our attention to moments that have eluded articulation and provides tools for describing our own experiences when we go to the opera. This book will particularly interest scholars and students in theater and performance studies, musicology, and the humanities, and may also appeal to operagoers and theater professionals.

The cross-genre approach of this volume attempts to build a dialogue and synergies between communities of artists. The proposed monograph would appeal to academic readerships and postgraduate students in music and/or sound studies in a broad sense, with particular appeal to specialists in contemporary art music and or as music technology.

Compositional Process in Elliott Carter's String Quartets is an interdisciplinary study examining the evolution and compositional process in Elliott Carter's five string quartets. Offering a systematic and logical way of unpacking concepts and processes in these quartets that would otherwise remain opaque, the book's narrative reveals new aspects of understanding these works and draws novel conclusions on their collective meaning and Carter's place as the leading American modernist. Each of Carter's five string quartets is driven by a new idea that Carter was exploring during a particular period, which allows for each quartet to be examined under a unique lens and a deeper understanding of his oeuvre at large. Drawing on key ideas from a variety of subjects including performance studies, philosophy, music cognition, musical meaning and semantics, literary criticism, and critical theory, this is an informative volume for scholars and researchers in the areas of music theory and musicology. Analyses are supplemented with sketch study, correspondence, text manuscripts, and other archival sources from the Paul Sacher Stiftung, the Library of Congress, and the New York Public Library.

Originally published in 2003, Charles Edward Horn's Memoirs of His Father and Himself is an annotated collection of the memoirs of Charles Edward Horn. They include an account of Horn's father, Charles Frederick Horn, who arrived penniless in London in 1782 and rose to become music master to Queen Charlotte. Today he is most remembered for his pioneering publications of J.S. Bach's music in England. Charles Edward Horn's memoir covers his activities in England and Ireland and provide numerous details of English musical life in the Georgian era not previously known to scholars. They are supplemented in this book by transcripts of four other autobiographical accounts of the Horns, a summary of their extant correspondence and a chronology of their activities.

In Chamber Orchestra and Ensemble Repertoire, Dirk Meyer provides conductors, musicians, and librarians with all the information needed to plan their performances of modern chamber music. Meyer lists almost 4,000 works written during the 20th and 21st centuries, representing more than 1,100 composers. Entries are divided into three categories: Chamber Orchestra, String Orchestra, and Ensemble. Presented alphabetically by composer, each entry fully describes the composition, including its duration, year of composition, availability, publisher, and complete instrumentation. The comprehensive appendix allows users to search for repertoire based on a variety of criteria, such as instrumentation, duration, solo instruments, and solo voices. As a catalog of modern music, the appendix also provides categories for 21st-century repertoire as well as compositions that use electronics.

Conductors John Yaffe and David Daniels have created a one-stop sourcebook for orchestras, opera companies, conductors, and librarians who research and/or prepare programs of vocal excerpts-such as solos, ensembles, and choruses-for concert performance. In this book, readers will find detailed information on a vast repertoire of vocal pieces commonly extracted from operas, operettas, musicals, and oratorios-more than 1,750 excerpts from 450 parent works. Modeled on Daniels' Orchestral Music, Arias, Ensembles, & Choruses includes basic historical details about each parent work as well as extract titles, subtitles, voice types, keys, durations, locations in the original work (with page numbers in both full scores and piano-vocal scores), and exact instrumentation. It also lists the publishers that make available the orchestral materials for just the excerpt being programmed, independent of the full parent work. Until now, conductors and orchestra librarians commonly had to first leaf through full scores, searching for one elusive three-minute aria after another, only to then consult multiple publishers' catalogues to compile crucial information on all the excerpts proposed for a concert or recording. This book constitutes a single source for finding that information. In many cases, the individual entries include valuable insider information on common performance practice, including start- and stop-points, transpositions, and conventional cuts. Searching for repertoire is made easy with the detailed title index and appendixes devoted to ensemble excerpts, all categorized by personnel (e.g., duets, trios, quartets, quintets, sextets, choruses) and language (Czech, English, French, German, Italian, Latin, Russian). This book is the ideal tool for the working conductor and orchestral librarian, as well as music program directors at colleges and conservatories, opera companies, and symphony orchestras. As of October 2015, a new printing of this book has occurred to correct errors in the index. A PDF version of the new index is available to previous purchasers of the volume. Please contact Rowman & Littlefield's music editor for assistance.

