The latest volume in the Music Library Association's Index and Bibliography series, Analyses of Nineteenth- and Twentieth-Century Music, 1940-2000, features over 9,000 references to analyses of works by more than 1,000 composers of the nineteenth and twentieth centuries. References that address form, harmony, melody, rhythm, and other structural elements of musical compositions have been compiled into this valuable resource. This update of Arthur Wenk's well-known bibliography, last published in 1987, includes all the original entries from that work, along with additional references to analyses through 2000. International in scope, the bibliography covers writings in English, French, German, Italian, and other European languages, and draws from 167 periodicals as well as important theses, dissertations, books, and Festschriften. References are arranged alphabetically by composer, and include subheadings for specific works and genres. This bibliography provides students, scholars, performers, and librarians with broad coverage, detailed indexing, and ready access to a large and diverse body of analytical literature on nineteenth- and twentieth-century music.

This book presents a collection of essays on the debates about origins, authenticity, and identity in folk and blues music. The essays had their origins in an international conference on the Transatlantic routes of American roots music, out of which emerged common themes and questions of origins and authenticity in folk music, black and white, American and British. The central theme is musical influences, but issues of identity--national, local, and racial--are also recurring subjects. The extent to which these identities were invented, imagined, or constructed by the performers, or by those who recorded their work for posterity, is also a prominent concern and questions of racial identity are particularly central. The book features a new essay on the blues by Paul Oliver alongside an essay on Oliver's seminal blues scholarship. There are also several essays on British blues and the links between performers and styles in the United States and Britain and new essays on critical figures such as Alan Lomax and Woody Guthrie.

This volume uniquely offers perspectives from both sides of the Atlantic on the connections and interplay of influences in roots music and the debates about these subjects drawing on the work of eminent established scholars and emerging young academics who are already making a contribution to the field. Throughout, the contributors offer the most recent scholarship available on key issues.

From Footlights to "The Flickers" is the long awaited fourth book in the collectible sheet music series by Marion Short. Two of the most popular collecting categories are covered in this colorful book-the music of the Broadway stage, and silent screen movie music. Over 560 full color photographs of sheet music covers from musical shows and silent movies accompany the informative text. The movie songs are arranged alphabetically by cover personality, and the section becomes a compendium of all the major silent screen stars from the earliest days of the "flickers" to the sound revolution in 1929. From Footlights to "The Flickers" follows the success of Mrs. Short's other books about sheet music, The Gold in Your Piano Bench (tearjerkers, black songs, rags, and blues), More Gold in Your Piano Bench (inventions, wars, and disasters), and Covers of Gold (sports, fashion, illustration, and the dance).

Song & Social Change in Latin America offers seven essays from a diverse group of scholars on the topic of music as a reflection of the many social-political upheavals throughout Latin America from the 20th century to the present. Topics covered include: the Tropicalia movement in Brazil, the Nueva Cancion in Central America, Rock in Mexico, Argentina, Chile and Peru, the Vallenato in Colombia, Trova in Cuba, and urban music of Puerto Rico in the mid-20th century. The collection also includes five interviews from prominent and up-and-coming musicians -Ruben Blades, Roy Brown, Habana Abierta, Ana Tijoux, and Mare- representing a variety of musical genres and political issues in Central America, the Caribbean, South America, and Mexico.

This book explores the alliance of theology and music in the Christian liturgical tradition, interrogating the challenges posed by the gendered nature of church leadership in many areas of its life. It examines the relationship between theology, spirituality and music, concentrating on women's perceptions of these. The title draws on the Report of the Archbishop's Commission on Church Music from 1992 which was entitled In Tune with Heaven. It questions the absence of women's voices and experiences from the literature and attempts to redress this. It sets out the values that underpin Christian musical liturgical traditions primarily in Europe and the USA with a view to understanding where women are situated within or outside these traditions. It draws on material from many interviews with contemporary practitioners from a variety of contexts. It does not set out to be a definitive history of women in these traditions but simply to give some small vignettes that illustrate a variety of positions that they have occupied in various denominations - and thus make their often hidden contributions more visible.

