Subject Area: Music & Musicology
Douglas, Darrell1998 0-7734-8343-8 288 pages
Countless texts exist to teach the organization and analysis of harmony and melody; however, there are only a few texts that teach a student how to write harmonic dictation, and none that teach a student to write melodic dictation drawing on the melodic practice from the last five centuries. This text will train even the least able student to write dictated melodies accurately by presenting simple conjunct examples to advanced melodies using 20th century practices. The 840 examples are carefully organized into twelve chapters. Each chapter has an introduction that explains the specific new melodic material the student will encounter in the chapter's dictation. The melodies in each chapter will be integrated with those already learned. This repetition and integration will enable the student to remember and write melodies in an organized way. Softcover spiral-bound for easy use.
Boettcher, Bonna
1992 0-7734-9806-0 104 pages
A critical examination of two piano works by Igor Stravinsky from a performer's point of view, pointing our reflections of eighteenth-century forms and styles, while indicating some of the transformation brought about by the composer's musical personality. Develops special insights that supplement views of theorists and historians.
Knappert, Jan
2004 0-7734-6443-3 560 pages
This massive book of Swahili songs, with English translations, contains 28 chapters of categorized songs. Contains a long introduction setting the songs in historical context.
Dennis, Christopher
1997 0-7734-8434-5 144 pages
Examines Adorno's principle theme: the historical demise of tonality as the basis for the valid practice of musical art. This theme proceeds from his dialectical view of reality, and from the consequences of the historical change that began with the ascendancy of the bourgeoisie. Responses to these circumstances by the principal composers of the period span a continuum from authenticity, in acknowledgment of the end of musical art, achieved in the objectifying constructions of Schoenberg's 12-tone principles; to inauthenticity, in the pretence of Stravinsky's works to maintain a traditional tonality which is really dead. The consequences of this history for contemporary music are presented as Adorno described them in publications subsequent to Philosophy of Modern Music. Inconsistency is noted in Adorno's understanding of what tonality is, and where it actually applies: this casts doubt upon the notion of tonality from which its historical demise supposedly derives. Adorno's characterization of present historical trends is read as negative, and an interpretation of this apparently essentialist position is offered.
Ross, Larry
2002 0-7734-6857-9 192 pages
This study examines the migration of African American jazz musicians to other parts of the world from 1919 to the present. It provides evidence that African American jazz musicians fared better in the diaspora than they did in America where jazz and its inventors were born. Characterized as bereft of ‘culture’ in America, they were hailed as the epitome of high culture in Europe, Asia, and the Soviet Union: they fraternized with royalty in Europe while Jim Crow laws prevailed in America. The study begins with the emergence of jazz music in America, examines musicians who traveled abroad, and their lives and influences in postwar Europe, including Germany from 1925-1945, and also presents some surprising statistics on the death rates of jazz and classical musicians in the US and abroad. The study, written by an anthropologist who is also a jazz musician, provides a treatment of the cultural, historical, artistic, innovative, and aesthetic aspects of the migration of African American jazz musicians to the diaspora.
Konye, Paul
2007 0-7734-5253-2 268 pages
This study makes a distinction between modern Nigerian art music, which evolved in the twentieth century and emphasizes Western music notation, and the previously existing art music tradition in Nigeria before the advent of missionaries in the nineteenth century. Specifically, this research examines the social, political, and cultural factors involved in the evolution and practice of art music in Nigeria. This book contains 4 color photographs.
Hutson, Cecil
1996 0-7734-8800-6 172 pages
This volume traces the band's humble beginnings as penniless boys with a penchant for crime, to successful businessmen who gave millions back to their community. It explores an aspect of southern culture that has been ignored: how music changed, modified, or swayed southern intellectual thought and social views, and reinforced the messages, opinions, and ideas of southern society. Through an extensive analysis of traditional and nontraditional primary and secondary sources, this study determines how Black Oak Arkansas reflected and/or influenced southern culture. The result is an original contribution to the cultural, musical, and social history of the American South.
Brown, Kellie D.
2005 0-7734-6158-2 360 pages
Since the earliest civilizations, a connection has existed between music and the literary arts. From the Old Testament and ancient Greek poets to the great operatic masterpieces of the nineteenth century, music and words have forged an inseparable bond. This relationship is not only seen in musical genres but in a prolific output of novels for adults and children that contain musical themes, characters, and/or settings.
This book is the result of many years of research into fiction that has this musical connection. Focusing on novels mainly from the twentieth century, this volume contains an extensive annotated list featuring works for adult, young adult and juvenile audiences and also represents a wide range of musical genre from classical to jazz to rap. Following the annotations, this book provides a comprehensive listing of all titles sorted by reading level and by musical genres to assist librarians, educators, and readers in finding the precise book for a given need or interest.
Larrick, Geary H.
2006 0-7734-5970-7 212 pages
Methodology in this interdisciplinary study incorporated viewing more than two hundred periodicals in University Library in the Learning Resource Center at the University of Wisconsin – Stevens Point, during the first three months of 2005. Thus, references taken involve that time frame or in the recent past.
The author started at the beginning of the alphabet; that is, periodicals with titles starting with the letter “A,” and went to the letter “J,” whose publications for the most part started with the title word “Journal.” This encompassed well over two hundred bibliographic entries in the book and research notes, adding annotations that often include author memoirs.
The result is an interdisciplinary view of percussion music. Many authors, editors and articles are cited, in a number of different fields, i.e. sociology, anthropology, health, physical and social sciences, natural resources, and the humanities. The author of this book has made an effort not to replicate the original works, but simply to use them as a stepping stone to further discussion. Therefore, both the bibliography and the associated references are important to the subject.
The reader is invited to attend this tour of the periodical collection, and to enjoy its diversity, variety, threads of similarity, personal and professional memoirs that are related to the subject at hand, and to discover all the wonders that are available to the modern reader. Citations include a multicultural list of names from a multiplicity of nationalities and ancestral sources, coming together, for the most part, in the academy of post-secondary and higher education.
Rice, Paul
1996 0-7734-8865-0 232 pages
John Abraham Fisher (1744-1806) was one of the most important English musicians and composers of his generation. The range of his compositional activities demonstrates the diversity of his interests. In addition to playing in theatres, he performed his own works at the pleasure gardens at Vauxhall and Marylebone, and also composed cantatas, anthems, an oratorio, symphonies, and chamber music. The present volume gives evidence of his contributions to the musical life of not only the Covent Garden theatre, but British musical life in general.
Blazich, Joan Michelle
2010 0-7734-3805-X 292 pages
This work provides for the first time, the complete English translations and analyses of the first known, Classical-era pedagogical treatises for the clarinet. The project makes available valuable information on performance techniques used by Classical-era clarinetists, particularly in Amand Vanderhagen’s discussions of the embouchure, reeds, and embellishments. In addition, it demonstrates Vanderhagen’s influence on subsequent clarinetists.
Burgess, Robin
2005 0-7734-6048-9 152 pages
This work is an important, but neglected, treatise of 18th century musical aesthetics. It belongs to that mid-century movement in the arts that saw a reaction against the artificiality and formality, as it came to seem, of the Baroque style and towards the naturalness of expression characteristic of the painting, literature, drama, even fashions in gardening in the latter part of the century. Algarotti was a man of wide interests and deep culture who himself assisted in opera productions in Berlin and Parma. In this essay, he sets out a program for the form of opera that bears remarkable resemblances with the first recognisably modern works in the form that are still performed today, the operas of Gluck. The essay attracted considerable attention in its day, being translated into several European languages. The new edition makes available once more the contemporary English translation, which is both accurate and has an attractive period quality.
Root, Scott
2004 0-7734-6531-6 175 pages
Robert M. Beadell (1925-1994) modestly referred to himself as a “neoclassic eclectic composer” and an “obscure regional composer”, yet these appellations do not begin to describe the importance of his contribution to twentieth century American music. The four music drams which are the subject of this study are each very different in their size and scope, yet all bear the unmistakable stamp of Beadell’s unique blend of music and drama. This book intends to show that the four music dramas are unique examples of American opera and should have the opportunity to be examined for their musicological and dramatic worth so that American opera directors and impresarios can decide if they should be included as definitive examples of American opera.
Lubaroff, Scott
2004 0-7734-6472-7 132 pages
This study asserts that Stravinsky’s Octour pour instruments a vents (1923) is pivotal within Stravinsky’s progressions in regard to orchestrational practice, instrumental choices, and compositional choices, and presents it as the point in which all of these transitions came together for the first time. After an opening discussion of Stravinsky’s early life and compositional career, it concentrates on setting up the Octet and Concerto through discussion of the years leading up to their composition. In addition to placing the two works within their context of their position and broader influence upon Stravinsky’s surrounding production, it provides a full musical analysis of the Octet, followed by comparative analysis between it and the Concerto. The analysis is predominantly centered around compositional practices and orchestrational techniques.
Hawes, Jane
1994 0-7734-9092-2 156 pages
Work analyzes how Verdi produced what is not only a monumental piece of music, but a remarkably effective and faithful adaptation. It examines how Verdi (and his librettist, Arrigo Boito) translated from speech to music, and what is required generally for a good adaptation. The study is primarily musical, though it examines literary matters as well. It examines principal characters and their relationships, the arias, the structure, and differences and similarities between Verdi and his source, Shakespeare.
Flindell, Edwin F.
2014 0-7734-4312-6 452 pages
Through an interdisciplinary approach the author seeks to discover how composers created the modal polyphonic system. The reader is led from scholarly and theoretical issues to direct compositional creation.
A significant contribution and interdisciplinary approach to medieval musical research. The author not only researches the music history of the time, but incorporates the political, social and cultural conditions that gave rise to the birth of polyphonic thought in Western music.
Kott, Tama I.
2004 0-7734-6478-6 202 pages
The study of orchestral excerpts is essential for those who aspire to orchestral or teaching positions. This book contains a database of published orchestral excerpt collections for bassoon both in and out of print. The overview provides general information on the compilers or editors, the contents, and other information pertinent to a specific collection. The comparison among three collections (Gumbert, Stadio, Kolbinger and Rindersapcher) illustrates how excerpt collection for bassoon evolved over a one-hundred year publication period. The compilation fills a void in bassoon pedagogy.
Starr, James; and Edwards, Elaine
2003 0-7734-6540-5 384 pages
Yaklich, Richard E.
2003 0-7734-6725-4 162 pages
This book can be used as a guide for professional conductors, school directors, music libraries and reference libraries. The study details where to find recommendations for repertoire to program for various types of ensembles, and also to aid in programming. It also contains an annotated bibliography which critiques the numerous books available on orchestra repertoire, major music publishers, and lists sample programs from many orchestras around the United States.
Moy, Ron
2000 0-7734-7540-0 164 pages
Traces the process of specularization, whereby the hegemonies of state, church, patriarchy and the mass media have attempted to marginalize the role of sound in contemporary society. In a much under-researched file, this study contributes to an inter-disciplinary understanding of sound’s unique characteristics and how, in an often oppositional climate, in maintains its status as a vital communicative and artistic tool.
DeLio, Thomas
2017 1-4955-0592-8 380 pages
Over the past thirty years, Thomas DeLio, American composer and music theorist, has produced a highly original body of music and writings that have established his artistic and scholarly voice as unique amongst his peers. His writings have addressed music by a diverse collection of American and European composers including Iannis Xenakis, Morton Feldman, John Cage, Alvin Lucier, Arnold Schoenberg, Erik Satie and Luigi Dallapiccola.
Erdmann, Thomas
1997 0-7734-8545-7 216 pages
Sigmund Hering (1899-1986) was perhaps the most influential trumpet teacher in America during the mid 20th century, and was known worldwide. He served as trumpeter with the Philadelphia Orchestra from 1925-1964. He is the most published trumpet pedagogue in the world. After a short introductory chapter on Sigmund Hering, this work analyzes his published trumpet works, draws conclusions on each text for suitability of use, and creates a guide for trumpet pedagogues for using Hering's 408 trumpet etudes for one trumpet without piano accompaniment. Appendices include: A Brief Look at the Compositional Relationship Between Leon Lester and Sigmund Hering; Brief Biographies of Sigmund Hering's Principal Viennese Instructors; A Complete List of Sources Used to Create the List 'Twentieth Century Topics of Trumpet Pedagogy'; and Definitions of Some Terms Used in that list. This book is available at a special price when ordered for text use. Call (716) 754-2788 for text information.
Larrick, Geary
2005 0-7734-6223-6 152 pages
This is an annotated bibliography of works published since 1976 by Per-Mus Publications LLC, of Columbus, Ohio, owned and founded by James L. Moore, Ph.D.. Dr. Moore is an Associate Professor of Music Emeritus at The Ohio State University, and continues to work as percussion instructor with the Ohio State University Marching Band, an organization of which this author is an alumnus. About one hundred fifty works are cited, with autobiographical memoirs of a professional nature interspersed in the manuscript.
This volume is a specific record of the publications produced by Dr. Moore's firm in twenty-eight years, including work of J.S. Bach, Leopold Mozart, Wolfgang Amadeus Mozart, Frederic Chopin, Felix Mendelssohn, Ruth Stuber Jeanne, Gary Olmstead, James L. Moore, Geary Larrick, Murray Houllif, Jack Jenny and numerous others from contemporary and past history. Specifics of composition and percussion are cited, as well as the inclusion of many names associated with music and history.
The author is a native of Ohio, having studied with J.L. Moore during the 1964-65 school years at OSU, and collaborated with him in the interim. This book is a close-up look at percussion music publishing in the latter quarter of the 20th Century in the United States of America, involving a company that distributes widely including internationally. Fields of study that are discussed are education, music, percussion, history, theory, composition, arranging, business and basic scholarship.
Howie, Crawford
2002 0-7734-7300-9 364 pages
This study provides a fuller account of Bruckner’s early and middle years than has hitherto been available, and supplements the more accessible information about his years in Vienna by drawing on a rich source of material in contemporary reviews of performances of his works, comparisons between him and Brahms, and the well-documented accounts of hostility between the ‘conservative’ pro-Brahms faction (represented by Hanslick, Kalbeck and others) and the ‘progressive’ pro-Wagner and pro-Bruckner faction (represented by the Schalk brothers, Ferdinand Löwe and Hugo Wolf).
Howie, Crawford
2002 0-7734-7302-5 432 pages
This study provides a fuller account of Bruckner’s early and middle years than has hitherto been available, and supplements the more accessible information about his years in Vienna by drawing on a rich source of material in contemporary reviews of performances of his works, comparisons between him and Brahms, and the well-documented accounts of hostility between the ‘conservative’ pro-Brahms faction (represented by Hanslick, Kalbeck and others) and the ‘progressive’ pro-Wagner and pro-Bruckner faction (represented by the Schalk brothers, Ferdinand Löwe and Hugo Wolf).
Sterne, Colin
1993 0-7734-9179-1 252 pages
The pervasive influence of numerology on Arnold Schoenberg's private life is a matter of record. But might his curious faith in the power of numbers have influenced his art as well? The author proposes that indeed it did, and that all of the music of Schoenberg, in all of its aspects, was consciously and deliberately organized by the composer according to the procedures of traditional numerology.
Meynell, Hugo
1986 0-88946-425-1 264 pages
Explains how Handel's operas are outstanding expressions of the opera tradition as it had developed to the late 18th century. Contains detailed consideration of Handel's work between 1705 and 1741.
LaCroix, Richard
1988 0-88946-431-6 130 pages
An important interdisciplinary study of some of the concepts central to Augustine's philosophy of art, largely ignored in previous works.
Springer, Robert
1995 0-7734-8920-7 212 pages
This translation of Robert Springer's Le blues authentique (1985, Editions Filipacchi) surveys the history and development of the blues in the United States. It analyzes its evolution in relation to the history of African Americans in the South during the post-slavery period and during their successive migrations to urban centers like Chicago, Detroit, Los Angeles and San Francisco. It tackles the problem of stylistic characteristics and social aspects of the blues by analyzing the lyrics of hundreds of blues songs recorded between the 1920s and 1950s and underlining the various changes in themes. This in-depth study documents the history of the blues and also focuses on its social aspects and on the authenticity of its impact on both black and white segments of American society and popular culture from the 1920s to the present.
Nash, Elizabeth
2007 0-7734-5250-8 536 pages
This comprehensive book of autobiographical writings, interviews, and articles reveals the thoughts and lives of African-American musicians, examining their place in musical performance and their role in introducing the Negro spiritual into the classical repertoire. The list of individuals this study looks at includes Elizabeth Taylor Greenfield, the Original Fisk University Jubilee Singers, and Sissieretta Jones in the 19th century, early pioneers of the 20th century-E. Azaliah Hackley, Julius Bledsoe, Eva Jessye and Roland Hayes-their successors Marian Anderson, Paul Robeson, Todd Duncan, Camilla Williams and Dorothy Maynor-followed in the later 20th and early 21st centuries by Leontyne Price, William Warfield, George Shirley, Shirley Verrett, Grace Bumbry, Jessye Norman, Kathleen Battle, Vinson Cole, Mark S. Doss and Denyce Graves.
Oldfield, Anna C.
2008 0-7734-4990-6 276 pages
This work examines women ashiqs and their poetry, contextualizing their lives and works within discussions of the history, music, poetics, and social importance of the ashiq in Azerbaijan. Theoretical concerns addressed include the interplay of oral and written literature, discourse of national and transnational identities, dynamics of cooperation and resistance in the Soviet Union, the interplay of tradition and innovation in folklore, and gender roles in Azerbaijani society. This book contains sixteen black and white photographs and twelve color photographs.
