Keyboard trios (three pianists at one keyboard) are not only an enjoyable form of ensemble music, but are also indispensable tools in developing rhythm, dynamics, tempo consistency, and group musicianship skills in any pianist. The original works of W. F. Bach, Fodor, Gurlitt, Handel, Mozart, Rachmaninoff and Streabogg are included, in score format (with all three parts on the same page), along with essential performance notes and helpful editorial fingerings and footnotes. Titles: Das Dreyblatt (Bach, Wilhelm Friedrich Ernst) * Sonata for Six Hands, Op. 10 (Fodor, Carolus Antonius) * Capriccietta, Op. 192, No. 3 (Gurlitt, Cornelius) * Gavotta, Op. 192, No. 2 (Gurlitt, Cornelius) * Impromptu, Op. 192, No.6 (Gurlitt, Cornelius) * Hallelujah Chorus from Messiah (Handel, George Frideric, arr. Czerny) Overture from The Marriage of Figaro (Mozart, Wolfgang Amadeus, arr. Czerny) * Valse (Rachmaninoff, Sergei) * Romance (Rachmaninoff, Sergei) * Bolero (Streabbog, Jean Louis).

In Representing the Good Neighbor, Carol A. Hess investigates the reception of Latin American art music in the US during the Pan American movement of the 1930s and 40s. An amalgamation of economic, political and cultural objectives, Pan Americanism was premised on the idea that the Americas were bound by geography, common interests, and a shared history, and stressed the psychological and spiritual bonds between the North and South. Threatened by European Fascism, the US government wholeheartedly embraced this movement as a way of recruiting Latin American countries as political partners. In a concerted effort to promote a sameness-embracing attitude between the US and Latin America, it established, in collaboration with entities such as the Pan American Union, exchange programs for US and Latin American composers as well as a series of contests, music education projects, and concerts dedicated to Latin American music. Through comparisons of the work of three of the most prominent Latin American composers of the period - Carlos Chavez, Heitor Villa-Lobos and Alberto Ginastera - Hess shows that the resulting explosion of Latin American music in the US during the 30s and 40s was accompanied by a widespread - though by no means universal - embracement by critics as an exemplar of cosmopolitan universalism. Aspects shared between the music of US composers and that of their neighbors to the south were often touted and applauded. Yet, by the end of the Cold War period, critics had reverted to viewing Latin American music through the lens of difference and exoticism. In comparing these radically different modes of reception, Hess uncovers how and why attitudes towards Latin American music shifted so dramatically during the middle of the twentieth century, and what this tells us about the ways in which the history of American music has been written. As the first book to examine in detail the critical reception of Latin American music in the United States, Representing the Good Neighbor promises to be a landmark in the field of American music studies, and will be essential reading for students and scholars of music in the US and Latin America during the twentieth-century. It will also appeal to historians studying US-Latin America relations, as well as general readers interested in the history of American music.

Throughout Spanish colonial America, limpieza de sangre (literally, "purity of blood ") determined an individual's status within the complex system of social hierarchy called casta. Within this socially stratified culture, those individuals at the top were considered to have the highest calidad-an all-encompassing estimation of a person's social status. At the top of the social pyramid were the Peninsulares: Spaniards born in Spain, who controlled most of the positions of power within the colonial governments and institutions. Making up most of the middle-class were criollos, locally born people of Spanish ancestry. During the late seventeenth and early eighteenth centuries, Peninsulare intellectuals asserted their cultural superiority over criollos by claiming that American Spaniards had a generally lower calidad because of their "impure " racial lineage. Still, given their Spanish heritage, criollos were allowed employment at many Spanish institutions in New Spain, including the center of Spanish religious practice in colonial America: Mexico City Cathedral. Indeed, most of the cathedral employees-in particular, musicians-were middle-class criollos. In Playing in the Cathedral, author Jesus Ramos-Kittrell explores how liturgical musicians-choristers and instrumentalists, as well as teachers and directors-at Mexico City Cathedral in the mid-eighteenth century navigated changing discourses about social status and racial purity. He argues that criollos cathedral musicians, influenced by Enlightenment values of self-industry and autonomy, fought against the Peninsulare-dominated, racialized casta system. Drawing on extensive archival research, Ramos-Kittrell shows that these musicians held up their musical training and knowledge, as well as their institutional affiliation with the cathedral, as characteristics that legitimized their calidad and aided their social advancement. The cathedral musicians invoked claims of "decency " and erudition in asserting their social worth, arguing that their performance capabilities and theoretical knowledge of counterpoint bespoke their calidad and status as hombres decentes. Ultimately, Ramos-Kittrell argues that music, as a performative and theoretical activity, was a highly dynamic factor in the cultural and religious life of New Spain, and an active agent in the changing discourses of social status and "Spanishness " in colonial America. Offering unique and fascinating insights into the social, institutional, and artistic spheres in New Spain, this book is a welcome addition to scholars and graduate students with particular interests in Latin American colonial music and cultural history, as well as those interested in the intersections of music and religion.