This volume examines the global influence and impact of DIY cultural practice as this informs the production, performance and consumption of underground music in different parts of the world. The book brings together a series of original studies of DIY musical activities in Europe, North and South America, Asia and Oceania. The chapters combine insights from established academic writers with the work of younger scholars, some of whom are directly engaged in contemporary underground music scenes. The book begins by revisiting and re-evaluating key themes and issues that have been used in studying the cultural meaning of alternative and underground music scenes, notably aspects of space, place and identity and the political economy of DIY cultural practice. The book then explores how the DIY cultural practices that characterize alternative and underground music scenes have been impacted and influenced by technological change, notably the emergence of digital media. Finally, in acknowledging the over 40-year history of DIY cultural practice in punk and post-punk contexts, the book considers how DIY cultures have become embedded in cultural memory and the emotional geographies of place. Through combining high-quality data and fresh conceptual insights in the context of an international body of work spanning the disciplines of popular-music studies, cultural and media studies, and sociology the book offers a series of innovative new directions in the study of DIY cultures and underground/alternative music scenes. This volume will be of particular interest to undergraduate students in the above-mentioned fields of study, as well as an invaluable resource for established academics and researchers working in these and related fields.

John Wallis (1616-1703), was one of the foremost British mathematicians of the seventeenth century, and is also remembered for his important writings on grammar and logic. An interest in music theory led him to produce translations into Latin of three ancient Greek texts - those of Ptolemy, Porphyry and Bryennius - and involved him in discussions with Henry Oldenburg, the Secretary of the Royal Society, Thomas Salmon and other individuals as his ideas developed. The texts presented in this volume cover the relationship of ancient and modern tuning theory, the building of organs, the phenomena of resonance, and other musical topics.

More than eighty years have passed since Edgard Varese's catalytic work for percussion ensemble, Ionisation, was heard in its New York premiere. A flurry of pieces for this new medium dawned soon after, challenging the established truths and preferences of the European musical tradition while setting the stage for percussion to become one of the most significant musical advances of the twentieth century. This 'revolution', as John Cage termed it, was a quintessentially modernist movement - an exploration of previously undiscovered sounds, forms, textures, and styles. However, as percussion music has progressed and become woven into the fabric of Western musical culture, several divergent paths, comprised of various traditions and a multiplicity of aesthetic sensibilities, have since emerged for the percussionist to pursue. This edited collection highlights the progressive developments that continue to investigate uncharted musical grounds. Using historical studies, philosophical insights, analyses of performance practice, and anecdotal reflections authored by some of today's most engaged performers, composers, and scholars, this book aims to illuminate the unique destinations found in the artistic journey of the modern percussionist.

This volume brings together analyses of works by thirteen Russian composers from across the twentieth century, showing how their approaches to tonality, modernism, and serialism forge forward-looking paths independent from their Western counterparts. Russian music of this era is widely performed, and much research has situated this repertoire in its historical and social context, yet few analytical studies have explored the technical aspects of these composers' styles. With a set of representative analyses by leading scholars in music theory and analysis, this book for the first time identifies large-scale compositional trends in Russian music since 1900. The chapters progress by compositional style through the century, and each addresses a single work by a different composer, covering pieces by Rachmaninoff, Myaskovsky, Prokofiev, Shostakovich, Mansurian, Roslavets, Mosolov, Lourie, Tcherepnin, Ustvolskaya, Denisov, Gubaidulina, and Schnittke. Musicians, scholars, and students will find here a starting point for research and analysis of these composers' works and gain a richer understanding of how to listen to and interpret their music.

This volume brings together analyses of works by thirteen Russian composers from across the twentieth century, showing how their approaches to tonality, modernism, and serialism forge forward-looking paths independent from their Western counterparts. Russian music of this era is widely performed, and much research has situated this repertoire in its historical and social context, yet few analytical studies have explored the technical aspects of these composers' styles. With a set of representative analyses by leading scholars in music theory and analysis, this book for the first time identifies large-scale compositional trends in Russian music since 1900. The chapters progress by compositional style through the century, and each addresses a single work by a different composer, covering pieces by Rachmaninoff, Myaskovsky, Prokofiev, Shostakovich, Mansurian, Roslavets, Mosolov, Lourie, Tcherepnin, Ustvolskaya, Denisov, Gubaidulina, and Schnittke. Musicians, scholars, and students will find here a starting point for research and analysis of these composers' works and gain a richer understanding of how to listen to and interpret their music.