Parsons, Charles
1990 0-88946-486-3 260 pages
Noble, Cynthia Nazzaro
2005 0-7734-6052-7 220 pages
Bessie Schönberg was one of the foremost dance educators of the 20th century and was highly influential in contemporary dance. Schönberg taught at Sarah Lawrence College from 1936 to 1975, where she created and directed one of the first autonomous dance departments in American higher education. Founded on the philosophy of progressive arts education, the Sarah Lawrence program served as an important example for other emerging dance programs in the decades between the 1940s and 1970s, a time of significant growth in college dance programs in the United States. Some of her former students became well-known professional choreographers and dance educators, including Carolyn Adams, Elizabeth Keen, Meredith Monk, Lucinda Childs and Victoria Marks, and several contributed information to this study.
Schönberg’s life and career were deeply intertwined with many of the most important figures in American modern dance, including Martha Graham and Martha Hill; with historically significant events such as the emergence of the Bennington Summer School of Dance; and with premiere dance institutions such as Dance Theater Workshop, Jacob’s Pillow Dance Festival, The Julliard School and Dance Theatre of Harlem. The book examines her early life in Germany and family background, her years of professional preparation in America as a dancer and educator, and her educational experiences at Bennington College Summer School of the Dance. It also describes curricular innovations that chairperson Schönberg instituted at Sarah Lawrence, and her original methodology for teaching choreography, as observed at Jacob’s Pillow and Dance Theater Workshop.
Larrick, Geary
2003 0-7734-6644-4 196 pages
This volume surveys a broad spectrum, from Bach, Beethoven, and Brahms, through Ellington, Richard Rodgers, and the Beatles. It has more than a hundred essays annotating bibliographic entries concerning percussion, based on the author’s experience as performer, teacher and writer. Broad subjects encompassed include opera, symphony orchestra, popular and jazz music, virtuosity and education, musicology and history, African-American history and women’s history.
Ulmer, Marissa L.
2007 0-7734-5501-9 140 pages
This book provides a current listing of chamber works written during the twentieth and twenty-first centuries for voice, horn and piano. It is intended to serve as a resource for those musicians searching for such works to serve both performance and research-related purposes. Selected annotations provide background information about the works, as well as valuable performance-related information, such as timings, range, and difficulty levels. Also included are appendices for cross-referencing the entries, and information concerning the publishers and distributors of included works is listed in an appendix also.
Larrick, Geary
1999 0-7734-8165-6 190 pages
Section I contains more than a hundred brief essays headed with bibliographic entries, covering aspects of contemporary percussion music. Section II contains more than twenty essays on a broad selection of subjects having to do with music ranging from the symphony to the xylophone. Section III contains several essays of musical scholarship covering analysis, biography, education, history, pedagogy and performance. The biographical sketches are of a professional nature. "The book traverses an expansive terrain of composers: some of the well known masters who happened to write for various percussion instruments, and others, writing as percussion performers themselves, who have made contributions to the solo literature. . . . there is an entire section devoted to women in the field. Geary Larrick deals at length with the literature on percussion music, and reviews, for instance, catalogues of instruments and the literature written for them. Monographs and methods, both historical and pedagogical, fall within the scope of his discussion, and he has reviewed many solo anthologies (some of which are for students), and collections of orchestral excerpts. . . . Even more diversity appears in his commentary on percussion instruments. Naturally the instruments of the orchestral percussion section are appropriate here, but the Afro-Cuban and Afro-Brazilian instruments appear alongside oriental and biblical instruments. . . . concise and within the reach of every insider. It is even accessible to outsiders, where the world of percussion has remained, until now, incomprehensible. This book shows how vast and variegated that world is." – Richard Pinnell, Chair, Department of Musick University of Wisconsin- LaCrosse
Apter, Ronnie
1999 0-7734-8009-9 328 pages
This work contains the 43 Old Occitan texts of the extant works of 12th century troubador Bernart de Ventadorn, each with a poetic translation, a literal translation, and notes and commentary. It also includes musical transcriptions of the 18 melodies extant, including 5 with singable translations, and an introduction on Ventadorn’s life and times. Includes CD
Foreword by Occitan scholar Nathaniel B. Smith
Preface by award-winning translator Burton Raffel
Wagner, Alan D.
2005 0-7734-6241-4 500 pages
Warren Frank Benson, a distinguished American composer, conductor, educator, performer and author, was born in Detroit, Michigan, in 1924. Self-taught in composition, Benson has composed nearly 150 works for solo instruments and voice, chamber ensembles, choirs, bands, and orchestras. His compositional output ranges in difficulty from simple songs written for young children to music for professionals. Benson has also written poetry, humorous prose and scholarly works. In addition to being a composer, he has also been a notable teacher of percussion, composition, music theory, and music history. As a conductor, clinician, and lecturer he has influenced improvement in the quality of repertoire played by bands, raised performance standards, and influenced educational philosophy regarding creativity. Benson's compositional style is "inclusive," incorporating tonality, free atonality, serialism, canons, ostinati, layering techniques, and other compositional techniques into a unique language embodying lyricism. His orchestration has been pioneering, reflecting his interest in the transformation of tonal colors through timbral modulation and other techniques. He has also championed the use of soprano saxophone, English horn, bass saxophone, contrabass clarinets, percussion, and piano in his band music. Benson is best known for his wind ensemble compositions. The significance of this music rests in its musical integrity, achieved through a balance of compositional craft, musical intuition, and imaginative orchestration.
In the professional world, Benson has gained substantial recognition for his song cycles. He has been praised for his sensitive and masterful setting of their texts. The four most significant of these have been recorded: Five Lyrics of Louise Bogan, Moon Rain and Memory Jane, Songs for the End of the World, and Shadow Wood. These song cycles exhibit a power of drama and expression that enhance the emotional content of the text. Shadow Wood is the most significant of Benson's song cycles, and maybe of his oeuvre. The choice of text, the setting of text, the pacing of music and text, the timbral diversity and interest, compositional technique, and intuitive creativity synthesize in this twentieth-century masterpiece. Benson has received numerous awards throughout his career. Representative of these are the "Lillian Fairchild Prize," the National Band Association's "Citation of Excellence," the "Diploma de Honor" from Argentina's Ministry of Culture, and annually since 1960, the "Serious Music Award" from ASCAP. At the Eastman School of Music of the University of Rochester he has received the "Citation to Faculty" and has been recognized as the "Kilbourn Distinguished Professor" and "University Mentor." He has been elected to membership in the National Band Association's Academy of Wind and Percussion Arts; the Percussive Arts Society Hall of Fame; Kappa Kappa Psi National Band Fraternity; Pi Kappa Lambda, and Phi Mu Alpha Sinfonia. Benson has also received grants and fellowships from the John Simon Guggenheim Foundation, the National Endowment for the Arts, the Ford Foundation, the New York State Council on the Arts, and the Fulbright Commission. In addition to these recognitions, he was nominated for a Pulitzer Prize in Music in 1998 for his Drums of Summer. Benson is a founding member of both the Percussive Arts Society and the World Association for Symphonic Bands and Ensembles.
The purpose of this book is to provide an extensive resource on the life and works of Warren Benson. His music is created out of such depth of experience that one can only understand and fully appreciate it through a more astute understanding of the man. As with the music of all great composers, an honest interpretation of Benson's music requires an in-depth knowledge of the full range of his work. It is hoped that the information and resources in this book will not only permit a better understanding of Warren Benson and his music, but that it will entice others to examine more of his creativity in artful, inspiring and aesthetically rewarding ways.
Larrick, Geary
1992 0-7734-9559-2 336 pages
This, the first multiple biography in the discipline of percussion music research, contains an impressive amount of contemporary accurate detail regarding the professional careers of many important percussionists who have held leading positions since the early twentieth century. It also includes a wealth of information in the areas of symphonic and jazz music, including major composers and timpanists. The text is written in an accessible style by a percussionist who is acquainted with a considerable number of the biographical subjects. Among subjects included are Vida Chenoweth, Lionel Hampton, William Ludwig, Jan Pustjens, and seventy-six others. Its bibliographical information is unique regarding the field, and includes reference books, articles, audio recordings, video recordings, and compositions.
Bracey, John-Paul
1996 0-7734-8794-8 172 pages
Marcel Ciampi held the longest tenure in the history of the Conservatoire National Supérieur de Musique de Paris. In his long career he performed at least 60 solo recitals a year and collaborated with most of the musical legends of this century. This book chronicles his career and examines his influence on the Menuhin family, and includes a letter from Yehudi Menuhin for the project, and interview excerpts of Hepzibah and Yaltah Menuhin. The book also includes letters from Georges Enesco, Pablo Casals, Alfred Cortot, Vlado Perlemuter, Yvonne Loriod, Lazare Lévy, and many others. It chronicles the international careers of Ciampi's family. Includes many photographs. This book will appeal to music specialists, teachers, pianists, and anyone interested in another perspective on the music history of this century.
Becker, Juanita
2016 1-4955-0497-2 152 pages
The purpose of this book is to make information about this Dutch composer and her music available in English. Henriëtte Bosmans (1895-1952) enjoyed a varied and active career as a solo and collaborative performer, composer, and music critic. Considered one of the foremost Dutch composers of her day, Bosmans is best regarded for remaining true to her own musical idiom, regardless of whatever compositional techniques were fashionable at the time.
Giray, Selim
2003 0-7734-6879-X 132 pages
Adnan Saygun, one of the leading composers of the Turkish Five, was a serious ethnomusicologist who led the fieldwork in gathering folk material, and collaborated with the prominent musicological researcher and composer Béla Bartók. Saygun's music is published and recorded and performed internationally. After a biography, this study uses Saygun's violin music to discuss his practice of utilizing Turkish folk elements in Turkish classical music. It thus provides the non-Turkish performer with an understanding of the performance practice of the authentic Turkish folk idiom in Saygun's original compositions and Turkish classical music. A list of Saygun's works (revised by the composer) and a discography follow.
Neumeyer, David
1987 0-88946-436-7 396 pages
Offers material unique in the Schenker literature. Argues for the acoustical foundations of Schenker's theory of music, gives a concise tabulation of elements of his theory, and provides annotated analytic sketches.
Greene, David B
2015 1-4955-0322-4 184 pages
The book develops four strategies for doing listener-guided analysis. Each strategy is used to describe one of the movements in Bruckner’s Eighth. Each analysis has two goals: to clarify the mechanics of a particular strategy for carrying out listener-guided analysis, and to demonstrate that new kinds of insights can be gained when the strategy opens a way to describe Bruckner’s music by describing its hearers’ relations to it.
Tian, Min
2010 0-7734-3777-0 436 pages
This is the first English language book to systematically examine the life and art of Mei Lanfang (1894-1961). Mei, who specialized in female roles in classical Chinese theatre, especially jingju, is widely considered the greatest actor of twentieth-century China. This text includes analyses of his work from Chinese, Western, Russian,and intercultural perspectives.
Shrader, James A.
2012 0-7734-2928-X 188 pages
The choruses from the eighteenth century opere serie of Wolfgang Amadeus Mozart represent a body of literature that is relatively unknown. While the majority of Italian opere serie exclude the chorus, most of Mozart’s works in this genre contain significant choral scenes. The existence of opera seria as popular musical theater was short-lived, yet the choruses from Mozart’s opere serie are worthy examples of secular choral literature.
The study includes a scholarly examination of the opera seria as a genre, as well as the historical role of the opera chorus. Of particular importance is the operatic reform movement in France.
Flannery, Matthew
2004 0-7734-6336-4 348 pages
This work proposes a solution to what is often considered the central problem facing Scarlatti scholarship, determining the chronological order of his keyboard sonatas. In the data-poor arena of Scarlatti research, this work, avoiding a primarily musicological or organological approach, analyzes large-scale patterns of musical characteristics over all (or parts) of a sonata sequence founded primarily on the Parma manuscript. As a result of an extensive application of this analytic approach to the sequence, this work notes that many sequence patterns seem to be chronologically structured, that none seem anti-chronological, and that a few mirror historical changes in the music of Scarlatti=s time. These phenomena and other observations delimit something like a general history of Scarlatti=s musical development enriched further by a variety of localized events. Among some 26 patterns observed in the sequence are a systematic rise in Scarlatti=s use of the major mode, stepped increases in sonata compass that seem to accord with the sequential availability of larger keyboards, and both an increase in the rate at which the sonatas were combined into sets of two or three works and the use by Scarlatti of progressively complex techniques for doing so. This work also sketches a methodological background for the chronological proposal, including a discussion of why chronological order seems a superior interpretation of the sequence compared to the thought that it may have been reorganized, whether at random or by specific criteria. This study also discusses such subjects as the probable location of the 30 essercizi within the sonata sequence, the likely mis-location of several other sonatas, implications of chronological order from organology, a broadly dated window for the latter part of the sequence, the relationship between conservative and radical elements in Scarlatti=s compositions, a late-sequence change in his approach to writing slow sonatas, and the interplay of structural integration and musical diversity in the later sonatas. It presents a new catalog of the sonatas that, while substantially congruent with Kirkpatrick=s, proposes modifications to his ordering of the first hundred sonatas as well to a few other but smaller regions of the sequence.
Fryer, Paul
2009 0-7734-3853-X 1212 pages
Compiled by an Anglo-Russian research team over a four-year period, the chronology has drawn on contemporary records in the archives of the Mariinsky itself, the newspaper archives in the Russian National Library in St Petersburg and material held in the St Petersburg State Museum of Theatre and Music: the vast majority of this material has never appeared in English-translation prior to the current publication.
Sharp, Ian
2001 0-7734-7411-0 248 pages
“Ian Sharp’s book fills an important gap in the music education literature: the significance of important music by important composers and the essence of the childhood experience. Sharp’s book avoids being yet another teaching methodology. Instead, it links a thorough analysis of childhood qua childhood with music expressly about childhood. . . . Sharp first offers a comprehensive psychological and sociological study of childhood. Then, with sensitivity, skill and insight, Sharp shows. . . how music can express meaning that is accessible to children. This is followed by careful analysis of music by mainstream composers intended specifically either for children or about the theme of childhood. These include Robert Schumann, Benjamin Britten, Chopin, Kodaly, Bartok, Bizet, and a host of others. The analyses of the works of these composers should satisfy any music theorist. . . . In addition to classical works, Sharp generalizes his thesis across traditional aspects of music education: lullabies, folk songs, berceuse, rhymes and songs. Buy the way, Sharp’s discussion of musical games and children in opera is a peach! Music educators will welcome this work as a needed contribution to the literature. . . .should be made required reading in all university music education foundations courses.” – Harold E. Fiske
Jones, Philip
2002 0-7734-7294-0 320 pages
Chop’s main claim to fame is his 1904 study of Delius, the first on the composer to be published; it laid the foundations for future Delius biographers. Chop also produced several scholarly articles on Delius in 1907, and played a crucial role in ensuring his opera A Village Romeo and Juliet reached the stage of Berlin’s Komische Oper that year. This book brings together Chop’s collected criticism of Delius in translation for the first time, and includes the original texts, a commentary and note on the author plus several previously unpublished letters. In his day he was widely respected as a musicologist, music journalist and newspaper editor. He published a number of compositions.
Whitehead, Geoffrey
2003 0-7734-6750-5 196 pages
This study begins with a brief history of the tuba, focusing on its development from its instrumental precursors, as well as the development of solo and ensemble literature for the tuba. The second chapter contains an in-depth study of pedagogical techniques and materials required for the implementation of a college level tuba program. It contains essential technical information such as tone production articulation concepts, etc., as well as essential administrative information such as grading procedures, equipment choices, etc. The final section contains annotated tuba literature lists, divided into solo, orchestral, band, and etude works, and a listing of solo tuba recordings.
Stokes, Harvey
1992 0-7734-9166-X 292 pages
The Second Act, composed by this book's author, is a musical representation of the events recorded in the second chapter of the Acts of The Apostles from the Holy Bible: New International Version. Performing forces include large orchestra, brass septet, mixed chorus (SATB), men's chorus (TTBB), soprano solo, tenor solo, baritone solo, and bass solo. Of central significance in this book is the utilization of an important analytical tool for investigation of much 20th-century music: Category Analysis. This methodology observes the composer's usage of various musical parameters in the establishment of structure. Part I provides an examination of textual and outer musical form. Part II explores the wide spectrum of melodic, harmonic, rhythmic, textural, and internal form procedures. Concludes with a comparison of salient features in the composition.
Mitchell, Jon
2001 0-7734-7522-2 720 pages
Based upon and containing many of Holst’s own personal letters, diaries, and notebooks entries, this study provides an intimate portrait of this larger-than-life personality. Many of Holst’s innermost thoughts regarding musical composition, performance, and music education are disclosed here. In addition, there is a significant amount of information concerning Holst’s work ethics at all six of his places of employment. It also provides a view of the composer from this side of the Atlantic, shedding considerable light on Holst’s plans and activities regarding his three American visits that is not found in the other biographies. A significant number of chapters are devoted to Holst’s 1932 semester -long lectureship at Harvard University. The appendices include examples of Holst’s manuscripts, thumbnail sketches of persons associated with his career, and (unique to this text) a chronological listing of his compositions.