Vaughan Williams's 6th Symphony was composed immediately after the Second World War and its dramatic and at times violent musical language was long felt to be a comment on that conflict (though the composer denied it had any programmatic intent). Its power and invention were immediately recognized and it has remained part of the concert repertoire ever since. For this newly engraved edition, editor David Lloyd-Jones has consulted all extant sources and materials to create a score matching the composer's intentions. Fully compatible orchestral parts are available on hire.

Music-Dance explores the identity of choreomusical work, its complex authorship and its modes of reception as well as the cognitive processes involved in the reception of dance performance. Scholars of dance and music analyse the ways in which a musical score changes its prescriptive status when it becomes part of a choreographic project, the encounter between sound and motion on stage, and the intersection of listening and seeing. As well as being of interest to musicologists and choreologists considering issues such as notation, multimedia and the analysis of performance, this volume will appeal to scholars interested in applied research in the fields of cognition and neuroscience. The line-up of authors comprises representative figures of today's choreomusicology, dance historians, scholars of twentieth-century composition and specialists in cognitive science and performance studies. Among the topics covered are multimedia and the analysis of performance; the notational practice of choreographers and the parallel attempts of composers to find a graphic representation for musical gestures; and the experience of dance as a paradigm for a multimodal perception, which is investigated in terms of how the association of sound and movement triggers emotions and specific forms of cognition.

Digital technology is transforming the musical score as a broad array of innovative score systems have become available to musicians. From attempts to mimic the print score, to animated and graphical scores, to artificial intelligence-based options, digital scoring affects the musical process by opening up new possibilities for dynamic interaction between the performer and the music, changing how we understand the boundaries between composition, score, improvisation and performance. The Digital Score: Musicianship, Creativity and Innovation offers a guide into this new landscape, reflecting on what these changes mean for music-making from both theoretical and applied perspectives. Drawing on findings from over a decade's worth of practice-based experimentation in the field, author Craig Vear builds a framework for understanding how digital scores create meaning. He considers the interactions between affect, embodiment and digital scores, offering the first comprehensive and critical consideration of an exciting field with no agreed-upon borders. Featuring insights from interviews with over fifty musicians and composers from across four continents, this book is a valuable resource for music researchers and practitioners alike.

This book tells the intriguing story of Béla Bartók's viola concerto, a work left unfinished at his death in 1945. Drawing on interviews and documents that reveal previously unavailable information, it discuesses the commission, the reconstruction by Tibór Sérly, events leading up to the premiere, its reception over the second half of the twentieth century, the revisions, and future possibilities.

This innovative survey of large choral-orchestral works is a continuation of the author's previous study of twentieth century works with English texts. Green examines nearly one hundred works, from Rachmaninov's Vesna to Penderecki's Song of Songs. For each work, he provides a biography of the composer, complete instrumentation, text sources, editions, availability of performing materials, performance issues, discography, and bibliography of the composer and the work. Based upon direct score study, each work has been evaluated in terms of potential performance problems, rehearsal issues, and level of difficulty for both the choir and orchestra. When present, solo roles are described. The composers represented in this work include Bela Bartok, Leonard Bernstein, Ernest Bloch, Maurice Durufe, Hans Werner Henze, Paul Hindemith, Arthur Honegger, Leos Janacek, Gyorgy Ligeti, Gustav Mahler, Carl Orff, Krzysztof Penderecki, Francis Poulenc, Igor Stravinsky, Anton Webern, and Kurt Weill. Written as a field guide for conductors and others involved in programming concerts for choir and orchestra, this text will prove a useful source of new repertoire ideas and an invaluable aid to rehearsal preparation.

The symphony retained its primacy as the most prestigious large-scale orchestral form throughout the first half of the twentieth century, particularly in Britain, Russia and the United States. Likewise, Australian composers produced a steady stream of symphonies throughout the period from Federation (1901) through to the end of the 1950s. Stylistically, these works ranged from essays in late nineteenth-century romanticism, twentieth-century nationalism, neo-classicism and near-atonality. Australian symphonies were most prolific during the 1950s, with 36 local entries in the 1951 Commonwealth Jubilee Symphony competition. This extensive repertoire was overshadowed by the emergence of a new generation of composers and critics during the 1960s who tended to regard older Australian music as old-fashioned and derivative. The Australian Symphony from Federation to 1960 is the first study of this neglected genre and has four aims: firstly, to show the development of symphonic composition in Australia from Federation to 1960; secondly, to highlight the achievement of the main composers who wrote symphonies; thirdly, to advocate the restoration and revival of this repertory; and, lastly, to take a step towards a recasting of the narrative of Australian concert music from Federation to the present. In particular, symphonies by Marshall-Hall, Hart, Bainton, Hughes, Le Gallienne and Morgan emerge as works of particular note.