Music After Deleuze explores how Deleuzian concepts offer interesting ways of thinking about a wide range of musics. The concepts of difference, identity and repetition offer novel approaches to Western art music from Beethoven to Boulez and Bernhard Lang as well as jazz improvisation, popular and sacred music. The concepts of the 'rhizome', the 'assemblage' and the 'refrain' enable us to think of the specificity of musical works as the meeting of productive forces, for example in the contemporary opera of Dusapin and the experimental music theatre of Aperghis. The concepts of smooth and striated space form the starting point for musical and political reflections on pitch in Western and Eastern music. Deleuze's notion of time as multiple illumines the distinctive conceptions of musical time found in Debussy, Messiaen, Boulez, Carter and Grisey. Finally, the innovative semiotic theory forged in Deleuze-Guattarian philosophy offers valuable insights for a semiotics capable of engaging with the innovative, molecular music of Lachenmann, Aperghis and Levinas.

Finding Fogerty: Interdisciplinary Readings of John Fogerty and Creedence Clearwater Revival, edited by Thomas M. Kitts, begins to correct the scholarly neglect of John Fogerty, one of America's great songwriters, one of the rock era's great vocalists, and one of its underrated guitarists and producers. This essential collection pulls together scholars from a wide range of disciplines and approaches to assess Fogerty's fifty-year career and to argue for his musical and cultural significance. The composer of American classics like "Proud Mary," "Fortunate Son," "Green River," "Who'll Stop the Rain," and "Centerfield," Fogerty first achieved commercial success with the release of Creedence Clearwater Revival in 1968. As the band's songwriter, lead singer, lead guitarist, and producer, Fogerty led CCR in a blistering output of 10 top-ten singles and seven gold albums before disbanding CCR in 1972. Divided into four sections ("Born on the Bayou," "Run Through the Jungle," "Centerfield, "and "Keep on Chooglin'"), Finding Fogerty investigates Fogerty's songs, life, and legacy, and stands as a tribute to one of America's most treasured musical legends.

Ulster's marching bands form perhaps the most vibrant participatory folk music tradition in contemporary Europe, and are one of the most significant and visible elements of working-class loyalist culture in the divided society of Northern Ireland. Their significance springs largely from the central place they have assumed in the lives of their members. This book presents an ethnography of three County Antrim flute bands from the very different genres of 'part-music', 'melody' and 'blood and thunder'. The author explores the emotional rewards of communal music-making and the way that identities are formed through the acquisition of tastes, competences and skills within specific communal contexts, paying particular attention to the impact of class position. These issues are examined in the context of the competitions, concerts and street parades that are central to the social lives of thousands of band members and supporters in Northern Ireland.

In recent decades, the relationship between music, emotions, health and well-being has become a hot topic. Scientific research and new neuro-imaging technologies have provided extraordinary new insights into how music affects our brains and bodies, and researchers in fields ranging from psychology and music therapy to history and sociology have turned their attention to the question of how music relates to mind, body, feelings and health, generating a wealth of insights as well as new challenges. Yet this work is often divided by discipline and methodology, resulting in parallel, yet separate discourses. In this context, The Routledge Companion to Music, Mind and Well-being seeks to foster truly interdisciplinary approaches to key questions about the nature of musical experience and to demonstrate the importance of the conceptual and ideological frameworks underlying research in this field. Incorporating perspectives from musicology, history, psychology, neuroscience, music education, philosophy, sociology, linguistics and music therapy, this volume opens the way for a generative dialogue across both scientific and humanistic scholarship. The Companion is divided into two sections. The chapters in the first, historical section consider the varied ways in which music, the emotions, well-being and their interactions have been understood in the past, from Antiquity to the twentieth century, shedding light on the intellectual origins of debates that continue today. The chapters in the second, contemporary section offer a variety of current scientific perspectives on these topics and engage wider philosophical problems. The Companion ends with chapters that explore the practical application of music in healthcare, education and welfare, drawing on work on music as a social and ecological phenomenon. Contextualising contemporary scientific research on music within the history of ideas, this volume provides a unique overview of what it means to study music in relation to the mind and well-being.