Boire, Paula
2002 0-7734-7254-1 380 pages
This massive four-volume work is an overview of the development of the art song in Romania. Interviews were conducted with composers or their surviving family members. Includes songs of each composer. It will be a valuable resource for professional singers, voice teachers, students, pianists, musicologists interested in art song, and scholars of Eastern European cultures.
Boire, Paula
2002 0-7734-7256-8 348 pages
This massive four-volume work is an overview of the development of the art song in Romania. Interviews were conducted with composers or their surviving family members. Includes songs of each composer. It will be a valuable resource for professional singers, voice teachers, students, pianists, musicologists interested in art song, and scholars of Eastern European cultures.
Boire, Paula
2002 0-7734-7258-4 468 pages
This massive four-volume work is an overview of the development of the art song in Romania. Interviews were conducted with composers or their surviving family members. Includes songs of each composer. It will be a valuable resource for professional singers, voice teachers, students, pianists, musicologists interested in art song, and scholars of Eastern European cultures.
Boire, Paula
2002 0-7734-7260-6 248 pages
This massive four-volume work is an overview of the development of the art song in Romania. Interviews were conducted with composers or their surviving family members. Includes songs of each composer. It will be a valuable resource for professional singers, voice teachers, students, pianists, musicologists interested in art song, and scholars of Eastern European cultures.
Baroni, Mario; Dalmonte, Rossana; and Jacoboni, Carlo
2003 0-7734-6928-1 572 pages
This is an English translation of the authors’ Le Regole Della Musica: Indagine Sui Meccanismi Della Communicazione, published in Italy in 1999. It is divided into three parts. Part one discusses the concepts of ‘rule’ and ‘grammar’ in the general theory of musical communication, and the role of the computer in studying musical communication. In part two, the authors use a computer program they designed to make a concrete application of the theory. The computer analyzed the arias from a volume of cantatas by Giovanni Legrenzi, a 17th century composer. Based on the analysis, the computer was able to output artificial arias in Legrenzi’s style. (The aim of the program is not to compose new music, but to verify the correctness and completeness of the rules.) In part three, one aspect of the grammar is taken into consideration: the rules of melody. Starting from the grammar of Legrenzi’s arias, a general theory of melody has been developed and its validity has been tested on repertories ranging from Gregorian chant to Arnold Schoenberg.
Wilson, Gary P.
2005 0-7734-6161-2 344 pages
Edward MacDowell (1860-1908) was one of the first American-born composers to gain international notoriety. Relatively little scholarly research has been done that deals specifically with the choral music of Edward MacDowell. This study examines his original choral music for mixed and women's voices, and his editions for men's voices. The choruses are analyzed with a format that considers the importance of meter, tempo, rhythm, melody, harmony, tonality, form, musical/textual agreement, and expressive features. MacDowell was trained in Europe, and his music reflects the influence of late German Romanticism. An important aspect of this study was the preparation of editions of MacDowell's choral music updated to current publication standards. These editions are included in an appendix, as well as copies of the original publications for comparison. The most important scholarly contribution of this book is to make some of MacDowell’s choral music available again. MacDowell’s choral compositions have been virtually lost from the standard repertoire. All of the works examined were published between 1890–1910; they are currently out of print and unavailable to most choral musicians. This book would make part of MacDowell’s choral output available to the choral scholar and musician.
Esselstrom, Michael
1998 0-7734-8400-0 340 pages
Text provides insights into the works and a basis for discussion about them. Brief historical context is provided, instrumentation list and phrasal analysis precede the discussion of each movement, conducting commentary explains musical and technical considerations.
Fiske, Harold E.
2005 0-7734-6192-2 240 pages
The book explores a series of neural network models designed to represent music listening processes. Backpropagation, Adaptive Resonance Theory, and other connectionist procedures are used to model melodic perception, interpretation, and expression. The history and theory of neural network research is presented, and development and construction of the music models is discussed in sufficient detail to interest both specialists and non-specialists. A series of listening experiments demonstrates the models’ validity. The book considers how neural network models can be used to bridge bottom-up and top-down theories of music perception and cognition in addressing questions such as musical imagery, memory and learning, lateral thinking, context and cultural effects on musical understanding. The outcome is a comprehensive theory of musical thinking and understanding. The book is intended for music researchers and graduate students in the fields of music psychology, artificial intelligence and neural network theory, music theory, music cognitive philosophy, and music education.
Hoffman, Hadassah H.
2004 0-7734-6226-0 224 pages
This study explores how the development of humanistic psychology paralled the evolution of modern dance, and what the connections were between the fields as they grew. This is a study of three fields developing within the 20th century. It demonstrates the relevance of the arts to humanistic psychology, and the ways in which the psychologists and dancers influenced each other.
Shafer, Sharon
1992 0-7734-9471-5 96 pages
Bacewicz's music occupies an important place in the twentieth century. Though she wrote more than two hundred compositions, from the symphonic cycle on down to the single movement art song, it is her large compositional forms that have received the most attention, both in performance and analysis. This work provides an analysis of twelve songs written between 1934 and 1956. The songs presented here are analyzed with a consideration of text setting, melodic line and vocal range, formal structure, harmony, texture and tonality. An English translation of each Polish poem is also included. This provides an opportunity to explore the expressive, intimate compositions of Grazyna Bacewicz.
McPherson, Elizabeth
2008 0-7734-5122-6 228 pages
This book looks at the life of Martha Hill, the prominent educator and founding director of three pivotal degree-granting college dance programs or departments and two summer festivals. The first-hand narratives provide in-depth perspectives on Hill’s life and legacy. This book contains 28 black and white photographs.
Kimmey, John
1989 0-88946-437-5 328 pages
A phenomenological study of music that describes the history of musicology from the time of Pythagoras through the 19th-century movements. Includes bibliography, three appendices, and an index.
Kruse, Robert J., II
2005 0-7734-5940-5 180 pages
This book is the first comprehensive geographical analysis of the Beatles. While scholars in a variety of disciplines have analyzed the Beatles’ affect on popular culture, a study of the Beatles from a distinctly spatial perspective has been missing in the literature. This study fills that gap by employing traditional topics of cultural geography such as place and landscape associated with them. In addition, this work addresses the Beatles’ rise to worldwide fame in terms of the influences of particular places of their youth in Liverpool, places where they performed in England, and the changing settings of their international tours. Fieldwork conducted in London and Liverpool, England and New York City in the United States revealed a variety of spatial practices that occur at places associated with the Beatles. Such practices include inscriptions by fans or “pilgrims”, the leaving of artifacts, and re-enactments of famous photographs of the group. This book will appeal to scholars and students and cultural geography as well as sociology and culture studies.
Roy, Diane Carole
2014 0-7734-4285-5 360 pages
A highly original look at Australian multiculturalism through the exploration of the significance of a Slovak traditional music and dance performance in Melbourne employing three methodologies; Goffman’s analysis of interactional behavior, Conversation Analysis, and statistical survey techniques which unified the Foucauldian theoretical framework of the data giving the findings added cogency.
Andy Nercessian
2007 0-7734-5385-7 368 pages
This work is an investigation of the areas that need to be considered in any attempts at defining music that aspire to take into account the wealth of ethnomusicological and philosophical materials of relevance. It introduces, in the opening chapter, a defining approach and certain characteristics of definition that place it somewhere between a description of perceptions of music and accounts of the music itself. It then applies this approach and framework in subsequent chapters, defining music in the broadest sense, while also defining each genre of popular, classical and folk music.
Wilde, Denis
1990 0-88946-487-1 436 pages
Glick, Andrew S.
2004 0-7734-6284-8 470 pages
This tremendous reference is in dictionary style for the easy reference and use by researchers, scholars, and any reader interested in the opera. It is an excellent source for looking up anything from specific data on a particular opera to which aria is connected with which opera. This volume is generously cross-referenced and should prove invaluable in answering many questions on the opera.
Stoffel, Lawrence F.
2006 0-7734-5829-8 444 pages
This study comprises two major components – (1) an annotated discography of 73 concert band/wind ensemble compositions, and (2) interviews with leading conductors who have recorded concert band music on audio compact discs. A complete annotation for each recording identified provides thorough catalog information, including contents, performer, producer, and date. Only recordings that are readily available to consumers are included in this catalog. The discography lists a total of 342 albums. The subjects of the interviews are four conductors who were selected for having produced many recordings of concert band music
van Boer, Bertil
1990 0-88946-440-5 450 pages
Joseph Martin Kraus (1756-1792), Kappellmeister to Gustavus III of Sweden, developed a unique style which embodied the application of Sturm und Drang principles to his works. The author seeks to prove how this style infiltrated many of Kraus's other musical endeavors, creating pieces that were favorably compared to Mozart's and were far ahead of their time in technique.
Carleton, Frances Bridges
1977 0-7734-0311-6 251 pages
The focus of this study is on philosophical, psychological, and aesthetic elements in monologue traditions which begin in antiphonal song and culminate in the work of Robert Browning, whose innovations prefigure a number of significant modern monologue techniques.
Scheppach, Margaret
1990 0-88946-447-2 204 pages
Lurie, Toby
1995 0-7734-2727-9
Duets crosses the border of separation between language and music, moulding these disciplines into a single, unified form. As with music, these compositions should be read aloud by two voices in order to fully understand and appreciate the relationships which develop through their various articulations and weavings. These are compositions for the eye and the ear. They explore the musicality of language -- sound, dynamics, color and rhythm, which is its heartbeat. The publication of Duets concludes his quartet of language/music books that also includes Trios, Quartets, and Quintets, all available from Mellen.
Merritt, Robert
1993 0-7734-9371-9 176 pages
The revival of instrumental music composed before Bach was an important cultural event in turn-of-the-century London. Pound's assimilation of some of the aesthetic values of the music of the 16th and 17th centuries formed one of the important bases for his more general critical convictions. Some of the qualities important to Pound's overall aesthetic philosophy also characterize the old music, including: the effect of medium on overall meaning; "impersonality"; concision and small-scale; tension between "fundamental irregularity" and "classicism of surface"; and the moral and intellectual value of sharp distinct form. Pound's studies of the technical foundations of music affected much of his poetic and theoretical work.
Auric, Georges
2009 0-7734-3867-X 1616 pages
This book contains the majority of Georges Auric’s writings on music that appeared in published newspapers, literary journals, and reviews. The writings are prefaced by an extensive introductory essay that provides the most detailed biographical information yet available on Auric, discusses Auric’s relation to the sources in which his writings appeared, and places Auric in the continuum of French composer/critics of the twentieth century. In French. This is a four-volume work.
Linton, Leslie
2015 1-4955-0321-6 360 pages
This work offers a potential paradigm shift in primary music education. The children in this study emerge not as passive recipients of an adult selected childhood musical culture but as active agents, producing, constructing and reproducing their own unique childhood musical cultures alongside their teacher/facilitator. This view places the child in an active role in the creation and reproduction of their childhood. There are no studies we know of that investigate this mode of music learning from this particular sociological perspective.
Goins, Wayne E.
2001 0-7734-7439-0 208 pages
Oby, Jason
1998 0-7734-2225-0 116 pages
A study of casting of the Black male opera singer and issues that have not been formally addressed or openly confessed before, enriched by significant statements by fellow professionals. Offers evidence of sociological problems that must be addressed to overcome serious misconceptions. Includes an interview with George Shirley, and quotes from Simon Estes, Arthur Thompson, and Vinson Cole.
Holz, Ronald
1990 0-88946-472-3 432 pages
Deals with the life of Erik Leidzen, a band arranger and composer for the Salvation Army who was among the first generation of American musicians to be able to maintain a profession as a writer/arranger of band music.
Licata, Thomas
2008 0-7734-5176-5 416 pages
A revealing look at the artistic and theoretical output of Thomas DeLio whose original compositions, books, and essays are innovative, wide-ranging and wholly provocative. Through essays written by and in tribute to this composer and theorist his contribution to music is more thoroughly appreciated and understood.
Douglas, Darrell
2001 0-7734-7419-6 232 pages
This text is designed to instruct students and keyboard performers how to realize figured bass. No other book is anything like it. It contains 114 musical examples, at least one-half of which are intended for players with very little keyboard background. The music represents highly playable examples of the greatest composers of the Baroque period. Bach and Handel are represented by some of their very best works. One of the greatest values of this collection is that the student can find an organized series of keyboard figured bass examples that he/she would have to search for months to collect.
Moreno, Enrique
1992 0-88946-485-5 203 pages
Comes with (optional) audio-tape.
Grim, William
1992 0-7734-9464-2 236 pages
An interdisciplinary examination of the musico-literary interstices of the Faust legend, including works by German, French, and Italian authors, composers, and librettists.
Fontecchio, Giovanni
1994 0-7734-9364-6 348 pages
This memoir records Elsa Resphighi's direct involvement with composers, performers, conductors, teachers, audiences, politicians, and patrons. The wife of Ottorino Respighi, she was professionally and socially close to such figures as Toscanini, Stravinsky, Richard Strauss, Casals, Segovia, Rubinstein, Ravel, Caruso, D'Annunzio, Puccini, and Isadora Duncan. She went to school with Beniamino Gigli, saw Gustav Mahler collapse at the podium, and witnessed Toscanini's defiance of Mussolini's Black Shirts. Her superbly informed narrative establishes a cultural, historical context for the major musical styles of the early twentieth century. Performers, composers, students of twentieth-century music and history, and those in women's studies will find valuable information, and a story written with passion and commitment.
Hollard, Thoron
2012 0-7734-2592-6 644 pages
Here for the first time, the various French treatments of Dido’s tragic story in both drama and music, most of which are little known today, are brought together, examined, compared, and evaluated. In Virgil’s Aeneid, the evocation of Dido’s great and fateful passion had an impact that has continued to reverberate over two millennia. Among the vast array of artistic creations that Dido has inspired are a number of French tragedies and musical works from the sixteenth to the twentieth centuries. This study embraces different genres and spans several centuries, demonstrates the commonalities between the works, and reveals the individuality and uniqueness of each interpretation. This study first looks at the broader European context before the French dramas, cantatas and operas are each analyzed in detail. What emerges is that there is indeed a myriad of ways to tell and interpret a story. The various interpretations show an intriquing and sometimes surprising degree of individuality on the part of these writers and composers.
Stone, Rob
2004 0-7734-6429-8 312 pages
This study explores the meaning and importance of flamenco in the works of two of the most important and influential figures in twentieth-century Spanish culture, the poet and playwright Federico García Lorca and the film-maker Carlos Saura. Lorca and Saura shared a fascination for flamenco as a medium for the existential ideology of the marginalized and disenfranchised and this work evaluates the development of these themes through a close, contextual study of their works, which are linked explicitly by Saura’s film adaptation of Lorca’s Bodas de sangre and, more profoundly, by their use of flamenco to express ideas of sexual and political marginalization in pre- and post-Francoist Spain respectively. The study demonstrates that an understanding of the symbolism, visual style, characters, themes and performance system of flamenco is key to a greater understanding of the social, sexual, political and existential themes in the works of Lorca and Saura, and that this in turn allows for an original and revealing analysis of the evolution of flamenco and the development of modern Spain.
Rice, Paul F.
2004 0-7734-6438-7 352 pages
During the eighteenth century, the French court made yearly trips to the chateau of Fontainebleau during the autumn months, partaking of the abundant hunting in the surrounding area, and enjoying evenings of operas and plays presented by the leading performers from Paris.
Jean-Philippe Rameau (1683-1764), the leading French composer of the period, was asked to present five new operas at the chateau in 1753 and 1754. Only one of these works was ever published and three of the five were never heard in Paris. Consequently, these works have remained little known.
This book presents Rameau’s works first heard at Fontainebleau in the context of their compositional and performance histories, a context which is rich in court intrigues and social change. This study is the first published work to investigate these operas in detail, Rameau’s relationship to the court and the public opera house of Paris is reevaluated, and the richness of Rameau’s musical imagination is revealed in works from his maturity.
Bloomfield, Ruta
2015 0-7734-0081-8 88 pages
The first edition of this music by Bernarnd de Bury (1720-1785), who resided in Versailles his entire life and held various positions at the court, including that of “King’s Chamber Harpsichordist.”
ONLY IN SOFT-COVER EDITION
Taggart, James
1988 0-88946-430-8 132 pages
Deals with form and style in the Haydn sonatas, their comparative importance in the keyboard literature, and their aesthetic and pedagogical value
Kinsley, Eric
2001 0-7734-7471-4 100 pages
This work is edited from an unusual score from the library of Count Papafava in Padua. The score is signed but not dated by ‘Giuseppe Haydn’. The work is in three movements and is scored for 2 keyboards or keyboard 4 hands; 2 violins and violone (cello). It is entitled ‘Divertimento’. The ‘Divertimento’ consists of three movements and serves as the only known source of the ‘Moderato,’ first movement and the ‘Rondo Allegro’ third movement. The second movement exists in a 1778 four hand version (Hob. XVIIa:1) entitled Il maestro e lo scolare, which is based on the well known theme from Handel’s “Harmonious Blacksmith”. This edition serves not only to meet the performer’s needs as far as possible, but to maintain the original text as well. The format of the score has been changed for visual simplification, e.g., the violone part has been moved from the bottom staff and placed below the violin parts. The Viennese practice of using soprano clefs in the right hand part of the first keyboard has been exchanged for the modern system of treble clef.