Composer and cultural official Nicolas Nabokov (1903-78) led an unusual life even for a composer who was also a high-level diplomat. Nabokov was for nearly three decades an outstanding and far-sighted player in international cultural exchanges during the Cold War, much admired by some of the most distinguished minds of his century for the range of his interests and the breadth of his vision. Nicolas Nabokov: A Life in Freedom and Music follows Nabokov's life through its fascinating details: a privileged Russian childhood before the Revolution; exile, first to Germany, then to France; the beginnings of a promising musical career, launched under the aegis of Diaghilev and his Ballets Russes with Ode in 1928; his twelve-year "American exile" during which he occupied several academic positions; his return to Europe after the war to participate in the denazification of Germany; his involvement in anti-Stalinist causes in the first years of the Cold War; his participation in the Congress for Cultural Freedom; his role as cultural adviser to the Mayor of Berlin and director of the Berlin Festival in the early 1960s; the resumption of his American academic and musical career in the late 1960s and 1970s. Nabokov is unique not only in that he was involved on a high level in international cultural politics, but also in that his life intersected at all times with a vast array of people within, and also well beyond, the confines of classical music. Drawing on a vast array of primary sources, Vincent Giroud's first-ever biography of Nabokov will be of interest readers interested in twentieth-century music, Russian music, Russian emigration, and the Cold War, particularly in its cultural aspects. Musicians and musicologists interested in Nabokov as a composer, or in twentieth century Russian composers in general, will find in the book information not available anywhere else.

At the turn of the twentieth century Italian opera participated to the making of a modern spectator. The Ricordi stage manuals testify to the need to harness the effects of operatic performance, activating opera's capacity to cultivate a public. This book considers how four operas and one film deal with their public: one that in Boito's Mefistofele is entertained by special effects, or that in Verdi's Simon Boccanegra is called upon as a political body to confront the specters of history. Also a public that in Verdi's Otello is subjected to the manipulation of contemporary acting, or one that in Puccini's Manon Lescaut is urged to question the mechanism of spectatorship. Lastly, the silent film Rapsodia satanica, thanks to the craft and prestige of Pietro Mascagni's score, attempts to transform the new industrial medium into art, addressing its public's search for a bourgeois pan-European cultural identity, right at the outset of the First World War.

Louis XIV and his court at Versailles had a profound influence on music in France and throughout Europe. In 1660 Louis visited Aix-en-Provence, a trip that resulted in political and cultural transformations throughout the region. Soon thereafter Aix became an important center of sacred music composition, eventually rivaling Paris for the quality of the composers it produced. John Hajdu Heyer documents the young king's visit and examines how he and his court deployed sacred music to enhance the royal image and secure the loyalty of the populace. Exploring the circle of composers at Aix, Heyer provides the most up-to-date and complete biographies in English of nine key figures, including Guillaume Poitevin, Andre Campra, Jean Gilles, Francois Estienne, and Antoine Blanchard. The book goes on to reveal how the history of political power in the region was reflected through church music, and how musicians were affected by contemporary events."