The grand narratives of European music history are informed by the dichotomy of placements and displacements. Yet musicology has thus far largely ignored the phenomenon of displacement and underestimated its significance for musical landscapes and music history. Music and Displacement: Diasporas, Mobilities, and Dislocations in Europe and Beyond constitutes a pioneering volume that aims to fill this gap as it explores the interactions between music and displacement in theoretical and practical terms. Contributions by distinguished international scholars address the theme through a wide range of case studies, incorporating art, popular, folk, and jazz music and interacting with areas, such as gender and post-colonial studies, critical theory, migration, and diaspora. The book is structured in three stages silence, acculturation, and theory that move from silence to sound and from displacement to placement. The range of subject matter within these sections is deliberately hybrid and mirrors the eclectic nature of displacement itself, with case studies exploring Nazi Anti-Semitism in musical displacement; musical life in the Jewish community of Palestine; Mahler, Jewishness, and Jazz; the Irish Diaspora in England; and German Exile studies, among others. Featuring articles from such scholars as Ruth F. Davis, Sean Campbell, Jim Samson, Sydney Hutchinson, and Europea series co-editor Philip V. Bohlman, the volume exerts an appeal reaching beyond music and musicology to embrace all areas in the humanities concerned with notions of displacement, migration, and diaspora."

No band has ever been able to demonstrate the enduring power of rock and roll quite like the Rolling Stones, who continue to enthrall, provoke, and invigorate their legions of fans more than fifty years since they began. In Counting Down the Rolling Stones: Their 100 Finest Songs, rock writer Jim Beviglia dares to rank the band's finest 100 songs in descending order. Beviglia provides an insightful explanation about why each song deserves its place. Looking at the story behind the song and supplying a fresh take on the musical and lyrical content, he illuminates these unforgettable songs for new and diehard fans alike. Taken together, the individual entries in Counting Down the Rolling Stones tell a fascinating story of the unique personalities and incredible talents that made the Stones a band for the ages. Counting Down the Rolling Stones is the perfect playlist builder, whether it is for the longtime fan or the newbie just getting acquainted with the work of Mick, Keith, and the boys.

The first history of keyboard improvisation in European music in the postclassical and romantic periods, Free Play: Fantasies of Improvisation in Nineteenth-Century Music documents practices of improvisation on the piano and the organ, with a particular emphasis on free fantasies and other forms of free playing. Case studies of performers such as Abbe Vogler, J. N. Hummel, Ignaz Moscheles, Robert Schumann, Carl Loewe, and Franz Liszt describe in detail the motives, intentions, and musical styles of the nineteenth century's leading improvisers. Grounded in primary sources, the book further discusses the reception and valuation of improvisational performances by colleagues, audiences, and critics, which prompted many keyboardists to stop improvising. Author Dana Gooley argues that amidst the decline of improvisational practices in the first half of the nineteenth century there emerged a strong and influential "idea" of improvisation as an ideal or perfect performance. This idea, spawned and nourished by romanticism, preserved the aesthetic, social, and ethical values associated with improvisation, calling into question the supposed triumph of the "work."

We experience and understand the world, including music, through body movementa "when we hear something, we are able to make sense of it by relating it to our body movements, or form an image in our minds of body movements. Musical Gestures is a collection of essays that explore the relationship between sound and movement. It takes an interdisciplinary approach to the fundamental issues of this subject, drawing on ideas, theories and methods from disciplines such as musicology, music perception, human movement science, cognitive psychology, and computer science.

This significant volume moves music-historical research in the direction of deconstructing the national grand narratives in music history, of challenging the national paradigm in methodology, and thinking anew about cultural traffic, cultural transfer and cosmopolitanism in the musical past. The chapters of this book confront, or subject to some kind of critique, assumptions about the importance of the national in the musical past. The emphasis, therefore, is not so much on how national culture has been constructed, or how national cultural institutions have influenced musical production, but, rather, on the way the national has been challenged by musical practices or audience reception.

Educational Change and the Secondary School Music Curriculum in Aotearoa New Zealand provides a fascinating case study in educational change. The music curriculum has been greatly affected by deep cultural and economic forces such as the growth of popular music's importance in young people's lives, by demands for inclusive and multicultural education, and not least by advances in technology that promise to invigorate all aspects of teaching and learning. This book brings together the work of a number of leading music education scholars and teachers from Aotearoa/New Zealand to both explore these issues and to share case studies of practice: both the positive changes and the unintended consequences. Each chapter focuses on a current issue in music education and the final chapter contains responses from a number of practitioners to the issues raised by the authors, drawing together the practical and theoretical dimensions of the book.