Tolesa, Addisu
1999 0-7734-8193-1 232 pages
A study of Geerarsa, a type of folksong of Ethiopia's Oromo people, who reside in Oromia and Ethiopia as well as in diaspora in the West. In exploring their verbal art it attempts to address the social base and political scope of Oromo folklore. It presents Geerarsa as an important part of the Oromo's values, attitudes, and history as they have struggled, and continue to struggle, against colonial oppression and win back their cultural and national identity.
Mazzini, Giuseppe
2004 0-7734-6469-7 133 pages
Political thinker, philosopher, patriot, and republican, Giuseppe Mazzini (1805-1872) sought solace from his intense activity as a political activist and writer by singing to his own guitar accompaniment. A genuine music lover, in 1836, Mazzini published a pamphlet (40 pages) entitled Filosofia della musica in which he denounced the condition into which music had fallen and suggested the remedy for its resurgence -- this time as a social art.
“The committed composer cannot restrict himself to writing notes and chords, but must understand the vast influence which [opera] could exercise on society. He should not renounce the idea in favor of the form; progressive operatic music must abandon the rigid rules of the classicists, to take on characteristic tint and historical reality; the idea of opera as entertainment must change to one of opera as a mission; the chorus, which portrays the people, must be used more.”
This publication of Mazzini’s Philosophy of Music comes at a juncture when musicologists, especially in the English-speaking world, are increasingly reconsidering the topics and formulas through which the history of music in the nineteenth century has familiarly, for a long time now, been written. Mazzini’s text offers this project some promising leads. It does not as theory but as practice, not for the answers it gives but for the questions it raises.
Little known among English-speaking musical scholars, Mazzini’s work is presented here in a version edited and annotated by Franco Sciannameo. It comprises (1) a Foreword by American leading musicologist Lawrence Kramer, (2) a historical introduction which also offers a critique of various commentaries on Mazzini’s work published in Italian and French during the past fifty years, (3) an English translation of Mazzini’s original text and notes published in 1867 by Emilie Ashurst Venturi with Mazzini’s full approval, (4) a full bibliographical apparatus, (5) Mazzini’s original Italian text.
This book is of interest to musicologists, philosophers, political, and social historians.
Blair, Donald
1991 0-7734-9850-8 138 pages
Contains biographical sketches of fifty great opera singers of the twentieth century, with photographs of each singer in a famous role.
van Boer, Bertil
1993 0-7734-9314-X 292 pages
Contains some of the latest contributions to Gustavian studies, both interdisciplinary and intuitive in approach. The first section contains articles surrounding the modern premiere of Joseph Martin Kraus's "Turkish" opera Soliman II in 1989. The articles show different perspectives as seen from each of the participants and gives unusual and penetrating insight into the artistic problems inherent in the revival of the 200-year-old work. The second section is more generalized and more scholarly -- contributions from the research of musicologists, dance historians, literary historians. The third section is devoted to a brief aesthetical perspective of Gern Schönfelder on cognitive intuition, which delineates the perceptive qualities of music. Contributors include Jacqueline Martin, Martin Tegen, Barbro Stribolt, Lennart Hedwall, Gunnar Larsson, and Newell Jenkins.
Caldwell, Glenn G.
2001 0-7734-7433-1 192 pages
Anderson, Erland
1975 0-7734-0337-X 321 pages
Surveys the development of musical metaphors in the work of each poet and examines their knowledge of music.
Grim, William
1990 0-88946-448-0 172 pages
Harutunian, John
2005 0-7734-6202-3 324 pages
The names of Franz Joseph Haydn and Wolfgang Amadeus Mozart are so closely intertwined that most people speak them in the same breath. As contemporaneous composers, they spoke the same musical language, that of late eighteenth-century Classicism. Specifically, they shared the summit in the development of a procedure known as sonata style. Nevertheless, experienced listeners can readily distinguish between the two composers. Articulating these differences, however, is another matter entirely. This book does so, in a way which presents a clear and comprehensive picture of these two great figures of Western music.
Giorgetti, Ferdinando
2003 0-7734-6759-9 162 pages
This work is a rare contribution to 19th-century viola literature. It has been mentioned in music dictionaries, Zeyringer’s Literature für Viola, Riley’s The History of the Viola, The Violexchange, and the American String Teacher. Its availability, however has been lacking for over a century. This modern edition, enriched with an historical introduction and English translation will be a welcome addition to libraries. It also contains a facsimile of the original text.
Andrews, Deborah
2009 0-7734-4865-9 256 pages
This research gathers the stories of world-famous operatic baritone, Giuseppe De Luca (1876-1950), through his student, Charles Guild Reading (b. 1921), who was mentored by De Luca from 1945-1950. These narratives are explored through the teacher-student relationship of De Luca and Reading by way of the teacher-student relationship shared by Charles Reading and Deborah Andrews. The stories are followed by supporting scholarly and historical literature and then reflected upon by the author as to their possible implications on the past and present classical singing and vocal pedagogical communities. The study also contains a CD De Luca’s recordings 1907-1947. This book contains eight color photographs and seven black and white photographs.
Humphrey, Regis A.
2015 1-4955-0365-8 132 pages
This work describes changes in the Jamaican and Caribbean reggae culture by examining the relationship between mass communication and the cultural domination of African, Caribbean, and other less powerful peoples that has been based primarily on importation/exportation theoretical framework of cultural domination. The author argues this importation/ exportation framework does not acknowledge the role of African, Caribbean, and other current less powerful peoples as originators in what history indicates is the millennia-old process of domination by the more powerful.
Erdmann, Thomas R.
2010 0-7734-3790-8 592 pages
This work is one of the most complete collections of in-depth commentary on the state of jazz music today. These interviews illustrate the interplay of creativity that occurs during high-level interactions between musicians.
Beeson, Jack
2008 0-7734-4947-7 572 pages
In this work Jack Beeson, the composer of ten operas, recounts his search for subjects and the writing of five of their librettos, his collaboration with the librettists of the other five (William Saroyan, Richard Plant, Kenward Elmslie, and Sheldon Harnick), and the varied and tangled events leading to their premieres in theatres and on television here and abroad. This book contains eighteen black and white photographs.
Esther Pérez-Villalba
2007 0-7734-5417-9 420 pages
This book explores the politics of identity in works by popular male singer-songwriters Víctor Manuel and Joaquín Sabina and in those by well-known female political singer Ana Belén between the years 1968 and 1982. It examines the connections that existed between their works and the broader Spanish context of the Transition (1960-1982) to democracy. It also explores the representations of Spanish national identity – with special reference to gender differences – that appeared in their texts between 1968 and 1982. It compares the relationship that existed between representations of the nation and national identity in their musical work and Francoist notions of Spain and Spanishness as constructed in different hegemonic discourses. Finally, this book examines some of the most relevant roles that Spanish canción de autor/a, cantautores and cantantes políticos fulfilled at the time of the Transition, especially among different anti-Francoist collectives.
Smialek, William
1992 0-88946-230-5 232 pages
Makes available for the first time in English a study of Dobryzinski's life and music, and information on the cultural scene of 19th century Warsaw.
Greene, David B.
2010 0-7734-4665-6 200 pages
This book takes up pieces of music that imagine community. These works do not illustrate concepts of community or make community an explicit theme. Nevertheless, the particular techniques and structure of each work project an imagining of community that is unique to the piece. Studying the pieces together lays the groundwork for re-imagining the relation of arts and society.
Niebur, Loretta
2001 0-7734-7340-8 192 pages
This work provides a vibrant narrative description of classroom practice in elementary-level general music education in the 1990’s. It address social, educational, and developmental influences that enhance or constrain curriculum, instruction, and assessment in everyday music classrooms. It uses case studies of four classroom instructors.
Brooks, Edward
2001 0-7734-7546-X 236 pages
This study examines Armstrong’s cornet and trumpet work during his most innovative period, 1923-28, with a view to laying bare the sources of some of the impulses which contribute to the great outburst of emotion and variety of styles that inform that work. Analysis of the styles of contemporaries such as Bunk Johnson, King Oliver, Sidney Bechet, Bessie Smith, Bix Beiderbecke, Earl Hines and others reveals characteristics which affected Armstrong. Influences such as white bands, opera and radio, minor modality, other compositions and the desire for anonymity are also treated. The study identifies influential passages, figures, devices and techniques, as well as tracing Armstrong’s assimilation of these influences as reflected in specific aspects of his playing. A concluding chapter considers an Armstrong cornet solo in a more holistic fashion: a scrutiny of his manner of integrating influence, with self-reference and original material, in an extended passage.
Canova-Green, Marie-Claude
2000 0-7734-7605-9 140 pages
These essays focus on courtly musical entertainments in Early Modern Europe, providing a framework within which to locate the many aesthetic considerations which lay behind the creation of opera and other musical forms, and, through analyses of individual events, the modalities of the circulation and adaptation of a so-called Italian model throughout Europe. They highlight the constant evolution of the musical entertainments of the Baroque age, and in so doing invite us to reexamine clichés about the origin and nature of operatic genres. With illustrations.
Magome, Kiyoko
2008 0-7734-5135-8 300 pages
Music and literature are the so-called “sister arts,” and since around 1890, many of the American writers who use music in their works have created their hybrid, musico-literary worlds by focusing on two or three of the following musical elements: counterpoint, Wagnerian music dramas, and player pianos. This work explores the changing American discourse as a contrapuntal rope consisting of three symbolic elements/threads interacting in a unique way in the periods of realism/naturalism, modernism, and postmodernism.
Inwood, Margaret
1999 0-7734-7774-8 228 pages
This book presents the historical evidence of Wagner’s own writings, reported conversations about Shakespeare, and the circumstantial evidence of the Shakespearean traits to be found in some of his works, including Das Liebesverbot, Parsifal, and the Ring cycle.
Demaray, Donald
1988 0-88946-824-9 392 pages
Surveys the message, homiletical method, and the effect of Newton's preaching during the Olney and London periods, along with Newton as hymnwriter and the influence of his Olney hymns. Includes many previously unpublished photographs and new data.
Mukuna, Kazadi wa
2003 0-7734-6690-8 274 pages
This interdisciplinary study sheds light on the communal creative process of music and discusses the process of music change in Bumba-meu-Boi, and provides an example of exo-semantic analysis in the quest for the truth of this folk drama. It argues that Bumba-meu-Boi, sheds light on 18th century Brazil, and reveals existing levels of interaction between classes (master-slave, oppressor-oppressed) on sugar can plantations and mills. A sociologist perspective demonstrates that the structure of the Bumba-meu-Boi reflects a similar network of relations as they exist in communities where it is performed. The study contains a glossary, comprehensive bibliography, and a reproduction of the entire play.
Avorgbedor, Daniel K., editor
2003 0-7734-6821-8 464 pages
These essays present new critical perspectives on the dynamic configurations of music, religion (indigenous, Islam, Christian), and ritual in contemporary African societies. Examples demonstrate issues and processes of accommodation, the construction of religious, ethnic, and cultural identities, and local articulations of gender and the aesthetic. Examples from African-American Pentecostalism, independent Christianity, Tumbuka healing, Yoruba kingship ritual, Senegalese Sufism, etc confirm both common and divergent patterns in African cultural traditions.
Olson, Carl
2012 0-7734-3923-4 484 pages
Olson produces a case study in creative pedagogy that incorporates popular culture into religious studies. Utilizing rock music to discuss religious themes provides a new and unique approach to theological topics. The book does not only focus on overtly religious rock music but rather posits that lyrical usage of themes by rock musicians over the years has inevitably come across themes from world religions sometimes even unbeknownst to themselves.
Blankenhorn, Virginia S.
2003 0-7734-6782-3 544 pages
This work is a systematic analysis and classification of Irish accentual verse-metres. It will interest linguists and students of metre, as well as ethnomusicologists studying the context of Irish traditional song, and musicologists studying the historical development of European song-forms. An assessment of previous contributions to the study of Irish verse-practice is followed by a general survey of metrical scholarship, which in turn lays the groundwork for a metrical theory of Irish accentual verse. Space is devoted to a phenomenologically-based discussion of the role of rhythm in spoken Irish and its implications for verse-structure. The heart of the work consists of a taxonomical survey of Irish accentual verse-types, in which the principal criterion for inclusion in a given category is the number of stressed syllables in a line. Following chapters deal with stanzaic and supra-stanzaic structure and verse-ornament, the musical context of verse, the ways in which musical metre differs from verse metre, and the implications of such differences for a system of versification primarily transmitted through a musical medium.
Rouse, Marilyn
2000 0-7734-7650-4 332 pages
This first in-depth study of the entire genre of Jamaican folk music illustrates the effect that acculturation has had. It contains nearly 200 musical examples, the majority of which are Jamaican, with some British and West African to illustrate comparative points made in the text. It is the largest comprehensive collection of Jamaican folk music covering all categories of the genre. An appraisal of the multifarious races which constitute the population of Jamaica enable comparisons to be made between the music contained in each of the categories with the ethnic musics of the peoples who make up the population. The study disagrees with several previously accepted prognoses, which were based on small samples in individual genres. In addition to the ethnic analysis, this study includes the categories of play, work, and religion.
Goins, Wayne E.
2003 0-7734-6708-4 374 pages
This book provides an overview of the basic practices found in jazz education and provides individual essays as a foundation for teaching strategies and resource materials, and a series of discourses on a wide variety of issues related to establishing and maintaining an effective jazz ensemble program.
Ruhling, Michael E.
2004 0-7734-6312-7 332 pages
When the violinist and orchestra leader Johann Peter Salomon invited Joseph Haydn to London as the featured composer for his public concert series in 1791-92 and again in 1794-95, he could not have imagined the significance these concerts would assume in the history of orchestral performance, nor could he have foreseen that the twelve symphonies Haydn wrote for his orchestra would become important models of the mature Classical symphonic style. In light of the historical significance of the concerts and symphonies composed for them, considerable effort has gone into understanding the complex web of interrelationships of contemporary sources for these “London” symphonies. H. C. Robbins Landon’s monumental study in the 1950s and ‘60s, followed by the more recent critical scores compiled by the editors of the Joseph Haydn Werke, have answered many of the questions regarding the authenticity of the many sources, including Haydn’s autograph scores, score and part copies made by Haydn’s amanuensis Johann Elssler, and early printed parts by various publishers. In the early 1980s, Arthur Searle and A. Hyatt King uncovered Salomon’s own scores for the twelve “London” symphonies among the Royal Philharmonic Society Collection of the British Library. Haydn’s autograph scores of two of the symphonies from his first trip to London were bound with score copies of the other four from this trip. These four score copies were made sometime between 1792 and 1794 from Salomon’s performance parts rather than other scores, and thus reflect the details of the early performances in London under Salomon’s leadership, quite possibly even their premières.
This book presents these significant scores in a modern edition that is suitable for scholars and performers. Copious critical notes and discussions of various aspects of the manuscripts, including physical descriptions, and their provenance and relationship to other contemporary sources, will be most enlightening for musicologists interested in Haydn source materials. Conductors will find that the careful, clear editing of the scores can easily translate to performance. In addition, the description of important performance aspects found in Salomon’s scores, but not all other authentic sources, will reveal to scholar and conductor musical details that were likely part of the earliest performances of these works in London, but have not been included in other modern editions.
Palmer, John
2001 0-7734-7436-6 196 pages
Jonathan Harvey’s Bhakti, commissioned by Pierre Boulez in association with IRCAM, has been widely recognized as one of the most influential works of the 1980s and one of the major electroacoustic compositions ever to be produced at IRCAM, Paris. It has been performed worldwide by the most influential ensembles of contemporary music. This study provides the reader with a comprehensive platform of discussion including a rigorous analytical scrutiny of the serial techniques used by the composer, an in-depth exploration of the electroacoustic techniques employed for the realisation of the tape part, a discussion about the composer’s aesthetics and the correspondence between the music and its metaphysical meaning in conjunction with the Rig Veda texts that have inspired the work, an interview with the composer, and a final forum about the work including eminent musicologists, composers and conductors such as Joel Chadabe, Arnold Whittall, James Wood, Eric De Visscher and other leading personalities of the international contemporary music circuit.
Radice, Mark A.
2002 0-7734-6975-3 260 pages
Karel Husa studied with Nadia Boulanger and Arthur Honegger in France during the 1940s and early ‘50s. He and his music were banned from his native Czechoslovakia during the Soviet era and he emigrated to the USA, subsequently teaching at Cornell University and Ithaca College. He has written works for the New York Philharmonic, the Chicago Symphony, and others. Mr. Husa’s Third String Quartet won the Pulitzer Prize. This is the first book-length monograph exploring his work. Includes photographs and musical examples.
Yeoland, Rosemary Hamilton
2008 0-7734-4860-8 364 pages
This work situates itself in the intertextual domain of literature and music. It examines how the French homme de lettres, Camille Mauclair (1872-1945) made a significant contribution to the musical education of the Parisian public at the end of the nineteenth century. In French.
Kleine-Ahlbrandt, W.
1990 0-88946-444-8 152 pages
Translation of La Tosca, the play that inspired the Puccini opera, complete with annotations and critical comments. Gives a well-rounded picture of Sardou as a playwright who imbued his pieces with a wealth of historical knowledge.
Graham-Jones, Ian
2010 0-7734-1383-9 204 pages
This study of the nineteenth-century British composer Alice Mary Smith’s life and music draws on newly discovered documents and manuscripts. The volume also includes information on five other women composers from this era.