In the late 1960s, a new movement emerged championing historically informed 'authentic' approaches to performance. Heard today in concert halls across the world and in a library's worth of recordings, it has completely transformed the way in which we listen to 'old' music, while revolutionizing the classical music profession in the process. Yet the rise of Early Music has been anything but uncontroversial. Historically informed performance (HIP) has provoked heated debate amongst musicologists, performers and cultural sociologists. Did HIP's scholar-performers possess the skills necessary to achieve their uncompromising agenda? Was interest in historically informed performance just another facet of the burgeoning heritage industry? And was the widespread promotion of early music simply a commercial ruse to make money put forward by profit-driven record companies?
In The Art of Re-enchantment: Making Early Music in the Modern Age, author Nick Wilson answers these and other questions through an in-depth analysis of the early music movement in Britain from the 1960s to the present day. While other books have examined the history of early music's revival, this interdisciplinary study is unique in its focus on how various constituencies actually made their living from the early music business. Through chapters discussing the professionalization of early music, the influence of institutions such as the BBC and record companies, and the entrepreneurial role of leading early music pioneers, this book will shed new light on one of the most fascinating and influential movements in 20th Century art music.
The Art of Re-enchantment begins a much-needed conversation about the true value of art and authenticity today. This volume is a must have for early music fans and performers, music historians and musicologists with an interest in performance practice, and anyone interested in the production, distribution and consumption of music.

The Oxford Handbook of the British Musical provides a comprehensive academic survey of British musical theatre offering both a historical account of the musical's development from 1728 and a range of in-depth critical analyses of the unique forms and features of British musicals, which explore the aesthetic values and sociocultural meanings of a tradition that initially gave rise to the American musical and later challenged its modern pre-eminence. After a consideration of how John Gay's The Beggar's Opera (1728) created a prototype for eighteenth-century ballad opera, the book focuses on the use of song in early nineteenth century theatre, followed by a sociocultural analysis of the comic operas of Gilbert and Sullivan; it then examines Edwardian and interwar musical comedies and revues as well as the impact of Rodgers and Hammerstein on the West End, before analysing the new forms of the postwar British musical from The Boy Friend (1953) to Oliver! (1960). One section of the book examines the contributions of key twentieth century figures including Noel Coward, Ivor Novello, Tim Rice, Andrew Lloyd Webber, director Joan Littlewood and producer Cameron Macintosh, while a number of essays discuss both mainstream and alternative musicals of the 1960s and 1970s and the influence of the pop industry on the creation of concept recordings such as Jesus Christ Superstar (1970) and Les Miserables (1980). There is a consideration of "jukebox" musicals such as Mamma Mia! (1999), while essays on overtly political shows such as Billy Elliot (2005) are complemented by those on experimental musicals like Jerry Springer: the Opera (2003) and London Road (2011) and on the burgeoning of Black and Asian British musicals in both the West End and subsidized venues. The Oxford Handbook of the British Musical demonstrates not only the unique qualities of British musical theatre but also the vitality and variety of British musicals today.

British Literature and Classical Music explores literary representations of classical music in early 20th century British writing. Covering authors ranging from T.S. Eliot and Virginia Woolf to Aldous Huxley, H.G. Wells and D.H. Lawrence, the book examines literature produced during a period of widely proliferating philosophical, educational, and performance-oriented musical activities in both public and private settings. David Deutsch demonstrates how this proliferation caused classical music to become an increasingly vital element of British culture and a vehicle for exploring contentious issues such as social mobility, sexual freedoms, and international political rivalries. Through the use of archives of concert programs, cult novels, and letters written during the First and Second World Wars, the book examines how authors both celebrated and satirized the musicality of the lower-middle and working classes, same-sex desiring individuals, and cosmopolitan promoters of a shared European culture to depict these groups as valuable members of and - less frequently as threats to - British life.

