Southwest Shuffle documents an important period in country music history. During the '30s and early '40s, hundreds of thousands of "Okies," "Arkies," and other rural folks from around the Southwest resettled in California, in search of work. A country music scene quickly blossomed there, with performers playing Western Swing, Cowboy, and Honky Tonk country. After World War II, these styles rocked country music, leading to the innovations of '60s performers like Buck Owens and Merle Haggard in creating the so-called "Bakersfield Sound." These stories are based on original interviews and archival research by one of the most respected writers on this period of country history. Kienzle writes in a vibrant style, reflecting his long-time love for these musical styles.

Serious scholarship on the music of Ralph Vaughan Williams is currently enjoying a lively revival after a period of relative quiescence, and is only beginning to address the enduring affection of concert audiences for his music. The essays that comprise this volume extend the study of Vaughan Williams's music in new directions that will be of interest to scholars, performers and listeners alike. This volume contains the work of eleven North American scholars who have been recipients of the Ralph Vaughan Williams Fellowship based at the composer's own school, Charterhouse, which was created and has been supported by the Carthusian Trust since 1985. This wide-ranging and detailed collection of essays covers the spectrum of genres in which Vaughan Williams wrote, including dance, symphony, opera, song, hymnody and film music. The contributors also employ a range of analytical and historical methods of investigation to illuminate aspects of Vaughan Williams's compositional techniques and influences, musical, literary and visual.

The eleven essays that comprise this volume represent some of the most significant strands of current Schubert research. Arising from an international conference organized by the Schubert Institute (UK) and the University of Leeds in 2000, the emphasis of the papers is on issues of performance practice, analysis and hermeneutics. In the opening essay of the book, Charles Rosen illuminates some of Schubert's compositional practices and their implications for performers. Further performance problems are explored by Walther Durr who highlights the paradox between Schubert's precise notation of pitches and rhythm and his imprecision in relation to dynamics and articulation. As Roy Howat makes clear in his essay, the performer needs to read between the lines of even the best Schubert editions. Aspects of Schubert's style are explored in other essays. Clive McClelland discusses the composer's use of ombra style, while Brian Newbould examines Schubert's techniques of compression and expansion as illustrated in his dances and in sonata movements. Robert Hatten explores the G major Piano Sonata as pastoral, and James Sobaskie and Nicholas Rast provide complementary analyses of the A minor Quartet. The organization of musical time in Schubert and his relationship in this regard to later composers is the subject of Susanne Kogler's essay, while Walburga Litschauer discusses Schubert's early piano sonatas and previously unknown versions of them. Various enigmas surrounding Schubert's life and music are discussed by Roger Neighbour. With contributions from both internationally acclaimed and younger scholars, this volume represents a further step in the multifaceted direction that Schubert research is taking.

First full monograph to focus entirely on the English-language songs set to music by Byrd. As he grappled with the challenges of composing for various instrumental and vocal ensembles, William Byrd (c. 1540-1623), England's premier Renaissance composer, devoted considerable attention to the poetry and prose of his native language, producing such treasured masterpieces as the hauntingly beautiful "Lulla lullaby"; the infectiously comedic "Though Amarillis dance in green"; and two extraordinarily dramatic Easter anthems. This book, the first full-length study specifically devoted to Byrd's English-texted music, provides a close reading of all of the works he published in the late 1580s, constituting nearly half of his total song output. It delves into the musical, political, literary, and, specifically, the sequential qualities of Byrd's 1588 and 1589 published collections as a whole, revealing, explaining, and interpreting an overall grand narrative, while remaining fully attentive to the particularities of each individual piece. Often deemed "unliterary" and generally considered political only in his approach to Latin texts, which were often of special interest to his fellow Catholics, Byrd was not only an inspiredcomposer who had mastered the challenges of his nation's burgeoning verse, but also one who used his voice in song to foster a more inclusive polity in a time of religious strife.

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.

