Unaccountably, Percy Grainger has remained on the margins of both American music history and twentieth-century modernism. This volume reveals the well-known composer of popular gems to be a self-described 'hyper-modernist' who composed works of uncompromising dissonance, challenged the conventions of folk song collection and adaptation, re-visioned the modern orchestra, experimented with 'ego-less' composition and designed electronic machines intended to supersede human application. Grainger was far from being a self-sufficient maverick working in isolation. Through contact with innovators such as Ferrucio Busoni, Leon Theremin and Henry Cowell; promotion of the music of modern French and Spanish schools; appreciation of vernacular, jazz and folk musics; as well as with the study and transcription of non-Western music; he contested received ideas and proposed many radical new approaches. By reappraising Grainger's social and historical connectedness and exploring the variety of aspects of modernity seen in his activities in the British, American and Australian contexts, the authors create a profile of a composer, propagandist and visionary whose modernist aesthetic paralleled that of the most advanced composers of his day, and, in some cases, anticipated their practical experiments.

The Ashgate Research Companion to Johann Sebastian Bach provides an indispensable introduction to the Bach research of the past thirty-fifty years. It is not a lexicon providing information on all the major aspects of Bach's life and work, such as the Oxford Composer Companion: J. S. Bach. Nor is it an entry-level research tool aimed at those making a beginning of such studies. The valuable essays presented here are designed for the next level of Bach research and are aimed at masters and doctoral students, as well as others interested in coming to terms with the current state of Bach research. Each author covers three aspects within their specific subject area; firstly, to describe the results of research over the past thirty-fifty years, concentrating on the most significant and controversial, such as: the debate over Smend's NBA edition of the B minor Mass; Blume's conclusions with regard to Bach's religion in the wake of the 'new' chronology; Rifkin's one-to-a-vocal-part interpretation; the rediscovery of the Berlin Singakademie manuscripts in Kiev; the discovery of hitherto unknown manuscripts and documents and the re-evaluation of previously known sources. Secondly, each author provides a critical analysis of current research being undertaken that is exploring new aspects, reinterpreting earlier assumptions, and/or opening-up new methodologies. For example, Martin W. B. Jarvis has suggested that Anna Magdalena Bach composed the cello suites and contributed to other works of her husband - another controversial hypothesis, whose newly proposed forensic methodology requires investigation. On the other hand, research into Bach's knowledge of the Lutheran chorale tradition is currently underway, which is likely to shed more light on the composer's choices and usage of this tradition. Thirdly, each author identifies areas that are still in need of investigation and research.

Classical Concert Studies: A Companion to Contemporary Research and Performance is a landmark publication that maps out a new interdisciplinary field of Concert Studies, offering fresh ways of understanding the classical music concert in the twenty-first century. It brings together essays, research articles, and case studies from scholars and music professionals including musicians, music managers, and concert designers. Gathering both historical and contemporary cases, the contributors draw on approaches from sociology, ethnology, musicology, cultural studies, and other disciplines to create a rich portrait of the classical concert's past, present, and future. Based on two earlier volumes published in German under the title Das Konzert (The Concert), and with a selection of new chapters written for the English edition, this companion enables students, researchers, and practitioners in the classical and contemporary music fields to understand this emerging field of research, go beyond traditional disciplinary boundaries and methodologies, and spark a renaissance for the classical concert.

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 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 first detailed study of the working relationship and productive friendship between Ralph Vaughan Williams (1872-1958) and Adrian Boult (1889-1983). From 1918 onwards, Boult became one of Vaughan Williams's most important interpreters, giving the world premieres of the Pastoral, Fourth and Sixth Symphonies, performing almost all his major works (not only at home but with some of the world's greatest orchestras), and working in close collaboration with the composer on major projects including the first complete recording of Vaughan Williams's symphonies. Boult continued to be the most devoted advocate of Vaughan Williams's music to the end of his long career. As this book shows, Boult's scores include numerous annotations derived from conversations and correspondence with Vaughan Williams and these provide important evidence of the composer's wishes including adjustments to orchestration, comments on interpretation, dynamics, phrasing and revisions to Vaughan Williams's notoriously unreliable metronome marks. The evidence of these scores is considered alongside the extensive correspondence between Vaughan Williams and Boult, Boult's private diaries and other relevant documents including contemporary press reports. The book includes three substantial supplements: a detailed description of Boult's marked scores, a comprehensive list of Boult's Vaughan Williams performances and a discography including surviving recordings of unpublished broadcasts. It will be indispensable reading for scholars and students of Vaughan Williams and historical conducting, Vaughan Williams enthusiasts and those interested in the history of recorded music.