Jack Boss takes a unique approach to analyzing Arnold Schoenberg's twelve-tone music, adapting the composer's notion of a 'musical idea' - problem, elaboration, solution - as a framework and focusing on the large-scale coherence of the whole piece. The book begins by defining 'musical idea' as a large, overarching process involving conflict between musical elements or situations, elaboration of that conflict, and resolution, and examines how such conflicts often involve symmetrical pitch and interval shapes that are obscured in some way. Containing close analytical readings of a large number of Schoenberg's key twelve-tone works, including Moses und Aron, the Suite for Piano Op. 25, the Fourth Quartet, and the String Trio, the study provides the reader with a clearer understanding of this still-controversial, challenging, but vitally important modernist composer.

The B-minor Mass has always represented a fascinating challenge to musical scholarship. Composed over the course of Johann Sebastian Bach's life, it is considered by many to be the composer's greatest and most complex work. The fourteen essays assembled in this volume originate from the International Symposium 'Understanding Bach's B-minor mass' at which scholars from eighteen countries gathered to debate the latest topics in the field. In revised and updated form, they comprise a thorough and systematic study of Bach's Opus Ultimum, including a wide range of discussions relating to the Mass's historical background and contexts, structure and proportion, sources and editions, and the reception of the work in the late eighteenth and early nineteenth centuries. In the light of important new developments in the study of the piece, this collection demonstrates the innovation and rigour for which Bach scholarship has become known.

A pianist, arranger, and composer, William Pursell is a mainstay of the Nashville music scene. He has played jazz in Nashville's Printer's Alley with Chet Atkins and Harold Bradley, recorded with Johnny Cash and Patsy Cline, performed with the Nashville Symphony, and composed and arranged popular and classical music. Pursell's career, winding like a crooked river between classical and popular genres, encompasses a striking diversity of musical experiences. A series of key choices sent him down different paths, whether it was reenrolling with the Air Force for a second tour of duty, leaving the prestigious Eastman School of Music to tour with an R&B band, or refusing to sign with the Beatles' agent Sid Bernstein. The story of his life as a working musician is unlike any other-he is not a country musician nor a popular musician nor a classical musician but, instead, an artist who refused to be limited by traditional categories. Crooked River City is driven by a series of recollections and personal anecdotes Terry Wait Klefstad assembled over a three-year period of interviews with Pursell. His story is one not only of talent, but of dedication and hard work, and of the ins and outs of a working musician in America. This biography fills a crucial gap in Nashville music history for both scholars and music fans.

This multidisciplinary collection of readings offers new interpretations of Richard Wagner's ideological position in German history. The issues discussed range from the biographical - the reasons for Wagner's travels, his political life - to the aesthetic and ideological, regarding his re-creation of medieval Nuremberg, his representations of gender and nationality, his vocal iconography, his anti-Semitism, his vegetarian and Christian arguments, and, finally, his musical heirs. The essays avoid journalistic or iconoclastic approaches to Wagner, and depart from the usual uncritical admiration of earlier scholars in an attempt to develop a stimulating and ultimately cohesive collection of new perspectives.

'A really great book.' Bruce Springsteen With a foreword by Billy Bragg. Few artists have captured the American experience of their time as wholly as folk legend Woody Guthrie. Singer, songwriter and political activist, Guthrie drew a lifetime of inspiration from his roots on the Oklahoma frontier in the years before the Great Depression. His music -- scathingly funny songs and poignant folk ballads -- made heard the unsung life of field hands, migrant workers, and union organisers, and showed it worthy of tribute. Though his career was tragically cut short by the onset of a degenerative disease that ravaged his mind and body, the legacy of his life and music had already made him an American cultural icon, and has resounded with every generation of musician and music lover since. In this definitive biography, renowned journalist Joe Klein creates an unforgettable portrait of a man as gifted, restless and complicated as the American landscape he came from.