Contents:
Preface Epigraphs 1. Autobiography 2. Precursors 3. His Own Music (to 1970) 4. His Own Music (after 1970) 5. His Performances 6. His Writings 7. Radio and Audiotape 8. Visual Arts 9. Dance 10. Successors 11. Esthetics 12. Pedagogy 13. Social Philosophy 14. Coda Index

The first book devoted to the composer Charles Villiers Stanford (1852-1924) since 1935, this survey provides the fullest account of his life and the most detailed appraisal of his music to date. Renowned in his own lifetime for the rapid rate at which he produced new works, Stanford was also an important conductor and teacher. Paul Rodmell assesses these different roles and considers what Stanford's legacy to British music has been. Born and brought up in Dublin, Stanford studied at Cambridge and was later appointed Professor of Music there. His Irish lineage remained significant to him throughout his life, and this little-studied aspect of his character is examined here in detail for the first time. A man about whom no-one who met him could feel indifferent, Stanford made friends and enemies in equal numbers. Rodmell charts these relationships with people and institutions such as Richter, Parry and the Royal College of Music, and discusses how they influenced Stanford's career. Perhaps not the most popular of teachers, Stanford nevertheless coached a generation of composers who were to revitalize British music, amongst them Coleridge-Taylor, Ireland, Vaughan-Williams, Holst, Bridge and Howells. While their musical styles may not be obviously indebted to Stanford's, it is clear that, without him, British music of the first half of the twentieth century might have taken a very different course.

"Masterworks of 20th-Century Music" introduces over 100 of the greatest compositions by world composers that have entered the standard orchestral repertory. The author surveyed dozens of major American orchestras to find which pieces are commonly performed, and has focused on these works that an average audience member is most likely to hear. Among the popular pieces profiled are Aaron Copland's "Appalachian Spring"; Gustav Holst's "The Planets;" Igor Stravinsky's "Le sacre du printemps;" Samuel Barber's "Knoxville: Summer of 1915;" George Gershwin's "An" "American in Paris"; Charles Ives's "Three Places in New England"; and many more. With each entry is given a wealth of information about: the composer, when and where the piece was first performed, in what "style" it was composed, and a basic analysis of the music. This book serves the general reader interested in 20th-century music, plus students, teachers, and scholars.

The Ordo Virtutum, Hildegard von Bingen's twelfth-century music-drama, is one of the first known examples of a large-scale composition by a named composer in the Western canon. Not only does the Ordo's expansive duration set it apart from its precursors, but also its complex imagery and non-biblical narrative have raised various questions concerning its context and genre. As a poetic meditation on the fall of a soul, the Ordo deploys an array of personified virtues and musical forces over the course of its eighty-seven chants. In this ambitious analysis of the work, Michael C. Gardiner examines how classical Neoplatonic hierarchies are established in the music-drama and considers how they are mediated and subverted through a series of concentric absorptions (absorptions related to medieval Platonism and its various theological developments) which lie at the core of the work's musical design and text. This is achieved primarily through Gardiner's musical network model, which implicates mode into a networked system of nodes, and draws upon parallels with the medieval interpretation of Platonic ontology and Hildegard's correlative realization through sound, song, and voice.

How and why is pre-existing music used in films? What effects can its use have on films and their audiences? And what lasting impact can appropriation have on the music? Reeled In is a comprehensive exploration of these questions, considering the cinematic quotation of Beethoven symphonies, Beatles songs, and Herrmann scores alike in films ranging from the early sound era to the present day, and in every role from 'main title theme' to 'music playing in bar'. Incorporating a discussion of such factors as copyright and commerce alongside examination of texts and their effects, this broad study is a significant contribution to the scholarship on music in screen media, demonstrating that pre-existing music possesses unique attributes that can affect both how filmmakers construct their works and how audiences receive them, to an extent regardless of the music's style, genre, and so on. This book also situates the reception of music by film, and by audiences experiencing that music through film, as significant processes within present-day culture, while more generally providing an illuminating case study of the kinds of borrowings, adaptations, and reinventions that characterize much of today's art and entertainment.

Nineteenth-century British periodicals for girls and women offer a wealth of material to understand how girls and women fit into their social and cultural worlds, of which music making was an important part. The Girl's Own Paper, first published in 1880, stands out because of its rich musical content. Keeping practical usefulness as a research tool and as a guide to further reading in mind, Judith Barger has catalogued the musical content found in the weekly and later monthly issues during the magazine's first thirty years, in music scores, instalments of serialized fiction about musicians, music-related nonfiction, poetry with a musical title or theme, illustrations depicting music making and replies to musical correspondents. The book's introductory chapter reveals how content in The Girl's Own Paper changed over time to reflect a shift in women's music making from a female accomplishment to an increasingly professional role within the discipline, using 'the piano girl' as a case study. A comparison with musical content found in The Boy's Own Paper over the same time span offers additional insight into musical content chosen for the girls' magazine. A user's guide precedes the chronological annotated catalogue; the indexes that follow reveal the magazine's diversity of approach to the subject of music.