Eric Bogle has written many iconic songs that deal with the futility and waste of war. Two of these in particular, 'And the Band Played Waltzing Matilda' and 'No Man's Land (a.k.a. The Green Fields of France)', have been recorded numerous times in a dozen or more languages indicating the universality and power of their simple message. Bogle's other compositions about the First World War give a voice to the voiceless, prominence to the forgotten and personality to the anonymous as they interrogate the human experience, celebrate its spirit and empathise with its suffering. This book examines Eric Bogle's songs about the Great War within the geographies and socio-cultural contexts in which they were written and consumed. From Anzac Day in Australia and Turkey to the 'The Troubles' in Northern Ireland and from small Aboriginal communities in the Coorong to the influence of prime ministers and rock stars on a world stage, we are urged to contemplate the nature and importance of popular culture in shaping contemporary notions of history and national identity. It is entirely appropriate that we do so through the words of an artist who Melody Maker described as 'the most important songwriter of our time'.

This book studies recent music in the western classical tradition, offering a critique of current analytical/theoretical approaches and proposing alternatives. The critique addresses the present fringe status of recent music sometimes described as crossover, postmodern, post-classical, post-minimalist, etc. and demonstrates that existing descriptive languages and analytical approaches do not provide adequate tools to address this music in positive and productive terms. Existing tools and concepts were developed primarily in the mid-20th century in tandem with the high modernist compositional aesthetic, and they have changed little since then. The aesthetics of music composition, on the other hand, have been in constant transformation. Lochhead proposes new ways to conceive musical works, their structurings of musical experience and time, and the procedures and goals of analytic close reading. These tools define investigative procedures that engage the multiple perspectives of composers, performers, and listeners, and that generate conceptual modes unique to each work. In action, they rebuild a conceptual, methodological, and experiential place for recent music. These new approaches are demonstrated in analyses of four pieces: Kaija Saariaho's Lonh (1996), Sofia Gubaidulina's Second String Quartet (1987), Stacy Garrop's String Quartet no.2, Demons and Angels (2004-05), and Anna Clyne's "Choke" (2004). This book defies the prediction of classical music's death, and will be of interest to scholars and musicians of classical music, and those interested in music theory, musicology, and aural culture.

The study of music within multimedia contexts has become an increasingly active area of scholarly research. However, the application of such studies to musical genres outside the 'classical' film canon, or in television and other media remains largely unexplored in any detail. Tristian Evans demonstrates how postminimal music interacts with other media forms, focusing on the film music by Philip Glass, but also taking into account works by other composers such as Steve Reich, Terry Riley, John Adams and others inspired by minimalist and postminimal practices. Additionally, Evans develops innovative ways of analysing this music, based on an interdisciplinary approach, and draws on research from areas that include philosophy, linguistics and film theory. The book offers one of the first in-depth studies of Philip Glass's music for film, considering The Hours and Dracula, Naqoyqatsi, Notes on a Scandal and Watchmen, while examining re-applications of the music in new cinematic and televisual contexts. The book will appeal to musicologists but also to those working in the fields of film music, cultural studies, media studies and multimedia.

This book offers a detailed examination of the literary influences behind the experimental music of five twentieth-century Italian composers: Luigi Dallapiccola, Bruno Maderna, Luciano Berio, Giacomo Manzoni and Armando Gentilucci.

The Safavid era (1501-1722) is one of the most important in the history of Persian culture, celebrated especially for its architecture and art, including miniature paintings that frequently represent singers and instrumentalists. Their presence reflects a sophisticated tradition of music making that was an integral part of court life, yet it is one that remains little known, for the musicological literature of the period is rather thin. There is, however, a significant exception: the text presented and analysed here, a hitherto unpublished and anonymous theoretical work probably of the middle of the sixteenth century. With a Sufi background inspiring the use of the nay as a tool of theoretical demonstration, it is exceptional in presenting descriptive accounts of the modes then in use and suggesting how these might be arranged in complex sequences. As it also gives an account of the corpus of rhythmic cycles it provides a unique insight into the basic structures of art-music during the first century of Safavid rule.