Roy Johnston and Declan Plummer provide a refreshing portrait of Belfast in the nineteenth century. Before his death Roy Johnston, had written a full draft, based on an impressive array of contemporary sources, with deep and detailed attention especially to contemporary newspapers. With the deft and sensitive contribution of Declan Plummer the finished book offers a telling view of Belfast's thriving musical life. Largely without the participation and example of local aristocracy, nobility and gentry, Belfast's musical society was formed largely by the townspeople themselves in the eighteenth century and by several instrumental and choral societies in the nineteenth century. As the town grew in size and developed an industrial character, its townspeople identified increasingly with the large industrial towns and cities of the British mainland. Efforts to place themselves on the principal touring circuit of the great nineteenth-century concert artists led them to build a concert hall not in emulation of Dublin but of the British industrial towns. Belfast audiences had experienced English opera in the eighteenth century, and in due course in the nineteenth century they found themselves receiving the touring opera companies, in theatres newly built to accommodate them. Through an energetic groundwork revision of contemporary sources, Johnston and Plummer reveal a picture of sustained vitality and development that justifies Belfast's prominent place the history of nineteenth-century musical culture in Ireland and more broadly in the British Isles.

Knowledge Building in Early Modern English Music is a rich, interdisciplinary investigation into the role of music and musical culture in the development of metaphysical thought in late sixteenth-, early seventeenth-century England. The book considers how music presented questions about the relationships between the mind, body, passions, and the soul, drawing out examples of domestic music that explicitly address topics of human consciousness, such as dreams, love, and sensing. Early seventeenth-century metaphysical thought is said to pave the way for the Enlightenment Self. Yet studies of the music's role in natural philosophy has been primarily limited to symbolic functions in philosophical treatises, virtually ignoring music making's substantial contribution to this watershed period. Contrary to prevailing narratives, the author shows why music making did not only reflect impending change in philosophical thought but contributed to its formation. The book demonstrates how recreational song such as the English madrigal confronted assumptions about reality and representation and the role of dialogue in cultural production, and other ideas linked to changes in how knowledge was built. Focusing on music by John Dowland, Martin Peerson, Thomas Weelkes, and William Byrd, this study revises historiography by reflecting on the experience of music and how music contributed to the way early modern awareness was shaped.

This is the first dedicated study of the musical patronage of Roman baronial families in the sixteenth and early seventeenth centuries. Patronage - the support of a person or institution and their work by a patron - in Renaissance society was the basis of a complex network of familial and political relationships between clients and patrons, whose ideas, values, and norms of behavior were shared with the collective. Bringing to light new archival documentation, this book examines the intricate network of patronage interrelationships in Rome. Unlike other Italian cities where political control was monocentric and exercised by single rulers, sources of patronage in Rome comprised a multiplicity of courts and potential patrons, which included the pope, high prelates, nobles and foreign diplomats. Morucci uses archival records, and the correspondence of the Orsini and Colonna families in particular, to investigate the local activity and circulation of musicians and the cultivation of music within the broader civic network of Roman aristocratic families over the period. The author also shows that the familial union of the Medici and Orsini families established a bidirectional network for artistic exchange outside of the Eternal City, and that the Orsini-Colonna circle represented a musical bridge between Naples, Rome, and Florence.

Where is the academic study of music today, and what paths should it take into the future? Should we be looking at how music relates to society and constructs meaning through it, rather than how it transcends the social? Can we 'remix' our discipline and attempt to address all musics on an equal basis, without splitting ourselves in advance into subgroups of 'musicologists', 'theorists', and 'ethnomusicologists'? These are some of the crucial issues that Nicholas Cook has raised since he emerged in the 1990s as one of the UK's leading and most widely read voices in critical musicology. In this book, collaborators and former students of Cook pursue these questions and others raised by his work-from notation, historiography, and performance to the place of music in multimedia forms such as virtual reality and video games, analysing both how it can bring people together and the ways in which it has failed to do so.