A valuable assortment of teacher/student duets in their original form written by teachers and composers during the 18th and 19th centuries. Arranged in order of difficulty, the student parts are limited to a single five-finger position and fall primarily within the grand staff reading range. Each book includes works by such composers as Diabelli, Gurlitt, Bercucci, Wohlfahrt, Berens and others.

Demonstrating the vibrant nature of current research on Maurice Ravel, one of the most significant figures in twentieth-century French music, a team of distinguished international scholars provides new interdisciplinary perspectives and insights. Through historical, critical, and analytical means, the volume reveals the symbiotic relationships between Ravel's music and aesthetic, cultural, literary, gender, performance-based, and medical studies. While the chapters progress from French aesthetic-literary association, including Colette and Proust, to more extended disciplinary couplings, with American history, jazz, dance, and neurology, the organization is relatively free to enable other thematic links to emerge. The volume presents a refreshing variety of scholarly approaches to Ravel and his music, set within broad contexts and current musicological debates. In a Ravelian spirit, it is intended that the essays will serve collectively as a model for expanding the agendas of other composer-based studies.

Operatic works by Italian composers of the nineteenth century have undergone countless transformations since their premieres, shifting shape in response to a variety of new geographic, temporal, technological, and performative contexts. These enduring works by Rossini, Donizetti, Bellini, Verdi, Puccini, and their contemporaries have myriad stories to tell. Fashions and Legacies reconstructs a selection of these stories, exploring ways in which operatic works have been reshaped and revived throughout the nineteenth, twentieth, and twenty-first centuries. While focusing on how these works have been altered, the thirteen contributors in this book also respond to fundamental questions: how has this music retained - or sacrificed - its powerful messages in the face of deconstruction and recontextualization over time and place? What happens to these operas once they have escaped control of their authors? The contributions of singers, stage directors, conductors, and other theatrical personalities stand front and center of the volume.

What does it mean to say that music is deeply moving? Or that music's aesthetic value derives from its deep structure? This study traces the widely employed trope of musical depth to its origins in German-language music criticism and analysis. From the Romantic aesthetics of E. T. A. Hoffmann to the modernist theories of Arnold Schoenberg, metaphors of depth attest to the cross-pollination of music with discourses ranging from theology, geology and poetics to psychology, philosophy and economics. The book demonstrates that the persistence of depth metaphors in musicology and music theory today is an outgrowth of their essential role in articulating and transmitting Germanic cultural values. While musical depth metaphors have historically served to communicate German nationalist sentiments, Watkins shows that an appreciation for the broad connotations of those metaphors opens up exciting new avenues for interpretation.

The Process That Is the World grapples with John Cage not just as a composer, but as a philosopher advocating for an ontology of difference in keeping with the kind posited by Gilles Deleuze. Cage's philosophy is not simply a novel method for composition, but an extensive argument about the nature of reality itself, the construction of subjects within that reality, and the manner in which subjectivity and a self-creative world exist in productive tension with one another. Over the course of the study, these themes are developed in the realms of the ontology of a musical work, performance practices, ethics, and eventually a study of Cagean politics and the connection between aesthetic experience and the generation of new forms of collective becoming-together. The vision of Cage that emerges through this study is not simply that of the maverick composer or the "inventor of genius," but of a thinker and artist responding to insights about the world-as-process as it extends through the philosophical, artistic, and ethical registers: the world as potential for variance, reinvention, and permanent revolution.

In the course of the nineteenth century, four-hand piano playing emerged across Europe as a popular pastime of the well-heeled classes and of those looking to join them. Nary a canonic work of classical music that was not set for piano duo, nary a house that could afford not to invest in them. Duets echoed from the student bedsit to the Buckingham Palace, resounded in schools and in hundreds of thousands of bourgeois parlors. Like no other musical phenomenon it could cross national, social and economic boundaries, bringing together poor students with the daughters of the bourgeoisie, crowned heads with penniless virtuosi, and the nineteenth century often regarded it with extreme suspicion for that very reason. Four-hand piano playing was often understood as a socially acceptable way of flirting, a flurry of hands that made touching, often of men and women, not just acceptable but necessary. But it also became something far more serious than that, a central institution of the home, mediating between inside and outside, family and society, labor and leisure, nature and nurture. And writers, composers, musicians, philosophers, journalists, pamphleteers and painters took note: in the art, literature and philosophy of the age, four-hand playing emerged as a common motif, something that allowed them to interrogate the very nature of the self, the family, the community and the state. In the four hands rushing up and down the same keyboard the nineteenth century espied, or thought espy, an astonishing array of things. Four-Handed Monsters tells the story of that practice, but also the story of the astonishing array of things the nineteenth century read into it.