The Music of Louis Andriessen is the first English-language collection of interviews and essays about this avant-garde composer. This book presents the musician in dialogue with a Polish-Canadian musicologist amd three of his Dutch friends and collaborators, Reinbert de Leeuw, Elmer Schönberger and Frits van der Waa. Topics include his artistic evolution, his relationship to minimalism, his prevalent interest in mysticism and meaning, the use of quotation and writing for the stage and an introduction to his musical language.

The approach of this book, first published in 1982, is multi-disciplinary. Popular music, it is argued, is not only a musical but also a social phenomenon; the criteria needed to assess it are different from those used in the appreciation of 'classical' music. The first section of this guide is devoted to setting out just what those criteria should be. A second section puts forward bases for course construction that are detailed and flexible. A final section provides a list of further resources.

The metaphor of marriage often describes the relationship between poetry and music in both medieval and modern writing. While the troubadours stand out for their tendency to blur the distinction between speaking and singing, between poetry and song, a certain degree of semantic slippage extends into the realm of Italian literature through the use of genre names like canzone, sonetto, and ballata. Yet, paradoxically, scholars have traditionally identified a 'divorce' between music and poetry as the defining feature of early Italian lyric. Senza Vestimenta reintegrates poetic and musical traditions in late medieval Italy through a fresh evaluation of more than fifty literary sources transmitting Trecento song texts. These manuscripts have been long noted by musicologists, but until now they have been used to bolster rather than to debunk the notion that so-called 'poesia per musica' was relegated to the margins of poetic production. Jennings revises this view by exploring how scribes and readers interacted with song as a fundamentally interdisciplinary art form within a broad range of literary settings. Her study sheds light on the broader cultural world surrounding the reception of the Italian ars nova repertoire by uncovering new, diverse readers ranging from wealthy merchants to modest artisans.

Often placed in his father's shadow, C.P.E. Bach is an important composer in his own right. This long-awaited volume includes many different aspects of his work: the editing of his father's masterpieces, his concertos and sonatas and theoretical essays. It presents a complete listing of C.P.E. Bach's works -including works in English, German, French, Italian and Spanish. Doris Powers also collects writings that consider C.P.E. Bach's influence, the reception of his works and the cultural milieu in which he composed.

The importance of nineteenth-century writing about culture has long been accepted by scholars, yet so far as music criticism is concerned, Victorian England has been an area of scholarly neglect. This state of affairs is all the more surprising given that the quantity of such criticism in the Victorian and Edwardian press was vast, much of it displaying a richness and diversity of critical perspectives. Through the study of music criticism from several key newspapers and journals (specifically The Times, Daily Telegraph, Athenaeum and The Musical Times), this book examines the reception history of new English music in the period surveyed and assesses its cultural, social and political, importance. Music critics projected and promoted English composers to create a national music of which England could be proud. J A Fuller Maitland, critic on The Times, described music journalists as 'watchmen on the walls of music', and Meirion Hughes extends this metaphor to explore their crucial role in building and safeguarding what came to be known as the English Musical Renaissance. Part One of the book looks at the critics in the context of the publications for which they worked, while Part Two focuses on the relationship between the watchmen-critics and three composers: Arthur Sullivan, Hubert Parry and Edward Elgar. Hughes argues that the English Musical Renaissance was ultimately a success thanks largely to the work of the critics. In so doing, he provides a major re-evaluation of the impact of journalism on British music history.

Re-Locating the Sounds of the Western examines the use and function of musical tropes and gestures traditionally associated with the American Western in new and different contexts ranging from Elizabethan theater, contemporary drama, space opera and science fiction, Cold War era European filmmaking, and advertising. Each chapter focuses on a notable use of Western musical tropes, textures, instrumentation, form, and harmonic language, delving into the resonance of the music of the Western to cite bravura, machismo, colonisation, violence, gender roles and essentialism, exploration, and other concepts.

Barcelonian Gaspar Cassado (1897-1966) was one of the greatest cello virtuosi of the twentieth century and a notable composer and arranger, leaving a vast and heterogeneous legacy. In this book, Gabrielle Kaufman provides the first full-length scholarly work dedicated to Cassado, containing the results of seven years of research into his life and legacy, after following the cellist's steps through Spain, France, Italy and Japan. The study presents in-depth descriptions of the three main parts of Cassado's creative output: composition, transcription and performance, especially focusing on Cassado's plural and multi-facetted creativity, which is examined from both cultural and historical perspectives. Cassado's role within the evolution of twentieth-century cello performance is thoroughly examined, including a discussion regarding the musical and technical aspects of performing Cassado's works, aimed directly at performers. The study presents the first attempt at a comprehensive catalogue of Cassado's works, both original and transcribed, as well as his recordings, using a number of new archival sources and testimonies. In addition, the composer's significance within Spanish twentieth-century music is treated in detail through a number of case studies, sustained by examples from recovered score manuscripts. Illuminated by extraordinary source material Gaspar Cassado: Cellist, Composer and Transcriber expands and deepens our knowledge of this complex figure, and will be of crucial importance to students and scholars in the fields of Performance Practice and Spanish Music, as well as to professional cellists and advanced cello students.