This fully updated second edition is a selective annotated bibliography of all relevant published resources relating to church and worship music in the United States. Over the past decade, there has been a growth of literature covering everything from traditional subject matter such as the organ works of J.S. Bach to newer areas of inquiry including folk hymnology, women and African-American composers, music as a spiritual healer, to the music of Mormon, Shaker, Moravian, and other smaller sects. With multiple indices, this book will serve as an excellent tool for librarians, researchers, and scholars sorting through the massive amount of material in the field.

Scholars and performers of the nineteenth and twentieth centuries attempted to revive music that could evoke the Middle Ages. They invented new sounds and new ways of understanding medieval music. This is the fascinating story of the musicians and the societies in which they worked to remake a lost musical world.

Bringing together well-known writers with composers and performers, this volume gives a complete overview of Holt's creative work up to 2015. British composer Simon Holt (b. 1958) has been a leading presence in contemporary music since the early 1980s and Kites. His output is diverse, comprising chamber music, concertos for diverse instruments, songs, piano musicand opera. Holt is a composer who demands unusual commitment from his interpreters - the intricate sound-worlds he creates often contain complex, rich textures, offset by 'still centres' - for the purpose of making music which speaks with extraordinary power. Bringing together well-known writers with composers and performers, this volume gives a complete overview of Holt's creative work up to 2015 and Fool is hurt. It uses a variety of approaches to help readers, listeners and players to find ways into the pieces and to understand the influence of visual art and poetry on Holt's work. Colour illustrations, music examples, tables and sketch facsimiles offer a rounded impression of Holt's inspiration and thought to date. Also included are a wide-ranging conversation between Simon Holt and the artist Julia Bardsley, and a text by the conductor Thierry Fischer. The volume also offers the first detailed catalogue of Holt's compositions, drawn up together with the composer. It reveals that the last twenty years have seen no slowing-up in his rate of creative production, notwithstanding that the nature of his writing has changed during this time. DAVID CHARLTON is Professor Emeritus of Music History, Royal Holloway, University of London. Contributors: JULIA BARDSLEY, DAVID BEARD, DAVID CHARLTON, THIERRY FISCHER, ANTHONY GILBERT, STEPHEN GUTMAN, MELINDA MAXWELL, RICHARD MCGREGOR, STEPH POWER, PHILIP RUPPRECHT, SIMON SPEARE, REBECCA THUMPSTON, EDWARD VENN

This book provides the first scholarly history of the viola d'amore, a popular bowed string instrument of the Baroque era, with a unique tone produced by a set of metal sympathetic strings. Composers like Bach made use of the viola d'amore for its particular sound, but the instrument subsequently fell out of fashion amid orchestral standardisation, only to see a revival as interest in early music and historical performance grew. Drawing on literary accounts, iconography, and surviving instruments, this study examines the origins and development of this eye-catching string instrument in the seventeenth and eighteenth centuries. It explores the rich variation of designs displayed in extant viola d'amore specimens, both as originally constructed and as a result of conversion and repair. The viola d'amore is then set into the wider context of Elizabethan England's development of instruments with wire strings, and its legacy in the form of the baryton which emerged in the early seventeenth century, followed by a look at the viola d'amore's own nomenclatorial and organological influence. The book closes with a discussion of the viola d'amore's revival, and its use and manufacture today. Offering insights for organological research and historical performance practice, this study enhances our knowledge of both the viola d'amore and its wider family of instruments.

This book presents a varied and nuanced analysis of the dynamics of the printing, publication, and trade of music in the sixteenth and early seventeenth centuries across Western and Northern Europe. Chapters consider dimensions of music printing in Britain, the Holy Roman Empire, the Netherlands, France, Spain and Italy, showing how this area of inquiry can engage a wide range of cultural, historical and theoretical issues. From the economic consequences of the international book trade to the history of women music printers, the contributors explore the nuances of the interrelation between the materiality of print music and cultural, aesthetic, religious, legal, gender and economic history. Engaging with the theoretical turns in the humanities towards material culture, mobility studies and digital research, this book offers a wealth of new insights that will be relevant to researchers of early modern music and early print culture alike.