This work provides orchestra teachers with techniques for conducting, choosing repertoire, program development, recruiting, playing styles, and preparing for competitions. This is the latest in MENC's popular Spotlight series, comprising articles that have appeared in state MEA journals.

Among the major changes that swept through the music industry during the mid-nineteenth century, one that has received little attention is how musical performances were managed and directed. Yet this was arguably the most radical change of all: from a loose control shared between the violin-leader, musical director and maestro al cembalo to a system of tight and unified control under a professional conductor-manager. This process brought with it not only baton conducting in its modern form, but also higher standards of training and discipline, a new orchestral lay-out and a more focused rehearsal regime. The resulting rise in standards of performance was arguably the greatest achievement of English music in the otherwise rather barren mid-Victorian period. The key figure in this process was Michael Costa, who built for himself unprecedented contractual powers and used his awesome personal authority to impose reform on the three main institutions of mid-Victorian music: the opera houses, the Philharmonic and the Sacred Harmonic Society. He was a central figure in the battles between the two rival opera houses, between the Philharmonic and the New Philharmonic, and between the venerable Ancient Concerts and the mass festival events of the Sacred Harmonic Society. Costa's uniquely powerful position in the operatic, symphonic and choral world and the rapidity with which he was forgotten after his death provide a fascinating insight into the politics and changing aesthetics of the Victorian musical world.

First published in 2007. Routledge is an imprint of Taylor & Francis, an informa company.

The symphony retained its primacy as the most prestigious large-scale orchestral form throughout the first half of the twentieth century, particularly in Britain, Russia and the United States. Likewise, Australian composers produced a steady stream of symphonies throughout the period from Federation (1901) through to the end of the 1950s. Stylistically, these works ranged from essays in late nineteenth-century romanticism, twentieth-century nationalism, neo-classicism and near-atonality. Australian symphonies were most prolific during the 1950s, with 36 local entries in the 1951 Commonwealth Jubilee Symphony competition. This extensive repertoire was overshadowed by the emergence of a new generation of composers and critics during the 1960s who tended to regard older Australian music as old-fashioned and derivative. The Australian Symphony from Federation to 1960 is the first study of this neglected genre and has four aims: firstly, to show the development of symphonic composition in Australia from Federation to 1960; secondly, to highlight the achievement of the main composers who wrote symphonies; thirdly, to advocate the restoration and revival of this repertory; and, lastly, to take a step towards a recasting of the narrative of Australian concert music from Federation to the present. In particular, symphonies by Marshall-Hall, Hart, Bainton, Hughes, Le Gallienne and Morgan emerge as works of particular note.

Michael Roeder's A History of the Concerto traces the concerto from its origins in the sixteenth and seventeenth centuries to its incarnation in the present. Basic to the concerto idea is the division of the performance group into two parts - one solo and the other orchestral - but the relationships between these two have undergone fundamental changes over the centuries. In many of the more familiar works from the nineteenth century, the composer frequently juxtaposes a dazzling soloist against a more conservative orchestral voice, but this has not always been the case. The developing concerto form, while always maintaining the dramatic opposition of solo and orchestral forces, evolved many rich variations specific to time, place, and composer. Whether in Vivaldi's The Four Seasons, Beethoven's "Emperor", or Calandrelli's Concerto for Jazz Clarinet, the dual elements of cooperation and contention come into play. The changing role of the soloist; the development of instruments; the evolution of music's function in society; the influence of local, regional, and international culture; and the composer's individual story are all part of Roeder's documentation of concerto history. The book is divided into four sections corresponding to the major historical-stylistic periods of Western music and of concerto development - Baroque, Classical, Romantic, and Twentieth Century. Within these sections, attention is given to geographical regions where strikingly different approaches to concerto style are found. Roeder explores major works as well as the pieces of lesser-known composers whose contributions were important to the changing character of the concerto. A History of the Concerto may be readfrom cover to cover, but readers may also use the extensive index to focus on specific concertos and their composers. Numerous musical examples illuminate critical points. While some readers may want to study the more detailed analyses with scores in hand, this is not essential for an understanding of the text. Michael Roeder's lucid and detailed historical study of the concerto will inform and delight those interested in understanding this popular and dynamic musical form.