First published in 1999, this volume is the first full-length study to deal with the life and music of Orlando Gibbons since E.H. Fellowes's short book, originally published in 1923. John Harley investigates in detail the family and musical background from which Orlando Gibbons emerged, and gives a fascinating account of the activities of his father, William Gibbons, as a wait in Oxford and Cambridge. He traces, too, the activities of Orlando's brothers - Edward, who was the master of the choristers at King's College, Cambridge and later at Exeter Cathedral; Ferdinando, who may have taken over from his father as head of the Cambridge waits, and who became a wait in Lincoln; and Ellis, who contributed two madrigals to Thomas Morley's collection of 1601, The Triumphs of Oriana. Attention naturally focuses principally on Orlando Gibbons. A full record is given of his remarkably youthful appointment as an organist of the Chapel Royal (he was probably less than twenty at the time) and of his life at court. His additional appointments as one of Prince Charles's musicians and as organist of Westminster Abbey are also described, as is his sudden and premature death in his early forties. Gibbons's music is carefully examined in a series of chapters dealing with his pieces for keyboard and for viols, his songs, his full and verse anthems, and his works for the Anglican liturgy. His development as a composer within these genres is followed, and the character of particular pieces is considered. John Harley concludes that whereas, at one time, Gibbons 'tended to be admired as a successor to Tallis and Byrd, working in a style not essentially different from theirs', it is now 'easier to view him as a pioneer, whose work was cut short by his untimely death'. Orlando Gibbons's son Christopher was only a child when his father died, but he became one of the foremost composers and keyboard players of his generation, writing and performing chamber works and music for the stage during the Commonwealth. Following the Restoration of King Charles II, Christopher Gibbons gained his father's former posts at the Chapel Royal and Westminster Abbey, for which establishments he wrote a number of anthems. His importance is recognized by the inclusion of a long chapter on his life and works.

Born in 1916, Henri Dutilleux is one of France's leading composers, enjoying an international reputation for his beautifully crafted works. This is the first translation into English of a series of interviews between Dutilleux and the French writer and journalist Claude Glayman which took place in 1996. Dutilleux discusses aspects of his life including his early training at the Paris Conservatoire, the German occupation of France and the time that he spent in the United States. The interviews reveal much about his music and his approach to composition, as well as the influences on his musical style. Originally published by Actes Sud in 1997, this English edition is the work of translator Roger Nichols, one of the UK's leading specialists on French music.

This work offers an annotated reference guide to the life and works of this important Italian Renaissance composer. The book opens with an essay placing Palestrina in his time and relating his importance to today. It includes an annotated chronology of his life and works; a complete guide to manuscript and modern editions of his works; and an annotated bibliography of secondary literature, tracing the history of Palestrina studies from his day to today. This will prove invaluable to students of Renaissance music.

In many ways the history of British light music knits together the social and economic history of the country with that of its general musical heritage. Numerous 'serious' composers from Elgar to Britten composed light music, and the genre adapted itself to incorporate the changing fashions heralded by the rise and fall of music hall, the drawing room ballad, ragtime, jazz and the revue. From the 1950s the recording and broadcasting industries provided a new home for light music as an accompaniment to radio programmes and films. Geoffrey Self deftly handles a wealth of information to illustrate the immense role that light music has played in British culture over the last 130 years. His insightful assessments of the best and the most shameful examples of the genre help to pinpoint its enduring qualities; qualities which enable it to maintain a presence in the face of today's domination by commercial popular music.

As John Cage once recalled, there were four musicians in the early '50s who, because of their deep interest in art, associated closely with the New York School of painters: Edgard Varèse, Stefan Wolpe, Morton Feldman, and Cage himself. This book explores the interaction and influences of the visual arts on these four seminal composers. Even though each composer stressed that his aesthetic derived mainly from the visual arts, the actual transference of an aesthetic form from one medium to another took many forms, reflecting the individual sensibilities and concerns of the artists involved. The theories of performance and composition that they evolved are still controversial; taking a new and unique perspective, Johnson and his collaborators give fresh insights into the music of our time.