Broadside ballads-folio-sized publications containing verse, a tune indication, and woodcut imagery-related cautionary tales, current events, and simplified myth and history to a wide range of social classes across seventeenth century England. Ballads straddled, and destabilized, the categories of public and private performance spaces, the material and the ephemeral, music and text, and oral and written traditions. Sung by balladmongers in the streets and referenced in theatrical works, they were also pasted to the walls of local taverns and domestic spaces. They titillated and entertained, but also educated audiences on morality and gender hierarchies. Although contemporaneous writers published volumes on the early modern controversy over women and the English witch craze, broadside ballads were perhaps more instrumental in disseminating information about dangerous women and their acoustic qualities. Recent scholarship has explored the representations of witchcraft and malfeasance in English street literature; until now, however, the role of music and embodied performance in communicating female transgression has yet to be investigated. Sarah Williams carefully considers the broadside ballad as a dynamic performative work situated in a unique cultural context. Employing techniques drawn from musical analysis, gender studies, performance studies, and the histories of print and theater, she contends that broadside ballads and their music made connections between various degrees of female crime, the supernatural, and cautionary tales for and about women.

This first book in English on the French composer Andre Jolivet (1905-1974) investigates his music, life and influence. A pupil of Varese and colleague of Messiaen in La Jeune France, Jolivet is a major figure in French music of the twentieth century. His music combines innovative language with spirituality, summarised in his self-declared axiom to 'restore music's ancient original meaning when it was the magic and incantatory expression of the sacred in human communities'. The book's contextual introduction is followed by contributions, edited by Caroline Rae, from leading international scholars including the composer's daughter Christine Jolivet-Erlih. These assess Jolivet's output and activities from the 1920s through to his last works, exploring creative process, aesthetic, his relationship with the exotic and influences from literature. They also examine, for the first time, the significance of Jolivet's involvement with the visual arts and his activities as conductor, teacher and critic. A chronology of Jolivet's life and works with details of first performances provides valuable overview and reference. This fascinating and comprehensive volume is an indispensable source for research into French music and culture of the twentieth century.

The Czech composer Pavel Haas (1899-1944) is commonly positioned in the history of twentieth-century music as a representative of Leos Janacek's compositional school and as one of the Jewish composers imprisoned by the Nazis in the concentration camp of Terezin (Theresienstadt). However, the nature of Janacek's influence remains largely unexplained and the focus on the context of the Holocaust tends to yield a one-sided view of Haas's oeuvre. The existing scholarship offers limited insight into Haas's compositional idiom and does not sufficiently explain the composer's position with respect to broader aesthetic trends and artistic networks in inter-war Czechoslovakia and beyond. This book is the first attempt to provide a comprehensive (albeit necessarily selective) discussion of Haas's music since the publication of Lubomir Peduzzi's 'life and work' monograph in 1993. It provides the reader with an enhanced understanding of Haas's music through analytical and hermeneutical interpretation as well as cultural and aesthetic contextualisation, and thus reveal the rich nuances of Haas's multi-faceted work which have not been sufficiently recognised so far.

It was Carl Dahlhaus who coined the phrase 'dead time' to describe the state of the symphony between Schumann and Brahms. Christopher Fifield argues that many of the symphonies dismissed by Dahlhaus made worthy contributions to the genre. He traces the root of the problem further back to Beethoven's ninth symphony, a work which then proceeded to intimidate symphonists who followed in its composer's footsteps, including Schubert, Mendelssohn and Schumann. In 1824 Beethoven set a standard that then had to rise in response to more demanding expectations from both audiences and the musical press. Christopher Fifield, who has a conductor's intimacy with the repertory, looks in turn at the five decades between the mid-1820s and mid-1870s. He deals only with non-programmatic works, leaving the programme symphony to travel its own route to the symphonic poem. Composers who lead to Brahms (himself a reluctant symphonist until the age of 43 in 1876) are frequently dismissed as epigones of Beethoven, Mendelssohn and Schumann but by investigating their symphonies, Fifield reveals their respective brands of originality, even their own possible influence upon Brahms himself and in so doing, shines a light into a half-century of neglected nineteenth century German symphonic music.