Author’s Abstract:
At a time when women were thought to succeed only in composing drawing-room songs or light-weight piano pieces, Alice Mary Smith (1839-1884) wrote by far the greatest number of larger-scale art works of any British woman composer in the nineteenth century. She was most probably the first woman to have written – and had performed – a symphony, composed in 1863 at the age of twenty-four. Two of her six concert overtures were regularly performed by distinguished conductors of the time, and her four cantatas for choir and orchestra achieved some popularity in the last years of her short life.
This study also briefly outlines the work of five other women composers of her time who attempted the higher forms of the art, and examines, from contemporary sources, the argument, current at the time, as to whether a woman could ever compose a ‘great’ work.
Markiw, Victor Radoslav
2010 0-7734-3690-1 184 pages
This study examines the life and solo piano works of Ukrainian composer Myroslav Skoryk. Included are interviews with Myroslav Skoryk as well as biographical information, historical and stylistic insights, and expert analytical readings.
Metting, Fred
2006 0-7734-5840-9 300 pages
Arthel “Doc” Watson, an 82-year-old musician from North Carolina, is one of the two or three most important acoustic guitarists in American musical history. The story of Watson’s music is a rich and complex narrative which involves the listener in an exploration of the music of the Scottish settlers in the Appalachian Mountains and the changes in that music as the mountaineers were influenced by the African American music of itinerant laborers in the nineteenth century and by sounds from records and radio early in the twentieth century. Despite Watson’s importance to American acoustic music and despite the richness of the story of his music, a full study of his music has not been realized until now. This book explores the musical culture of Watson’s immediate family (the hymns of Watson’s church, the ballads and fiddle tunes of his immediate family, and the music of his mountain home) as well as the extended aural world that came to the mountains through records and radio when Watson was a young boy. Finally this study explores Watson’s important contributions to the folk revival of the 1960s when he helped change the role of the acoustic guitar in American music. This work will be important to students of American music and folk culture.
Williams, Amédée
1994 0-7734-9086-8 202 pages
Windham, Donald
1992 0-7734-9589-4 308 pages
Gives a vivid and penetrating account of many aspects of the composer's playing, emphasizing not only Liszt's own playing, but its enormous influence on pianism in general and the far-reaching effect on teaching methods through his dedicated work with numerous pupils from various countries.
Eckelmeyer, Judith
1979 0-88946-955-5 96 pages
The libretto.
Thomson, Ian
2014 0-7734-0059-1 480 pages
This libretto-based study exposes the existence of an overriding purpose rooted in late-eighteenth-century eschatological thought. It also offers a new perspective on the opera’s origins.
Dr. Thomson examines the Alberti libretto of The Magic Flute (Die Zauberflöte) as a literary form and reveals unexamined literary, historical and religious sources, leading to a new, more coherent interpretation of the opera and to hypotheses about the identity of the libretto’s author and Mozart’s death.
Parsons, Charles H.
2008 0-7734-4960-4 152 pages
Hester, Karlton
1997 0-7734-8574-0 288 pages
This study posits an essential relationship between the spontaneous compositions of John Coltrane's late period, his musical evolution from his formative years to the end of his career, his spiritual development, and the socioculture in which he lived and created. Because of this interdependence, it proposes that racism in American society had significant negative impact upon the music of this African-American composer and his musical colleagues.
Lee, Sylvia
2001 0-7734-7621-0 232 pages
This is the only autobiography of America’s first internationally renowned African-American classical vocal coach for concert, oratorio, and opera as well as a distinguished arranger and interpretive authority on Negro Spirituals. Mrs. Lee has been a pioneer in the musical field as the first African-American hired onto the staffs of the Metropolitan Opera and the Curtis Institute of Music. She worked with world-acclaimed singers Elisabeth Schumann, Paul Robeson, Dorothy Maynor, Lawrence Winters, Mattiwilda Dobbs, Jessye Norman, and Kathleen Battle. Her appearance on PBS TV with Kathleen Battle and Wynton Marsalis was a fascinating critical interaction between artists and teacher. She has been honored by the United Nations and the National Women’s Hall of Fame. With illustrations.
Thomson, William
2010 0-7734-3807-6 252 pages
This study utilizes knowledge banks: acoustics, cognition/perception, ethnomusicology and cultural records in probing Serialism’s basic assumptions. It examines analyses by such leaders in the serialist world as Milton Babbitt, David Lewin and Allen Forte.
Fisher, Larry
1996 0-7734-8771-9 210 pages
This is an oral history based on conversations with David Liebman about his musical career and his association with Miles Davis. Chapter One examines Liebman's background and early influences (Elvin Jones and Miles Davis). Two - information about Liebman and his band, artistic objectives, interaction with an audience; teaching and aesthetics. Three - Liebman's place in the jazz spectrum; performance style; musical and language communication; the ideal audience. Four - Lifestyles and attitudes of jazz musicians; the jazz musician as a businessman and world traveler; the student musician and careers in jazz today. Five - David Liebman on Miles Davis, May 28, 1991, a few months before Miles' death. Six - David Liebman on Miles Davis, Oct. 16, 1991, shortly after Miles' death.
Tuttle, Marshall
2016 1-4955-0516-2 260 pages
This work examines a specific technical and expressive means by which the various ecclesiastical modes persisted and were integrated into compositional practices of the tonal period, from the time of Bach through to the early twentieth century. It is demonstrated that a technique of integrating modes into tonal music is not through the use of melodic or harmonic materials, but through modulation. Modulations can be drawn from and limited to those keys which derive from chords that exist in the modal scale of the final key of a composition. This leads to what can only be referred to as a kind of pseudo-diatonic chromaticism. Modulations are limited by a diatonic scale, but that scale is distinct from the major-minor scale system which characterizes the surface level musical activity of a composition. Hence the modulations are chromatic according to a given key, but individual keys visited are limited by a very traditional set of diatonic relationships among themselves.
Jorgenson, Dale
1986 0-88946-427-8 248 pages
The first definitive biography of Moritz Hauptmann, a leading musical theorist of mid-19th-century Germany. The book encompasses the many aspects of Hauptmann's activity, teachings, and thought, and deals with his concepts of harmony and meter.
Fiske, Harold
1990 0-88946-473-1 180 pages
A philosophical and empirical study of the music-listening process and what we already know about it. Six axioms develop the theory that music is a meta-language, a semantically closed tonal-rhythmic system through which meaning results from realized self-referenced inter-pattern relationships. It is shown that this meta-language represents the functioning of an independent multi-staged module, and that the description of this module applies to all accepted music (theory) systems. Will be of interest to music aestheticians, theorists, psychomusicologists, music educators, music education researchers, and music therapists.
White, Sylvia
1999 0-7734-7910-4 292 pages
This book provides a basis for understanding the essential principles and concepts of music. It attempts to develop a musical language for anyone who needs to explore and communicate the sounds of music. It will benefit those who need to develop a command of the musical language but have neither knowledge of, nor experience in, the musical world. A typical user of this text would be someone who needs to read music and acquire a working knowledge of a keyboard, or anyone who sings or plays a musical instrument but can neither explain nor read music. Detailed chapters include summaries and skill exercises.
Fiske, Harold
1993 0-7734-9334-4 184 pages
This study develops a theory about the interaction between music cognition and affective response. The theory demonstrates how musical thinking, knowledge, and decision-making result in qualitative musical behavior. It reports new findings about the cognitive representation of musical structures, imagery as an auditory-phenomenological descriptor of music, aesthetic response as an outcome of specific cognitive decisions, and the value of music in cross-cultural human development. Each of seven essays identifies a problem in music psychology that is critical to an explanation of the musical process, reviews the literature relevant to that problem, and, through systematic philosophical analysis, offers a solution. This book will interest music philosophers, and psychologists working in the areas of cognition, aesthetics, music theory, music education, and music therapy.
Dura, Marian
2002 0-7734-7040-9 300 pages
Greene, David B.
2005 0-7734-6335-6 188 pages
Many contemporary composers and music critics say in an offhand way that all music written in the past quarter century is about music—that it is reflexive and self-referential in some significant sense. It is music in search of an understanding of itself. This book tries to deepen the understanding of music about music as well as music itself in four ways. First, it puts music’s own self-understanding onto an equal footing with philosophical aesthetics of music. It subjects pieces of music about music to close, detailed analysis, and puts the statements about the nature of music that emerge from these analyses into conversation with philosophical statements about music. Second, it investigates whether and in what way the concept of reflexive music makes sense and to what extent music about music is possible. Third, it inquires into the need for music to search for itself, and evaluates the connection between this need and the European fascination and then disillusion with the concept of aesthetic experience. Fourth, it brings to the surface a sense, embedded in music’s self-understanding, that there are severe limits to the meaningfulness of music in general that it is thus impossible for music about music to be fully meaningful.
Stamm, K.
2000 0-7734-7646-6 160 pages
This focus and main contribution of this study is to develop an econometric model which, through empirical analysis, determines those factors that affect the demand for prerecorded audio software. Through the creation and use of a hedonic demand model, the study finds that changes in technology that result in perceived quality improvements, increases in real national income, and a youthful population are all determinants in the demand for prerecorded music. It examines pertinent issues regarding the supply side of pre-recorded music within the structure of the industry, recent literature in the entertainment industry, and areas for research. Uses time-series, cross-sectional analysis, pooled regression, along with descriptive statistics to analyze explanatory factors upon which independent researchers, economists, sociologists, and trade organizations generally agree. These outcomes assist in predicting the demand for prerecorded music. The study then pools the regression according to United Nations’ income designations and a world aggregate.
Schmidt, Carl B.
2012 0-7734-4058-5 1740 pages
This serves as the first comprehensive catalogue of the orchestral, vocal, and chamber music composed by Georges Auric, one of France’s most important twentieth-century musicians. Approximately three hundred-fifty compositions are considered here with full descriptions of all known printed and manuscript sources; locations of literary works on which some are based; selections of important reviews; discographies and lists of videos; and relevant performance data including first performances or showings.
Auric was an influential figure in French art and culture and was widely known to the entire French artistic establishment. His compositional abilities were extremely facile and he could write a significant film score in the short time of a few weeks. On more than one occasion he scored four or more films in the same year in addition to a myriad of other duties.
He was a child prodigy who studied at the Paris Conservatory and the Schola Cantorum while still a teenager. Later in life he was a major member of the so called Les Six (Georges Auric, Louis Durey, Arthur Honegger, Darius Milhaud, Francis Poulenc, and Germaine Tailleferre), which was a major force in twentieth century music. With the recent interest in Auric’s contribution to films, it provides rich detail culled from libraries and private archives around the world, numerous newspapers and journals, unpublished letters by Auric, and the secondary literature. With the publication of this catalogue all the members of Les Six are now represented.
Wilmeth, Thomas
1998 0-7734-8255-5
Bill Malone, noted historian and author of Country Music USA, calls the Louvin Brothers ‘the most important vocal duet in the history of country music’. This book pays tribute to the Louvins, placing their music in perspective and context. The author conducted extensive interviews with Mr. Charlie Louvin, the surviving brother, and other sources include interviews with Chet Atkins, Don Everly, and Gordon Stoker of the Jordanaires. Country singer Emmylou Harris speaks of the great influence the Louvins had on her late vocal partner, country-rock pioneer Gram parsons. The Louvins toured extensively with Elvis Presley in 1956, at the height of his career.
Luoma, Robert
1989 0-88946-435-9 202 pages
Applies 16th-century music theory to an analysis of Orlando di Lasso's Le Lagrime di San Pietro.
Taylor, Clifford
1990 0-88946-432-4 386 pages
Proposes a reaffirmation, for musical composition, of imaginative figurational invention as idea within expressive harmonic syntax. This challenges the tendency in 20th-century music toward systematization and process affording only textural
Love, Andrew Cyprian
2003 0-7734-6726-2 380 pages
This book locates musical improvisation within an ontological framework, which is both scientific and Heideggerian, and ultimately encompasses the whole Christian understanding of reality. Part One deals with historical and cultural issues surrounding musical improvisation. Part Two initiates the author’s philosophical and theological proposal that, from the time of foetal and infantile experience, every human person’s fundamental integration with reality is inseparable from improvisatory musicality. His argument is interdisciplinary, involving music history, critical musicology, 20th-century continental philosophy, ideas from infancy studies and music therapy, and finally ideas from a Christian theology which is both ecumenical and rooted in the Catholic tradition.
Larrick, Geary
1990 0-88946-492-8 164 pages
Section One contains music terms found in the Bible, accompanied by the singular verse that includes each term. Section Two lists song texts found in the Bible. Includes commentary, 20 original artworks, and two essays.
Tuttle, Marshall
2000 0-7734-7642-3 372 pages
This monograph presents original research based on Wagner’s theoretical writings and demonstrates that there is a precise logic to his tonal structures.
Rasmussen, Jane
1986 0-88946-664-5 632 pages
A study of music in the Episcopal Church from 1804 to 1859, based on research in church periodicals and other ecclesiastical writings.
Stajn, Radmila Paunovic
2015 1-4955-0269-4 184 pages
“This work written by authors Slobodan Lazarevic and Radmila Paunovic Stajn is a true scientific contribution to contemporary aesthetic thinking and post-structural study of the semantic and meta-semantic in the artifacts of contemporary art… using musicological and narrative methods, when discussing librettos and carefully composing their idea through overall Britten’s oeuvre, the authors emphasize the presence of mythological pattern in the work of this prolific and significant artist.”
-Prof. Dr. Miomir Petrovic,
Faculty for Culture and Media,
Megatrend University, Belgrade
Richardson, Herbert
1992 0-88946-445-6 200 pages
Papers presented at the 1988 Wagner conference in Seattle exploring this opera cycle as music, myth, theater art, and literature, including comparisons with T. S. Eliot's The Wasteland and with James Joyce's Finnegan's Wake.
Sciannameo, Franco
2005 0-7734-6099-3 108 pages
Federico Fellini entered the pantheon of 20th-Century artists for his path-breaking films like, La dolce vita (1960) and Otto e mezzo (1963). However, it was with Amarcord (1973), that Fellini achieved universal fame. That celebration of youth and memory transcends all barriers of ethnic origin and national belonging by simply appealing to human commonalities. Similarly, Nino Rota’s music, an integral part of this film, eludes cultural boundaries by blending learned and popular musical styles – as in a folk-opera in which stories or episodes are expressed through song and dance representative of everyday life. By juxtaposing music and images, their own creative personae and their youth as it relates to our collective memories, Fellini and Rota made this film about “remembering youth” an unforgettable experience for generations of viewers and listeners. This monograph is of interest to scholars of music, cinema, and cultural studies.
Gay-White, Pamela
2015 1-4955-0300-3 252 pages
This work of essays explores and interrogates the libretto’s role as revolutionary genre during the Enlightenment and mise en abime of linguistic liberation, while focusing on specific ways its evolution reflected Enlightenment thought on the nature of music, text, and the individual. Especially, welcome are explorations of texts by Diderot and Rousseau, as well as topics addressing readership of libretti, influence on musical performance, and theoretical strategies challenging conventional concepts of representation.
Bendikas, Kristina
2004 0-7734-6485-9 220 pages
This work is the first full-length analysis of the major productions of Jean-Pierre Ponnelle (1932-1988), who has been hailed internationally as one of the most important opera directors/ designers of the last century. In a career spanning four decades he was in demand at the leading opera houses of the world where he regularly collaborated with world-class conductors and singer-actors producing an enormous range of operas representing every period, genre and style from Monteverdi and Rossini to Wagner and Strauss. He was instrumental in reinstating the seria operas of Mozart into the active repertoire and was a formidable champion for new works. These credentials require an investigation into the reasons why he was so critically and popularly successful and the influence that he has had on opera production.
Kristina Bendikas has crafted a uniquely scholarly investigation into Ponnelle’s most important and influential productions at the San Francisco Opera, the Metropolitan Opera and the Houston Grand Opera, as well as those he premiered throughout Europe. In meticulously documented chapters the author draws from substantial primary source material including reviews, interviews, and production notes in order to document and analyze the choices of the director/ designer in operas ranging from Mozart’s La Clemenza di Tito to Rossini’s La Cenerentola to modern operas such as Reimann’s Lear. Ponnelle’s views on the relationship between the music of opera and theatre of opera – still central to debates about the future of opera production – construct the critical juncture “opera theatre” which lies at the heart of the book. This book illuminates the work of a formidable artist and more importantly, leads to a deeper understanding of the concerns and controversies that shaped opera production in the late twentieth century.
Martin, Jessie Wright
2014 0-7734-4273-1 256 pages
This is the first ever English language resource encompassing an extensive survey of all Emmerich Kálmán’s operettas and illuminating his enormous contribution to the genre of operetta. It is supported with explanations of musical inheritance and synthesis including musical examples. This book is filled with fascinating contextual details never before presented.
Ott, Leonard
1997 0-7734-8601-1 344 pages
Works by Haydn, Mozart, Beethoven, Mendelssohn, Berlioz, Tchaikovsky, Rimsky-Korsakov, Mahler, Strauss, Debussy, Ravel, Stravinsky, Schoenberg, Webern are analyzed symphonically.