This collection of essays celebrates the work of Sir Harrison Birtwistle, one of the key figures in European contemporary music. Representing current research on Birtwistle's music, this book reflects the diversity of his work in terms of periods, genres, forms, techniques and related issues through a wide range of critical, theoretical and analytical interpretations and perspectives. Written by a team of international scholars, all of whom bring a deep research-based knowledge and insight to their chosen study, this collection extends the scholarly understanding of Birtwistle through new engagements with the man and the music. The contributors provide detailed studies of Birtwistle's engagement with electronic music in the 1960s and 1970s, and develop theoretical explanations of his fascination with pulse, rhythm and time. They also explore in detail Birtwistle's interest in poetry, instrumental drama, gesture, procession and landscape, and consider the compositional processes that underpin these issues.

Pierre Boulez is arguably the most influential composer of the second half of the twentieth century. Here, Jonathan Goldman provides a fresh appraisal of the composer's music, demonstrating how understanding the evolution of Boulez's ideas on musical form is an important step towards evaluating his musical thought generally. The theme of form arising from a grammar of oppositions - the legacy of structuralism - serves as a common thread in Boulez's output, and testifies to the constancy of Boulez's thought over and above his several notable aesthetic and stylistic changes. This book lends a voice to the musical works by using the writings - particularly the mostly untranslated collected College de France lectures (1976-95) - to comment on them. It also uses five musical works from the post-1975 period to exemplify concepts developed in Boulez's writings, presenting a vivid portrait of Boulez's extremely varied production.

Ruth I. DeFord's book explores how tactus, mensuration, and rhythm were employed to articulate form and shape in the period from c.1420 to c.1600. Divided into two parts, the book examines the theory and practice of rhythm in relation to each other to offer new interpretations of the writings of Renaissance music theorists. In the first part, DeFord presents the theoretical evidence, introduces the manuscript sources and explains the contradictions and ambiguities in tactus theory. The second part uses theory to analyse some of the best known repertories of Renaissance music, including works by Du Fay, Ockeghem, Busnoys, Josquin, Isaac, Palestrina, and Rore, and to shed light on composers' formal and expressive uses of rhythm. DeFord's conclusions have important implications for our understanding of rhythm and for the analysis, editing, and performance of music during the Renaissance period.

Examining, for the first time, the compositions of Johann Joseph Fux in relation to his contemporaries Bach and Handel, The Musical Discourse of Servitude presents a new theory of the late baroque musical imagination. Author Harry White contrasts musical "servility" and "freedom" in his analysis, with Fux tied to the prevailing servitude of the day's musical imagination, particularly the hegemonic flowering of North Italian partimento method across Europe. In contrast, both Bach and Handel represented an autonomy of musical discourse, with Bach exhausting generic models in the mass and Handel inventing a new genre in the oratorio. A potent critique of Lydia Goehr's seminal The Imaginary Museum of Musical Works, The Musical Discourse of Servitude draws on Goehr's formulation of the "work-concept" as an imaginary construct which, according to Goehr, is an invention of nineteenth-century reception history. White locates this concept as a defining agent of automony in Bach's late works, and contextualized the "work-concept" itself by exploring rival concepts of political, religious, and musical authority which define the European musical imagination in the first half of the eighteenth century. A major revisionist statement about the musical imagination in Western art music, The Musical Discourse of Servitude will be of interest to scholars of the Baroque, particularly of Bach and Handel.