Despite recent interest in music-making in the so-called 'provinces', the idea still lingers that music-making outside London was small in scale, second-rate and behind the times. However, in Newcastle upon Tyne, the presence of a nationally known musician, Charles Avison (1709-1770), prompts a reassessment of how far this idea is still tenable. Avison's life and work illuminates many wider trends. His relationships with his patrons, the commercial imperatives which shaped his activities, the historical and social milieu in which he lived and worked, were influenced by and reflected many contemporary movements: Latitudinarianism, Methodism, the improvement of church music, the aesthetics of the day including new ideas circulating in Europe, discussions of issues such as gentility, and the new commercialism of leisure. He can be considered as the notional centre of a web of connections, both musical and non-musical, extending through every part of Britain and into both Europe and America. This book looks at these connections, exploring the ways in which the musical culture in the north-east region interacted with, and influenced, musical culture elsewhere, and the non-musical influences with which it was involved, including contemporary religious, philosophical and commercial developments, establishing that regional centres such as Newcastle could be as well-informed, influential and vibrant as London.

The Polish composer Karol Szymanowski is one of the most fascinating musical figures of the early twentieth century. His works included four symphonies, two violin concertos, the operas Hagith and King Roger, the ballet-pantomime Harnasie, the oratorio Stabat Mater, as well as numerous piano, violin, vocal and choral compositions. The profile and popularity of Szymanowski's music outside Poland has never been higher and continues to grow. The Szymanowski Companion constitutes the most significant and comprehensive reference source to the composer in English. Edited by two of the leading scholars in the field, Paul Cadrin and Stephen Downes, the collection consists of over 50 contributions from an international array of contributors, including recognized Polish experts. The Companion thus provides a systematic, authoritative and up-to-date compilation of information concerning the composer's life, thought and works.

Chopin's twenty-four Preludes remain as mysterious today as when they were newly published. What prompted Franz Liszt and others to consider Chopin's Preludes to be compositions in their own right rather than introductions to other works? What did set Chopin's Preludes so drastically apart from their forerunners? What exactly was 'the morbid, the feverish, the repellent' that Schumann heard in Opus 28, in that 'wild motley' of 'strange sketches' and 'ruins'? Why did Liszt and another, anonymous, reviewer publicly suggest that Lamartine's poem Les Preludes served as an inspiration for Chopin's Opus 28? And, if that is indeed the case, how did the poem affect the structure and the thematic contents of Chopin's Preludes? And, lastly, is Opus 28 a random assortment of short pieces or a cohesive cycle? In this monograph, richly illustrated with musical examples, Anatole Leikin combines historical perspectives, hermeneutic and thematic analyses, and a range of practical implications for performers to explore these questions and illuminate the music of one of the best loved collections of music for the piano.

Early Music History is devoted to the study of music from the early Middle Ages to the end of the seventeenth century. It demands the highest standards of scholarship from its contributors, all of whom are leading academics in their fields. It gives preference to studies pursuing interdisciplinary approaches and to those developing novel methodological ideas. The scope is exceptionally broad and includes manuscript studies, textual criticism, iconography, studies of the relationship between words and music and the relationship between music and society. Articles in volume eighteen include: The sources and significance of the Orpheus myth in Musica Enchiriadis and Regino of Prum's Epistola de harmonica institutione; 'Premierement ma baronnie de Chasteauneuf': Jean de Ockeghem, treasurer of St Martin's in Tours; Citation and allusion in the late Ars nova: the case of Esperance and the En attendant songs.

1) Adopts a completely new approach, compared to the major textbooks -- retaining the European tradition and a historically framed narrative, within a history of all the world's music. 2) Better reflects the realities of musical life today in the United States 3) Teaches students the value of examining music from a perspective that values diversity, equity, and inclusion. 4) Unique pedagogical structure that offers one guided listening example per "Gateway," and asks students to ponder the same five questions per example: what is it, how does it work (musically), what does it mean (socially, culturally), what is its history, and where can I go from here (to learn more about this tradition)

The interdisciplinary nature of the volume allows for a more nuanced understanding of how court culture was connected with the political, confessional, spatial, material and performative. With a range of topics including dress, scent, portraiture, gardens, games, porcelain rooms, and beauty, accompanied by over 100 images, allows students and scholars to better comprehend the vitality of the early modern European court which will be useful for a number of disciplines. The volume includes 35 contributions from international leading scholars in the field, providing the most up-to-date and in-depth study of the early modern European court.