Wilson, Brian
2001 0-7734-7330-0 124 pages
This study examines the orchestrational techniques in four of Percy Grainger’s wind band compositions: Colonial Song, Irish Tune From Country Derry, Molly On The Shore, and five movements from Lincolnshire Posy: Lisbon, Horkstow Grange, The Brisk Young Sailor, and The Lost Lady Found. These are works which are representative of Grainger’s techniques. This information has been used to newly orchestrate three of Grainger’s pieces for band: The Cutting of the Hay; Lord Maxwell’s Goodnight, and British Waterside (or The Jolly Sailor). This study shows specifically why Grainger’s wind band music is so readily identifiable, asserting that his sound is a function of recurring orchestrational techniques rather than other compositional elements such as melody or harmony.
Parris, Ralph L.
2015 0-7734-4271-5 192 pages
This book is about the origin and evolution of the steel band orchestra and its diffusion in the Caribbean and beyond with special attention given to the nature and evolution of its origin and spatial movement within the culture. The Steel band was created by descendants of African Captives in the Caribbean who struggled to retain some elements of their culture while simultaneously rejecting elements of the captive culture that controlled their lives for three centuries.
Kolman, Barry Araujo
2013 0-7734-4351-7 200 pages
This book traces the origins of American Wind Music during the Federal Era specifically the instrumental instruction books called tutors that were published by American printers. The immense popularity of amateur music making in Federal America is apparent when one discovers the huge quantity of ensemble scores included in the tutors. These tutors mark the true beginning of indigenous instrumental ensemble music in America.
Shafer, Gloria
1989 0-88946-439-1 107 pages
Provides an historical overview of the song cycle and a survey of the children's song cycle, including structural, stylistic, and interpretative analysis of four representative children's song cycles and an original cycle.
Kirkpatrick, Linda
2006 0-7734-5785-2 212 pages
This book presents the teaching philosophies, pedagogical approaches, techniques, and methods of flutist William Montgomery. His concept of flute tone production, his philosophy of other aspects of flute playing, and his innovative approach to technical exercise have been documented for use by future generations of flutists. Many of the techniques and ideas he has developed reflect the pedagogical influence of his teachers, Marcel Moyse and William Kincaid. Montgomery, however, has developed his own approach to technical exercises, and frequently employs special or alternate and sensitive fingerings in his pedagogy.
Presenting the philosophies and methods of Marcel Moyse and William Kincaid demonstrates the continuities and establishes the innovations of William Montgomery’s pedagogy. Examining the methods for teaching tone production and vibrato, articulation, finger technique, musical expression and interpretation of both Moyse and Kincaid establishes a foundation from which to compare Montgomery’s methods and philosophies.
Larrick, Geary
2002 0-7734-7301-7 200 pages
Fifty essays in bibliographic form with commentary, on international and multicultural aspects of music as they relate to percussion instruments, performance, teaching and scholarship. Headings include: acoustics, articles, audio recording review; bibliography of Native American topics; Black history; books reference; building; business and music; children’s literature; compact disc review; composer’s notes; contemporary topics; cymbal history; drum duets; the drum set; French percussion; German bibliography; health ideas; jazz; John Cage; music and sociology; percussion in music education; percussion repertoire; percussion teacher references; Polish music; publication references; reviews; school programs; Siwe’s Books; Tabla Virtuoso; tambourine technique; timpani. Vibraphone review; Whitaker’s; who’s who; women’s history.
Raad, Virginia
1994 0-7734-9138-4 92 pages
This study discusses only those elements in Claude Debussy's work that are directly associated with the qualities of a particular instrument and what they inspire. The piano music that Debussy composed evolved in part from his own particular performance. Debussy knew all the technical possibilities available to a skilled pianist. In his full development, he uniquely employed the piano's sonorous resources and painted atmospheric scenes. This volume explores early, mature and late work, including the Préludes and the twelve Etudes, examining forms, harmonies, rhythms, touch, pitches, sustained sounds, and compositions. With photographs.
Rice-See, Lynn
2008 0-7734-4981-7 312 pages
Examines the teaching of Professor Hautzig, which continues the Romantic piano tradition of late nineteenth- and early twentieth-century Europe, and stresses individuality allied with faithfulness to the score. This book contains four black and white photographs.
Scarambone, Bernardo
2012 0-7734-2936-0 164 pages
This presents a detailed and well articulated analysis of the piano works of Marlos Nobre. Nobre is a Brazilian composer who has taught at Yale, the Universities of Indiana, Oklahoma, Arizona, and the Juilliard School. His strong personal connection to the beloved instrument in his first composition, Homenagem a Ernesto Nazareth, Op. 1a 1959, until his latest piano creation, Frevo, Op.105 in 2007 are explained and discussed. The music represents the rich cultural heritage of his current home in Pernambuco, and in the introduction the early musical influences are explained in his own words. The background information on his early life provides a fascinating glimpse into the musical tastes that formed his personal identity as a composer. In alluding to Brazilian folk music, this work will appeal to ethnomusicologists, sociologists, as well as musicologists, and piano composers.
Coroniti, Joseph
1992 0-7734-9774-9 112 pages
This work explores the many aesthetic and theoretical issues that arise when poems are set to music. Is a setting a hybrid form, a support for the text, or simply a piece of music? All such inquiry is an effort to define, and then either integrate or resolve the tension that is the driving force of the musical setting. This explores the differing aesthetic theories and tests them against the practice of modern composers. Topics include: speech rhythms in music; Ezra Pound and music; Shakespeare's Sonnets; Recitations with music - Ginsberg, Ferlinghetti, Baraka; Stravinsky -- Shakespeare Songs, "In Memoriam Dylan Thomas," Symphony of Psalms; "The Tyger", settings by Britten and Thomson; Emily Dickinson/Aaron Copland; more.
Berrong, Richard
1992 0-7734-9230-5 160 pages
Catalani's letters contain a fascinating eyewitness account of the process of creating opera in turn-of-the-century Italy. They show what he and his contemporaries, among them Puccini, Mascagni, Leoncavallo, and Giordano, went through to obtain a libretto, arrange a premiere, and encourage subsequent productions of a new score. And, since there is no English-language biography of Catalani, this volume also provides readers not versed in Italian an opportunity to learn about the composer of La Wally and Loreley.
Erdmann, Thomas
2001 0-7734-7374-2 184 pages
This text covers a wide variety of topics and problems, from band seating to planning festivals, dealing with soloists to taking the ensemble on the road. It tackles complex problems presented to directors of concert bands and wind ensembles, problems such as how to teach a march quickly to an ensemble, how to warm-up an ensemble properly for both tone and intonation, and basic band repertoire. This book is available at a special price when ordered for text use. Call (716) 754-2788 for text information.
Goldenberg, Yosef
2008 0-7734-4846-2 364 pages
Offers for the first time a systematic survey of the entire spectrum of contrapuntal-harmonic configurations that enable the prolongation of seventh chords, arranged logically by seventh-chord type and voice-leading procedure.
Goldenberg, Yosef
2008 0-7734-4852-7 284 pages
Offers for the first time a systematic survey of the entire spectrum of contrapuntal-harmonic configurations that enable the prolongation of seventh chords, arranged logically by seventh-chord type and voice-leading procedure.
Ring, Kenneth
2002 0-7734-7108-1 152 pages
Levy, Alan
1991 0-7734-9621-1 80 pages
Examines the relationship of the process of creative human endeavors and of the creators themselves to their surroundings. Shows how political, economic and intellectual pressures intensify and affect developments in many sectors of the arts.
Lancos, Jonette
2007 0-7734-5463-2 620 pages
Charles Weidman (1901-1975), a distinguished dancer and choreographer, is recognized as an originator of twentieth-century American dance. This study traces Weidman’s life from his early years in the Midwest, including his training at the Denishawn School, his friendship with Martha Graham and José Limón, his partnership with Doris Humphrey and Pauline Lawrence, in establishing their Humphrey-Weidman School and Company, to the formation of the Expression of Two Arts Theatre with visual artist Mikhail Santaro. This work examines Weidman’s concert works, Broadway shows, and opera productions, where his modern dance ideas revitalized these theatrical forms. Weidman’s training system is analyzed by stressing its lineage, his men’s group, rebound principle, floor work, use of drums and rhythm, and his kinetic pantomime. The study follows global influences on early modern dance, of which Weidman was a part, and which were motivating factors in his artistic development. This work investigates how Weidman’s aesthetic values are related to modernism; his interest in preserving his works for future generations; it also contains recollections from dancers who have performed with Weidman. Now, thirty years after his death, evidence is beginning to shed new light on Charles Weidman’s enormous influence upon and legacy for modern American dance. This book contains 39 photos.
Relationships Between Score and Choreography in Twentieth-Century Dance Music, Movement and Metaphor
Hodgins, Paul1992 0-7734-9552-5 240 pages
This study examines the aesthetic interdependence of the two disciplines. It begins with a questionnaire-based survey which reveal the pervasive influence of music on a viewer's perception of movement. It proposes a paradigm which can be used to identify and categorize relationships between choreography and score. Acknowledged classics such as Apollo, Agon, Errand Into the Maze, and The Catherine Wheel are subjected to detailed choreomusical analysis, utilizing the paradigm as part of a comprehensive examination of music-movement affinities. Current dance scholarship has virtually ignored the area of music-dance relationships, so this book will be useful for courses on music for dancers, dance philosophy and aesthetics, dance history, choreography, movement and analysis, and other areas of dance scholarship.
Holliday, Kent
1989 0-88946-438-3 192 pages
The reproducing piano rendered faithful 'reperformances' of classical and popular piano solos at a time when cylinder and disc recorders were in their infancy. It played notes from a perforated paper roll, but unlike the player piano it was able to replicate expressive performance elements such as articulation, dynamics, and pedaling. Busoni, Granados, Hofmann, Rachmaninoff, and Ravel made thousands of piano rolls for the reproducing piano. To hear how a famous composer performed his own music is of immense value to the contemporary listener, providing insight into nuances of interpretation too suble to be notated in the musical score. This is the only work which traces the history of reproducing pianos from inception (1904) to the present day. Examines the origin, history, design, and construction of these devices, as well as the present-day resurgence in interest.
Lipori, Daniel
2003 0-7734-6913-3 396 pages
This book is a valuable tool for anyone researching the bassoon or bassoon-related topics. It includes citations for nearly every book, article, dissertation, thesis, and video dealing with the bassoon. It is divided into different sections, allowing one to easily look up available information on a particular bassoon player, composer, information on bassoon reeds, or other aspects of the instrument. There is also an alphabetical section by author included along with the category listings. The set-up of the volume is similar to that of a telephone book, with headers at the top of each page, allowing one to readily browse through and find the needed information quickly.
Parsons, Charles
2002 0-7734-7278-9 372 pages
The Ohio Light Opera at The College of Wooster is the only professional repertory company in the United States devoted exclusively to the performance of late 19th and early 20th century operetta. In addition to Gilbert and Sullivan, they perform many classics of the European and American operetta repertoire. All are performed in English, with many of the foreign-language works specially translated for the Ohio Light Opera. This book is a personal memoir as well as a history. Includes many color and black-and-white illustrations.
Grossman, Morley
2006 0-7734-5648-1 186 pages
This book provides an illuminating and detailed look at the triumphs and difficulties faced by this great composer, both personal and professional, not often revealed in other sources. Included are citations from a number of sources (mostly interviews from periodicals of the day) that are no longer generally available or commonly quoted.
The central focus of this collection of writings is a detailed study of the First Piano Concerto in F-sharp Minor, Op. 1, based upon three sources: the composer’s personal manuscript copy of the original version in full score (1890-91), which remains in the permanent collection of the New York Public Library; an intermediate revision completed during the October uprising of 1917 in the Soviet Union inexplicably issued (though never previously approved by the composer for publication) in 1965 by the (Soviet) State Publishing House; and the final version of 1919, as it is commonly performed (approved and proofread prior to publication). The latter was published in New York by Boosey & Hawkes. Applying quantitative analysis as a fundamental approach, the study demonstrates that Rachmaninoff’s writing (including the orchestrations) tended toward thinner, more transparent textures as his style continued to evolve.
For the Rachmaninoff enthusiast, this volume serves as a ready and convenient source of readings on a variety of topics. Illustrated with a wealth of examples from a myriad of sources, it is hoped this work will prove useful and a welcome addition to the literature currently available on this great composer.
Aberbach, Alan
1996 0-7734-8783-2 312 pages
Chapter headings include: Early Spiritual Dimensions; Reflection of Mind and Soul (The Flying Dutchman, Tannhäuser, Lohengrin); "Jesus of Nazareth"; Encounters with the Esoteric (Hafiz and The Ring of the Nibelung; Schopenhauer and Tristan and Isolde; The Influence of Meister Eckhart); To Parsifal; Beyond Parsifal.
Aberbach, Alan
1996 0-7734-8348-9 312 pages
Chapter headings include: Early Spiritual Dimensions; Reflection of Mind and Soul (The Flying Dutchman, Tannhäuser, Lohengrin); "Jesus of Nazareth"; Encounters with the Esoteric (Hafiz and The Ring of the Nibelung; Schopenhauer and Tristan and Isolde; The Influence of Meister Eckhart); To Parsifal; Beyond Parsifal.
Sposet, Barbara A.
2008 0-7734-5066-1 148 pages
In addition to its primary focus, this work includes rationales for uses of technology in second language acquisition and provides an abundant list of resources.
Helmig, Martina
2006 0-7734-5736-4 404 pages
This is the first monograph about Ruth Schonthal, the internationally renowned composer whose works are performed worldwide. Parts of the work are based on conversations that the author conducted with Ms. Schonthal over the past 20 years. The book is also the first contribution to exile research that is concerned with artists that fled from Nazi Germany in their childhood. This is the English translation and updated version of Dr. Martina Helmig’s musicological book, which gained much attention in the German-speaking countries.
Ruth Schonthal’s unique and dramatic biography encompassed three continents and now spans eight decades. She was a composing and piano-playing “Wunderkind” in the twenties and thirties in Europe. At age five, she was the youngest student ever accepted at the famous “Stern'sches Konservatorium” in Berlin. As Jews, she and her family were forced to flee the country in 1938. Their odyssey led first to Sweden, then to Mexico, where she studied with Manuel Ponce. Paul Hindemith discovered her there and brought her to Yale University as his student. Since 1976, Ms. Schonthal has been Professor of Composition at the New York University and living in the Greater New York City area.
This book presents a case study in the area of research dealing with a specific exiled generation: those who were forced to flee from Nazi Germany before finishing their professional education. This is a field that has been almost completely neglected over the years. The book contains Ruth Schonthal’s biography, analyses of some of her outstanding compositions, and an examination of the ways in which the cruelties of the Nazi regime and condition of exile affected this younger group of artists. It also describes the cultural perspective they gained from living in various countries. Both the places of exile and the necessity of living, studying, and working in the midst of so many different cultures have had, and still have, many implications for the compositional process that go far beyond mere folkloristic influences. According to Lion Feuchtwanger, exile is no coincidental and peripheral circumstance, but the motivating force behind all work undertaken once in exile. This also applies to the younger generation of exiled artists.
Cox, Franklin and Dániel Péter Biró and Alexander Sigman and Steven Kazuo Takasugi
2011 0-7734-1589-0 484 pages
This volume addresses discourses of critical theory; contemporary musicology and ethnomusicology that have been profoundly important to music scholarship, significantly important in this study is contemporary music by living composers. A valuable resource for scholars of contemporary music, theorist and musicologists and institutions with music programs.
Stokes, Harvey
1990 0-88946-577-0 80 pages
A listing of articles and books on the music of eleven Italian serial composers: Berio, Bussotti, Castiglioni, Clementi, Dallapiccola, Donatoni, Maderna, Nono, Petrassi, Togni, and Vlad. Listed documents take the form of interviews, musical critiques and analyses, stylistic surveys, biographies, and listings of companies.
Fiske, Harold
1996 0-7734-9771-4 176 pages
This is an historical and philosophical analysis of eight major theories that concern music perception, cognition, and meaning. These theories, developed in the 20th century, are among those most often cited by the music psychology and philosophy research literature. Included are Carl Seashore's theory of musical inheritance, Information theory, Mary Louise Serafine's theory of music as thought, music cognition versus speech cognition, neural network and Connectionist theory, and the musical meaning and communication theories of Susanne Langer, Leonard Meyer, and Peter Kivy. The links between these theories and other experimental and philosophical research are considered as well. The final chapter offers a list of 21 principles of music cognition and aesthetic communication derived from the analysis of each theory. The analyses reflect the recent historical development of music psychology and philosophy research, and serve as a useful guide for future investigations.
Graham, Arthur
1997 0-7734-8515-5 232 pages
A unique work in the study of music and literature. The reader is introduced to music from several centuries and to five of the most popular plays in great detail (Macbeth, Romeo & Juliet, The Merry Wives of Windsor, Othello, A Midsummer Night's Dream). Other plays are discussed (1 & 2 Henry IV, Henry V, The Taming of the Shrew, The Merchant of Venice). The book treats opera, ballet, symphonic music, song, incidental music, Shakespeare's use of music and his use of music as metaphor. It contains no musical notation and assumes no previous knowledge of music or of Shakespeare. Suggested CD and video recordings are listed and keyed by page number to examples in the book. Contrasting the musical works with the plays is an unusual and successful teaching technique, offering insights in to the plays that are not available through the study of the plays alone. (As with all Mellen books, this work is available at a special price when ordered for text use. For text ordering information, call (716) 754-2788.)
Williams, Hermine
1998 0-7734-8376-4 280 pages
This study of Sibelius's Musique réligieuse (opus 113) is based upon newly discovered autographed documents and related materials held in Masonic Lodge archives and private collections. It considerably augments and reinterprets the only other study of this particular study (published in Finnish more than a decade ago by Einari Marvia). Part 1 chronicles the evolution of opus 113 from its initial creation in 1927 for use by the Masonic lodge in Helsinki where Sibelius held membership to its final authorized English-language publication in 1950 by the Grand Lodge of New York. Part 2 contains an analysis of the texts and music, and includes a discussion of the orchestral version of the 1927 manuscript created by Leo Funtek. In addition to addressing Sibelius's association with Freemasonry and the significance of his music for Masonic rituals, it sheds light on the composer's activities during his 'period of silence' (1927-1957), provides insight into the composer's religious views, and offers a different perspective on Sibelius's relationship with Americans. The author had access to and permission to print a number of letters from/to Sibelius held in private collections. These, and a number of photos taken of Sibelius by his American visitors, add significantly to the value of the study. Not only musicologists but scholars working in the field of Freemasonry will be interested in this work, for it not only illumines the close ties between New York and Finnish Masonic lodges, but is also one of the first to focus attention on the music used in American Masonic rituals.
Heavner, Tracy Lee
2003 0-7734-6850-1 168 pages
For many music students, the most difficult skill to develop is the ability to sight sing. This book utilitzes solfege, rhythmic syllables, handsigns, memorized melodies, body rhythms, echo chains, chord progressions, four-part singing and conducting patters. It is the only textbook to combine all these features into an effective approach of teaching sight singing and rhythmic reading. This approach works well with young students as well as college students. With proper practice and mastery of each exercise presented in this book, students will develop excellent sight singing, rhythmic reading and conducting skills.
Stocken, Frederick
2009 0-7734-3879-3 300 pages
Contrary to the many commentators who presumed there to be a tension between Sechter’s theory and Bruckner’s mature musical language, this study demonstrates their compatibility. Using the Adagio of Bruckner’s Ninth Symphony, the case is made for fundamental-bass theory as a revealing tool for analyzing the composer’s music.
Dailey, Jeff S.
2008 0-7734-5068-8 256 pages
Explores the drama behind the trajectory of the opera, Ivanhoe, and Arthur Sullivan’s venture into Grand Opera. The back story is complex and entertaining, dealing with issues of English nationalism, socialism, politics and real estate. This book contains ten black and white photographs.
Froehlich, Hildegard C.
2015 1-4955-0302-X 456 pages
This book employs the lens of interactionism to explore and explain the field of music education as an empowering area of professional pursuit. Personal vignettes, stories by others, and relevant scholarly literature from several fields are used to demonstrate how awareness of the symbolizing power behind communicative acts of teaching, learning, performing, writing, conducting research (or doing all of the above) can turn interactions that may be perceived as communicative barriers into opportunities for pro-active discourse.
Frederickson, Jon
1993 0-7734-9281-X 180 pages
This is a sociological study of musicians who play for musical shows, operas, ballets, and receptions. These are musicians who trained to be artists on stage, but ended up being accompanists in the pit. The focus of the study, which is aimed toward sociologists and musicians, is what life is like in the pit, the fascinating artistic conflicts of pit musicians, and the source of those conflicts. It is written in a direct and readable style.
McGinnis, Pearl Yeadon
2004 0-7734-6432-8 540 pages
John La Montaine is known primarily for his Concerto for Piano and Orchestra, Opus 9, which was awarded the Pulitzer Prize for Music in 1959. In addition, he has won countless awards for composition. However, his compositions for voice and piano are not yet an established part of the vocal solo repertoire.
This work illustrates La Montaine’s music for voice and piano through an analysis of musical and dramatic elements that support the text and drama. A biographical study provides details about the composer’s life such as musical training, personal influences, awards and goals. In addition, the issues of philosophy, creativity, methods, musical styles, and textual considerations are discussed and are the basis for the following analysis.
St. Pierre, Paul Matthew
2003 0-7734-6656-8 360 pages
This is the first book, scholarly or popular, on Elsie and Doris Waters, the most successful female double-act in the history of British music hall and variety. They distinguished themselves in the male-dominated field and in the movement of female artists who, after WWI, elected not to marry, the better to pursue their careers. Elsie and Doris Waters wrote almost all their own comic songs and sketches, created an original gynocentric comedy, anticipating feminist movements, controlled their means of production in the male-dominated British stage, radio, and recording industries, and performed together in Britain and around the Commonwealth for half a century. This study shows them to be precursors of contemporary female double-acts and patter-based comedians such as French and Saunders, Flanders and Swann, Beyond the Fringe, and Monty Python’s Flying Circus. The study also contains fifty transcribed songs and sketches, their original compositions and arrangements, from recordings on 78rpm gramophone records made between 1929 and 1944. The words to their entire oeuvre of songs and sketches have never before been available in print.
Elashiry, Mohammed R.
2008 0-7734-4836-5 380 pages
This work reports the results of an instrumental investigation into some phonetic aspects of Qur’anic recitation as performed in Egypt today. Particular attention is given to comparisons between styles, voice registers and trained and untrained performers. Seven reciters, four non-professional and three professional, served as subjects.
Soder, Aidan
2008 0-7734-5178-7 136 pages
This study offers a brief history of Sprechstimme and Pierrot lunaire, Schoenberg’s recordings of Pierrot, and the ambiguity inherent in the execution of Sprechstimme. The book also presents the substantial Pierrot discography and the range of interpretational styles heard in the recordings. The author provides a thorough discussion of Pierrot’s technical vocal requirements and how the sound recordings can assist in the interpretation and performance of the Sprechstimme.
Herrala, Meri E.
2012 0-7734-2611-6 704 pages
During the sixteen critical years of tumultuous artistic upheaval from 1932-1948, the Soviet Union’s cultural authorities strove diligently to establish and refine a functional administrative infrastructure with which to direct and control Soviet Music. Yet in reality, this music policy system did not function as it had been intended to, which was to ensure the creation of Soviet operas acceptable to the Party. Because the agencies controlling the operas could not define which style best represented Socialist Realism, the music policy failed to establish adequate centralized control of Soviet music. Therefore, musical discussions deteriorated into ritualistic forums for revealing heretical composers, making scapegoats of them, and requiring them to perform self-criticism, yet providing little practical guidance on how to reach the artistic goals of Socialist Realism.
Stegman, Sandra
1999 0-7734-7926-0 320 pages
A guide to educating those who teach choral music in the classroom, this text provides a comprehensive review and analysis of the relevant literature, drawing on qualitative methodologies to collect and interpret primary source data. Student-teacher portraits are provided as examples. The author presents a convincing argument for assigning a special role to the development of reflective capacities and to image construction in the process of becoming a teacher, and her recommendations for music teacher education and research are thorough and developed.
Cockshott, Gerald
1980 0-7734-0105-9 405 pages
Trenkamp, Anne
1990 0-88946-449-9 336 pages
A Festschrift containing essays by the honoree, the Hungarian-born American composer Marcel Dick, who is one of the very last members of Arnold Schoenberg's "inner circle" during the 1920s and whose place in the history of the Second Viennese School is assured. Includes studies of Dick's music, an appendix on The Marcel Dick Collection at Case Western Reserve University, and another appendix covering Marcel Dick's curriculum vitae. Also includes contributions by Walter A. Strauss, Joan Allen Smith, Wendy Williams Keyes, Michael Nott, Anne Trenkamp, John G. Suess, John K. Ogasapian, Jody D. Rockmaker, and many others.
Zalkind, Ann
2002 0-7734-7231-2 212 pages
This study examines Mompou’s Música Callada within the context of musical, literary, and philosophical influences. Mompou’s piano miniatures reflect the concentrated expression of his primitivista philosophy. Mompou thought his ideals of concentrated expression were best realized in the four volumes of Música Callada (1959-1967). The title for Música Callada , loosely translated as “Silent Music,” is taken from Cántico Espiritual entre el alma y Cristo, su esposo, by the great Spanish mystic and poet, St. John of the Cross. The study addresses interpretive issues in each of the work’s 28 pieces, and considers recorded performances of the work by Herbert Henck, Joseph Colom and Mompou himself. “This is a scholarly thesis with an unusual amount of musical analysis. It integrates in detail the influence of other composers. This book should be invaluable for any study of Mompou’s work. Nothing of its depth is in publication. . . . Each composition of the Música Callada is described in infinite detail with the most lucid discussion in the most difficult and hermetic section, the fourth book or Mompou’s favorite. It is the most austere and in many ways climactic. . . . does show remarkable piano literature, rich in sonority, vivid in historical reminiscence and inventive within small but beautiful measure of music.” – Virginia Raad
Coker, Niyi, Jr.
2004 0-7734-6520-0 178 pages
This work is an analysis of the music and politics of Fela Anikulapo-kuti. It traces Fela’s development through several stages of political consciousness, awareness and artistic maturity. His evolution from Fela Ransome-Kuti to Fela Anikulapo-Kuti, and from Koola Lobito’s to Nigeria 70 to Africa 70 and ultimately Egypt 80. He had spent a life producing music that spoke to the existence of the masses in Africa. He had also spent a tremendous amount of time in court, in prison, in jail and receiving beatings from the army and police. Through it all, he remained true to his vision and his music.
Casler, Lawrence
2001 0-7734-7489-7 404 pages
This encyclopedic survey will serve as an indispensable reference for scholars and students interested in relationships between music and literature. After an extensive introduction that includes a history of program music and a discussion of the aesthetic issues peculiar to this genre, the book provides brief analyses of approximately 260 pieces of orchestral program music based on specific literary sources. Each entry consists of three sections: an account of relevant aspects of the composer’s life, an account of relevant aspects of the author’s life, and an account of the relationships between the music and the literary source. Appropriate musical quotations are used to illustrate these relationships. Up to the cut-off point of 1950, the discussions cover virtually every work that is likely to be encountered on recordings or in concert halls. Because of the book’s user-friendly format, the reader/listener can quickly locate each musical or literary work.
Casler, Lawrence
2001 0-7734-7491-9 448 pages
This is a text of great importance and achievement, and is indispensable to all lay music lovers, professional musicians (conductors in particular), scholars, libraries, artist and repertory directors, classical radio programmers, and all who appreciate music and literature.” – Peter Bay, Music Director, Austin Symphony Orchestra
Oerke, Andrew
2000 0-7734-3119-5
Symphony Number One is the first part of a trilogy. It investigates the nature of human identity and concludes that who we really are is created by our individual, common and uncommon choices of words, and is revealed in the true equations between words and action. This book is about primal, radical cure, and it is Mozart and Mingus played by a combo in blue jeans jamming to a new millennial swing. Poet Andrew Oerke’s work has been published in The New Yorker, The New Republic, Poetry, Mademoiselle, and other leading magazines. Golden Gloves champ, football player, University professor, Peace Corps Director in Africa and the Caribbean, US Korean War veteran, and United Nations Gulf War consultant, he has lived many lives. In feature articles, The New York Times and International Herald Tribune have said that here is a poet “whose muse is a world traveler.” With Notes and Comments by James O. Allsup
Brand, Manny
2006 0-7734-5871-9 216 pages
Feeling dismayed instead of inspired by much of the traditional professional scholarly literature in music education, the author undertook what he called a “music teacher journey,” a music education adventure and discovery from an exotic perspective. The result is this narrative research based on meeting and observing fascinating and unusual music teachers throughout China, Laos, Cambodia, Malaysia, Thailand, Singapore, Myanmar, Indonesia, and Vietnam.
This work encourages music education majors and assists them in embracing, often for the first time, the possibilities, pleasures, and promises of a life of music teaching. Within a uniquely multi-cultural perspective, this text offers inspiration and ideals to help motivate and sustain the beginning music teacher and to assist the experienced music teacher in recapturing an enthusiasm for a life-long career of challenges, difficulties, and joys of music teaching. Scholars in music education have, at last, a splendid model of narrative research offering a penetrating analysis of music teaching and an insightful understanding of the music teacher’s beliefs, role, and contribution to humanity.
Ashley, Martin
2008 0-7734-4998-1 276 pages
The first empirical study to examine the complicated relationship between voice and masculinity for young male singers.
Douglas, Darrell
1993 0-7734-9312-3 120 pages
Designed to introduce the student to most of the problems associated with writing music in four parts in the Common Practice period. Preliminary exercises prepare the student to part write, then a thorough presentation of partwriting takes the student through the writing of augmented sixth chords. Not all the exercises need be used; however, enough are presented so that any instructor using the book would have ample material.
Douglas, Darrell
1993 0-7734-9310-7 196 pages
This is a collection 1130 examples of harmonic progressions arranged from the shortest and simplest to a very complicated hearing and partwriting dictation. The dictation is played by the instructor. Each new chord or problem is shown alone in both the first and second text before being integrated with previously-learned material. Several partwriting and dictation exercises are given for each new problem, and a number of examples by famous composers are cited in the three optional texts of musical examples.
Musin, Ilia
2014 0-7734-0051-6 752 pages
The best English translation of the conducting methodology of Professor Ilia Musin, the creator of the “Leningrad/St. Petersburg school of conducting. Musin was an internationally known innovator in advanced conducting techniques. This book makes available, for the first time, to English-speaking conducting students, pedagogues, and professional conductors, access to Ilia Musin’s legacy. It is a paragon in the fundamental analyses of the advanced techniques of the art of conducting. A must have book for anyone in this specialized field.
Zhong, Mei
2002 0-7734-7190-1 228 pages
Difficulties in establishing tempos for Puccini’s soprano arias arise from the lack of markings in some cases, ambiguous or impractical markings in others, doubts about the authorship of some markings, and wide variations in tempo among recorded performances. This study seeks to establish the originally intended tempos for these operas. By examining Puccini’s autographs, the first edition vocal scores, and many early recordings – especially those by the sopranos or conductors who worked with the composer or performed the arias during Puccini’s lifetime – it establishes tempos that conform to Puccini’s musical and dramatic intentions. Additional sources include the commentaries of Luigi Ricci, Puccini’s rehearsal pianist; contemporaneous and contemporary commentaries; and current scholarship.
Cord, William
1991 0-88946-441-3 244 pages
An exhaustive, three-volume presentation of the totality of mythological thought associated with Wagner's Ring. Certain to become a classic in its field. Volume One, Nine Dramatic Properties, includes extensive treatments of: the World Ash, the Rainbow Bridge, Donner's Golden Hammer, Valhalla, and the Ring. Volume Two, The Family of Gods, presents each god in rich detail and unprecedented breadth of coverage. Volume Three (Parts 1 and 2), The Natural and Supernatural Worlds, includes a supplement on the names presented in the first two volumes with specific examination of every person, thing, or object given a proper name in the drama. Assembles and explicates the many miscellaneous elements, difficult to categorize, that are vital to appreciation of the Ring.
Cord, William
1991 0-88946-442-1 225 pages
An exhaustive, three-volume presentation of the totality of mythological thought associated with Wagner's Ring. Certain to become a classic in its field. Volume One, Nine Dramatic Properties, includes extensive treatments of: the World Ash, the Rainbow Bridge, Donner's Golden Hammer, Valhalla, and the Ring. Volume Two, The Family of Gods, presents each god in rich detail and unprecedented breadth of coverage. Volume Three (Parts 1 and 2), The Natural and Supernatural Worlds, includes a supplement on the names presented in the first two volumes with specific examination of every person, thing, or object given a proper name in the drama. Assembles and explicates the many miscellaneous elements, difficult to categorize, that are vital to appreciation of the Ring.
Cord, William
1991 0-88946-443-X 630 pages
An exhaustive, three-volume presentation of the totality of mythological thought associated with Wagner's Ring. Certain to become a classic in its field. Volume One, Nine Dramatic Properties, includes extensive treatments of: the World Ash, the Rainbow Bridge, Donner's Golden Hammer, Valhalla, and the Ring. Volume Two, The Family of Gods, presents each god in rich detail and unprecedented breadth of coverage. Volume Three (Parts 1 and 2), The Natural and Supernatural Worlds, includes a supplement on the names presented in the first two volumes with specific examination of every person, thing, or object given a proper name in the drama. Assembles and explicates the many miscellaneous elements, difficult to categorize, that are vital to appreciation of the Ring.
Eppstein, Ury
1994 0-7734-9151-1 172 pages
This investigation into the introduction of Western music into the educational system of Japan reveals the existence of conflicting tendencies within both the Early Meiji period and then again in the Late Meiji period. While the acceptance of other Western cultural values in Japan, such as philosophy, the arts, natural sciences, and many more, have been studied extensively, this book contributes on a subject not treated in great detail until now.
Bute, Daniela
2010 0-7734-1328-6 352 pages
This book documents the impact of democratization, globalization and European integration on the Romanian music education system since the Revolution in 1989. Particular emphasis is placed on government deregulation of public music education.
Cho, Gene Jinsiong
2003 0-7734-6941-9 332 pages
This study provides little-known mathematical, musicological and scientific facts regarding the discovery of musical equal temperament, and narrates the circumstances of the discovery in the historical and cultural contexts of the period (mid 16th to early 17th centuries) which, in turn, is placed in the intellectual chronology of the Eastern and Western worlds. By offering documentary evidence and information not found in Western publications, the book invites the reader to see the mathematics of the equal temperament and its discovery in an entirely new light.
Judith Michelle Crispin
2007 0-7734-5407-1 332 pages
This study explores an elite esoteric tradition of music composition, transmitted to succeeding generations by practicing musicians with an avid interest in the occult. Motivated by a conception of music as an agent of transcendence, this tradition has been most clearly articulated by Ferruccio Busoni as Junge Klassizität, or Young Classicality. The core ideas of Busoni’s Junge Klassizität have been passed from teacher to pupil in the manner of esoteric school, and encrypted as symbols within original compositions. One inheritor of Busoni’s esoteric legacy was the Australian composer Larry Sitsky, a composition student of Busoni via Egon Petri. Building on existing research into the esoteric nature of Busoni’s Junge Klassizität, this study traces the passage of the esoteric tradition along the Budoni-Petri-Sitsky line. It outlines a new, living and evolving tradition born from Sitsky’s reinterpretation and revitalization of Busoni’s model. Within the Busoni-Sitsky tradition of orientation of Junge Klassizität remains unchanged but has flowered into new esoteric manifestations. To further elucidate this tradition, this study examines the two major operas it has generated: Busoni’s Doktor Faust and Sitsky’s The Golem. It is demonstrated that the tradition’s core ideas are transmitted through these operas as encrypted symbols, awaiting future decipherment. This work will appeal to scholars of music history, pedagogy, and composition, as well as scholars of Australian music, Busoni, Sitsky and Western esotericism.
Frantz, Charles
2017 1-4955-0572-3 236 pages
This work presents an analytical perspective grounded in correspondences to contemporary movements in visual art. Inquiry focuses on the world of Art Nouveau, Symbolism, decadence, and Orientalism with Debussy, to some demonstrable extent, was in direct contact. It reviews relevant Debussy scholarship , particularly in respect those dealing with the perception of musical time.
Streicher, Nannette, Carl Dieudonné, Johann David Schiedmayer, and Johann Lorenz Schiedmayer
2008 0-7734-4874-8 688 pages
Provides the original texts and translations of two early German-language fortepiano manuals by Andreas Streicher (1801) and by Carl Dieudonné and Johann Lorenz Schiedmayer (1824). Also included is a transcription and translation of a related, previously unpublished workshop notebook of Johann David and Johann Lorenz Schiedmayer.
Moore, Carol-Lynne
2009 0-7734-4777-6 376 pages
This study of Rudolf Laban, pre-eminent dance theorist of the twentieth century, provides the first comprehensive analysis of his theoretical explorations. Based upon an examination of unpublished writings and drawings from the final two decades of Laban’s career, the work traces Laban’s systematic integration of various strands of research and delineates how he used “harmony” as an analogic metaphor to illuminate the deep structure of dance and movement. This book contains thirteen color photographs.
Quist, Robert
2010 0-7734-1290-5 440 pages
Examines Swedish art music during modern times. It includes an examination of lateromantic composers and styles, the modernist devotion to international styles and its influence on neoclassical composers, and who blended the modern avant garde with traditional styles and genres. This book contains fourteen black and white photographs.
Little, Jonathan David
2011 0-7734-1426-6 492 pages
This is the most comprehensive survey of the major sources of inspiration for Western composers who sought to infuse their musical works with an ‘Eastern’ flavor. The book discusses the aesthetic, philosophical, political , geographical, literary and historical forces at work during the period. This book contains thirty-one black and white photographs and fifteen color photographs.
Sugg, Andrew N.
2014 0-7734-4281-2 448 pages
This book investigates the influence of Coltrane’s music on the improvising of post-Coltrane saxophonist by inspecting selected improvisations of Jerry Bergonzi and David Liebman and comparing them to improvisations by Coltrane on the same repertoire piece.
A ground-breaking study that examine the magnitude of Jazz legend, John Coltrane’s influence, from an analytical perspective, on subsequent Post-Coltrane saxophonist in the development of their respective improvisatory styles and creative approaches to this music genre.
Gray, Colleen Gail
2015 1-4955-0298-8 216 pages
This book includes an extensive biography of Lee Hoiby drawn from dissertations, published interviews with the composer, and personal correspondence between Mr. Hoiby and the author. The book also includes a comprehensive list of Hoiby’s songs with their dates of composition and revision, information that is almost impossible to find since the composer’s death in 2011.
Bohn, James Matthew
2004 0-7734-6440-9 307 pages
Yaklich, Richard
2017 1-4955-0584-7 196 pages
This work provides detailed annotations of Eugene Ormandy's scores with regard to his extensive alterations, particularly his modifications to orchestration, significant adaptations to dynamics, cuts and specific bowings. The goal is to give a glimpse into the making of "The Philadelphia Sound," or more appropriately, the "Ormandy Sound."
Rowat, Malcolm
2012 0-7734-3078-4 252 pages
The main purpose of this volume is to provide an overview to all of Richard Strauss’s musical and operatic compositions. Usually the operas are ignored by scholars and composers who only perform his instrumental works. This book shows that there is incredible musical value in the operas as well. It also showcases his compositional style and techniques, as the author states, Strauss could compose while riding on a noisy train, he was just that talented.
Because of his involvement with the Nazi Party, Richard Strauss has been ignored by musical scholars for quite some time. Even when he is studied his operas are often viewed as being less important than his instrumental works. This book remedies that misconception by addressing how his operas were created and pin pointing the musical importance by chronicling their compositional qualities. There is also quite a bit about Strauss’s life in this book as well.
Zhang, Juwen
2017 1-4955-0577-4 244 pages
Exploring the ideas of harmony and dissonance with the Confucian notions of ritual-propriety and music, this book sheds light upon our understanding of how these concepts have been practiced within Chinese society, by providing commentaries on and introduction to the first English translations of some important texts. This text includes twelve color photos and six black and white photos.
Rastall, Richard
2010 0-7734-1404-5 280 pages
Harris, John Wesley
2006 0-7734-5798-4 280 pages
There has never been a comprehensive survey in English of all the main forms of traditional Japanese drama – kyogen, noh, kabuki and puppetry. Individual works have been written on each form in abundance, some of them in English, and the majority of them are excellent, but they do not make the reader aware of the close connections between all of these older theatrical forms – their common origins in sacred dance, the high degree of stylization they all share, the selectivity in their use of gesture, the symbolic function of costume, the strict code of honour, which westerners often find so difficult to understand, and the heady mixture of violence with the appreciation of elegant form and a fragile, ephemeral beauty. The forms and conventions of theatre involved are also unique and challenge many of the theories that have been developed about the western stage. In fact, traditional Japanese drama is an area of theatre which should form an essential part of every dramatic specialist’s education.
Russell, Peter
2002 0-7734-7293-2 476 pages
This is the first study systematically to map and classify the major German lieder according to the themes of their texts. It also traces in detail the extent to which each theme as evolved from German folk-song, or derives from elsewhere, notably the Romantic movement. This analysis also affords new insights into the differing personalities of the major lieder composers. It constitutes a comprehensive reference-work, an encyclopedia of lieder themes. Through its lists of contents and its detailed indexes (by composers, poets, song-titles, and themes) it provides an easy means of racing lieder by theme.
Cho, Gene
1992 0-7734-9917-2 132 pages
This volume brings together the essential information regarding the theories of harmonic analysis. It provides a list of concerns and proposes procedural perspectives and recommendations for analysis and for harmonic analysis in particular. It is also a critical review and reassessment of Gottfried Weber's contribution to harmonic analysis and demonstrates proper application of Weber's analytic system. The text is augmented by over sixty musical examples.
Larrick, Geary
2004 0-7734-6363-1 150 pages
This book is a blend of art and science, with the art being music and the science being bibliography. The books is divided into three sections, that discuss subjects of music theory, scholarly sources and new publications from the later half of the 20th century respectively.
The first section of essays address subjects in the area of music theory especially, such as form, sound, rhythm, melody and harmony. The analytical scope ranges from ancient Greek philosophy through contemporary avant garde. Multicultural sources are included, with a base of western art music. However, as is true in the field of percussion worldwide, classical music is combined with popular and jazz musics, in addition to ethnic and educational sources.
In the second section, Books and Articles address scholarly sources such as Professor Benward, Leonard Bernstein, Dr. Cho, the Harvard Dictionary of Music, Forte, Goetschius, Goldman, Paul Hindemith, Jaques Dalcroze, Kennan, Persichetti, Piston, Rameau, Michael Rosen, Salzer, Schenker, Arnold Schoenberg, Dr. Otice Sircy, Shinichi Suzuki, Zarlino and Dr. Zarro. The format is bibliographic essays, with commentary about these notable sources as well as the inclusion of author experience that is related to the subject at hand. In this section, music theory is discussed from the Renaissance to the 20th Century.
The final section Methods and Compositions, studies new publications from the second half of the 20th Century. Composers included are Bach, Beck, Benson, Cirone, Dameron, Dinicu, Erickson, Harrison, Kraft, Molenhof, Pratt, Schinstine, Tchaikovsky, Turlet and Wasson. Pedagogues cited include Balent, Drummers Collective, Firth, Moore, Spohn, Whaley and Whistler.
Discussions incorporate scholarship, analysis, composing, teaching, history and interpretation. An effort has been made to include women in this history as well, although often the citations are from the author's professional experience. Many, many names are part of this monograph, all important people in this author's life in music for more than fifty years. A balance is maintained between classical and popular, tradition and invention, theory and composition, percussion and other instruments. Several ethnic traditions are part of this story.
Lefkovitz, Aaron
2016 1-4955-0513-8 196 pages
The purpose of this book is to ask how Baker, Holiday, and Fitzgerald's transnational power compromises enlarge ideas of power beyond fixed barriers. In addition, the book explores the ways these compromises contribute to an understanding of film and popular music's transnational influence.
Tucker, Gary
2001 0-7734-7559-1 168 pages
This is the first published detailed analysis of all four of Alban Berg’s Four Songs, op.2. This early work lies exactly at the boundary between ‘tonal’ and ‘atonal’ means of pitch organization, a boundary often taken as central to the understanding of 20th century music. This study offers a new look at the conceptions of those categories, and traces their development in technical detail and context across all four songs. Includes texts and translations of the songs.
Raisor, Steven
1999 0-7734-7914-7 136 pages
Although the 12-tone technique is one of the more important compositional techniques of this century, there is virtually no scholarly writing on 12-tone pieces for guitar. This work explores the 12-tone technique of composition as applied to the solo guitar, undertaking a comparative analysis of four works which exploit this technique. The pieces chosen represent four individual styles of 12-tone composition.
Burton, Sean M.
2008 0-7734-4967-1 140 pages
This study examines all fifteen unaccompanied motets by French composer Pierre Villette (1926-1998). The work includes documentation of the composer’s personal attributes, discussion of text-music relationships, exploration of compositional style, and practical observations for performance.
Fiske, Harold
2008 0-7734-5168-4 340 pages
This work amalgamates music psychology, philosophy, and sociology into a fresh view of the musical learning experience. It demonstrates that explanations of musical understanding are not found in analyzing musical activities per se but rather in examining underlying cognitive activities: principles of melodic and rhythmic construction, language-like template tuning protocols, sensory awareness and quality assessment, and the effects of cultures on neural network formation.
Rayapati, Sangeetha
2010 0-7734-1405-3 148 pages
This book examines the contributions of John Alden Carpenter, Arthur Sheperd, and Jean Cras to the dissemination of Rabindranath Tagore’s Gitanjal (Song Offerings) through the medium of art song, in settings designated for a soprano voice.
Petty, Jonathan Christian
2005 0-7734-6007-1 632 pages
This book re-theorizes Wagner’s post-Opera and Drama tonal language in the linguistic terms in which the composer himself conceived and executed the Ring of the Nibelung and Parsifal. Topics include Wagner’s lexical use of key; the composition of semantics from tonal lexicality and orthodox tonal syntax; the cognitive structure of tonal language [TL] semantics, the linguistic coordination of words and keys; Wagner’s concept of Tonal Households and the alignment of TL syntax with poetically specified protagonists, objects, and dramatic situations; key characteristics and TL Lexemes as public cultural linguistic properties; the virtual spatiality of TL syntax and semantics; TL spatiality and spatialized emotions; and tonal cartography. The four scores of the Ring dramas are analyzed bar-by-bar to derive a complete linear harmonic analysis-based readout of each of its keys and claimed lexical referent. The result–over 3,780 TL lexemes–is the first TL Lexicon of the entire Ring. Two concluding chapters on Parsifal discuss its mediaeval sources as suggested by Wagner’s prose writings, letters, and religious discourse to argue for the Gnostic and alchemistic basis of its libretto imagery, lexical tonality, and anti-Semitism. Throughout, lexical theory is argued against in-depth critiques of the theories of Heinrich Schenker and others.
Thomson, William
2015 1-4955-0355-0 252 pages
This book is a re-titled soft cover version of Meta Music versus the Sound of Music which was first published in hard cover in the year 2010.This study utilizes knowledge banks: acoustics, cognition/perception, ethnomusicology and cultural records in probing Serialism’s basic assumptions. It examines analyses by such leaders in the serialist world as Milton Babbitt, David Lewin and Allen Forte.
Professor Thomson argues that serial twelve-tone music is an artificial construction by academics who do not realize that musical tonality is routed in deep biological or cultural forces. Professor Thomson calls such music “metamusic” by which he means that one can only understand it through a non-musical intervention of the mind.
Soll, Beth
2002 0-7734-7115-4 564 pages
This book examines the origins and growth of modern dance, demonstrating why it is a unique art form. The author includes citations from many critics, dancers, choreographers, and historians, and writers to contextualize her own views, as an academic, dancer, and choreographer.
Brewer, Charles
2017 1-4955-0579-0 188 pages
William Billing's Chester is perhaps his best known composition, though the choice of name is atypical of his usual naming practice, since the name Chester occurs rarely in sources from Colonial New England, and the significance of his significance of his evocative text that has not been examined in detail.
Stanley, Jerome
2002 0-7734-7165-0 252 pages
Bean, Heather
2001 0-7734-7508-7 256 pages
Both urban Appalachian evangelical Christianity, as embodied in Appalachian women’s folk art and music, and process theology as articulated by John B. Cobb, Jr, and those he has mentored share an existentialist eschatology that emphasizes the salvific quality of individual life in the present rather than hope in the future. Process theodicy lacks a rich aesthetic, symbolic or ritual tradition through which to express these beliefs and thus is often criticized for its seeming lack of applicability to Christian life and nurture. Urban Appalachian women’s folk art and music, however, is widely celebrated for its powerful emotional impact, but its multivalent symbolism is seldom explored for theological insight. This project explores the ways in which these two marginal Christian existential theological traditions share common beliefs, articulate them in radically different ways with radically different results, and thus might learn from one another.
Muller, Julia
1990 0-88946-495-2 520 pages
Although both the complete libretto (1690) and the full score (1691) of Henry Purcell's first semi-opera The Prophetess: or, The History of Dioclesian have been preserved, the work has never been fully discussed. In this study its relationship to the play of the same name by John Fletcher and Philip Massinger (1622?) and in particular the "Alterations and Additions After the Manner of an OPERA" by Thomas Betterton, actor-manager of the Dorsert Garden Theatre, come under scrutiny. With a line-by-line comparison of the opera with the only two published versions of the play extant, which are in the Beaumont and Fletcher First Folio (1647) and Second Folio (1679). Double numbering ensures easy reference to both Notes and Folios. The alterations are shown to be classifiable under such headings as late seventeenth-century theatre conventions, political expediency, providing scope for music and dance, and unification. The high degree of unification found in the text and particularly in the music, which is dealt with separately, shows that earlier criticism of this semi-opera as lacking coherence is unfounded.
Weaver, Michael Alan
2006 0-7734-5737-2 184 pages
The Pulitzer awards in music have been representative of America’s best composers since 1917. Twenty-eight Pulitzer Prize winning composers, three Pulitzer Traveling Scholarship recipients, and two Pulitzer Special Award winners have written compositions for viola solo, viola with keyboard, and for viola with orchestra. This annotated bibliography catalogues each Pulitzer award winner’s compositions for these instrumentations. Each entry includes information concerning the composition’s premiere, publication details, dedication, commission, availability, a brief description, a selective bibliography, and a selective discography. Only compositions originally for viola and orchestra, viola and keyboard or viola solo are included. Some works are for another instrument or viola, as indicated by the original composer. Transcriptions by someone other than the original composer and works written for another alto clef instrument, but not for the viola, are not included. Descriptions of compositions were gleaned from music critics, prominent viola performers, presidents of composer societies, the composers themselves, reviews in journals and newspapers, or from performance and recording program notes. A brief history of the Pulitzer Prize in music is included. Publisher contact information, along with their instructions concerning the acquisition of out- of-print, archive or made-to-order requests, is also included.
Dower, Catherine
1993 0-88946-446-4 212 pages
Examines the career of Yella Pessl, a Bach specialist, virtuoso harpsichordist and pianist, authority on seventeenth and eighteenth century Baroque keyboard music which she wrote about and edited. It discusses her early years in Vienna; her American debut; the Bach Circle which she founded; presents four of her articles on keyboard music; includes interviews; recollections of Alexander Wunderer, her teacher; and a section on her musical sister who lived in Austria under Hitler's reign. It brings to light Pessl's disorganized years, life in mental institutions, and complete recovery.