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JUNE 2002

Monthly Links Archive

Below are items you may have seen this month in a certain monthly organ magazine.

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Specifications, St. Luke's Episcopal Church, Alexandria, VA, Visser & Associates Inc.

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St. Andrew's Episcopal Church, Denver, CO, Op. 26, John-Paul Buzard Pipe Organ Builders

Kolbe Shrine, Libertyville, IL, Fabry Inc. (Aeolian-Skinner)

First Baptist Church, Guntersville, AL, Milnar Organ Co.

Church of the Ascension, Gaithersburg, MD, Casavant

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St. Vincent Ferrer Roman Catholic Church, New York, NY, Schantz Organ Company

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The Church of the Ascension, Rockville Centre, NY, Reuter Organ Company

cover Britten (Master Musicians Series) by Michael Kennedy
Look inside! This book has 20 sample pages. Click here to see them.

  The British Piano Sonata, 1870-1945 by Lisa Hardy

cover Ernst von Dohnanyi: A Bio-Bibliography by James A. Grymes
cover Gabriel Faure (20Th-Century Composers Series) by Jessica Duchen
Look inside! This book has 18 sample pages. Click here to see them.
From the Publisher This is a comprehensive biography of the French composer Gabriel Faure for the general reader, placing his work in the context of his times. Gabriel Faure (1845-1924) is one of the best-loved French composers of his era: works such as his Requiem, "Pavane", "Dolly Suite, and "Cantique de Jean Racine" are perennial favourites. But Faure's importance runs far deeper. His music has a unique blend of vigour and restraint, sensuality and purity: an individual voice with a degree of integrity that helped him to resist the overwhelming forces - notably the music of Wagner - that held his Parisian contemporaries in thrall. His artistic independence served to inspire many of the next generation of French composers seeking to create a new Gallic identity beyond World War I. At the Paris Conservatoire, Faure's composition teaching was vital to such figures as Maurice Ravel, Nadia Boulanger and Charles Koechlin; when he ultimately became the Conservatoire's director, his reforms were the most radical the institution had yet experienced. Faure has often been thought of as a dreamy, somewhat unworldly individual; this book, however, reveals his ambition and decisiveness. Born in southern France and educated at the Ecole Niedermeyer rather than the powerful Paris Conservatoire, he struggled for years to achieve recognition from France's musical establishment, which often deemed him a dangerous outsider; in his personal life he struggled also against bouts of depression, an unsatisfactory marriage and, later, devastating deafness. Faure's life and works are explored in the context of the creative melting pot of fin-de-siecle Paris. His relationship with such figures as Saint-Saens, Liszt, Proust and Verlaine are considered in detail and help to create a portrait of this fascinating milieu. This biography, which charts Faure's long and difficult rise to fame, sets out to illuminate his individuality and reveal his enduring legacy to French music.

cover Generative Processes in Music: The Psychology of Performance, Improvisation, and Composition by John A. Sloboda (Editor)
Look inside! This book has 19 sample pages. Click here to see them.

cover A Handbook for Preparing Graduate Papers in Music by J. David Boyle, Richard K. Fiese, Nancy Zavac
Editorial Review
Dr. William Hipp, Dean and Patricia L. Frost Professor of Music, the University of Miami
"...a totally unique publication of extremely high quality that will serve as an extraordinary resource for graduate programs in music..."
Book Description
The purpose of A Handbook for Preparing Graduate Papers in Music is to provide music students with some guidelines to assist in the preparation of theses, essays, dissertations, and other papers that may be written as part of their graduate program. Preparing Graduate Papers in Music includes information and examples for preparing such papers and is designed specifically to assist students in writing about music and in documenting references to music, music notation, recordings, and other musical resources. It is intended to complement guidelines provided by a university's graduate office and the two style manuals most used by music students, A Manual for Writers of Term Papers, Theses, and Dissertations (Turabian 1996) and the Publication Manual of the American Psychological Association (APA 1994).
About the Author
J. David Boyle is Professor Emeritus of Music Education and Music Therapy at the University of Miami. Richard K. Fiese is a Professor in Music Education at Houston Baptist University. Nancy Zavac is a Librarian Associate Professor at the University of Miami.

How We Hear Music: The Relationship Between Music and the Hearing Mechanism by James Beament
Reviewer: revreader from Durham, NC USA
Our Hearing System chose the sounds for music. During the past fifty years there have been spectacular advances in our knowledge of how that system works and it seems possible that it might provide explanations for a range of musical phenomena. This book begins by discussing the early evolution of simple `western' tonal music; what exactly were the characteristics of the intervals and scales which hearing selected? It then considers problems such as what hearing has selected as instrumental tone, and why we have such a peculiar assessment of loudness; why is that independent of pitch, and why is hearing so sensitive to time? Does the mechanism of hearing determine our pitch discrimination, which differs so much across our hearing range? Amongst other things, this discussion leads to the conclusion that the harmonics of musical sounds, which are the basis of so much theory about music, did not and cannot play the role which has been so widely attributed to them ever since the work of Helmholtz in 1870. There follows a simplified account of the hearing mechanism: how musical sound is coded by the ear, the nature of the processing stations through which the information passes before it creates sensation in the cortex, and the extent to which it provides answers to the questions which have been raised. This produces a rather different view of the basis of some fundamental features of music from those which are commonly held. It also leads to the conclusion that music started with primitive instruments rather than with the human voice. Finally, the biological reasons for the hearing mechanism behaving as it does are explained, and thus the reasons for the sensations of music being experienced in the way they are. No scientific knowledge is assumed; any simple physical acoustics required is explained, and there are no mathematical equations.

cover Let Mt. Zion Rejoice! : Music in the African American Church by James Abbington

cover Music, Body, and Desire in Medieval Culture : Hildegard of Bingen to Chaucer (Figurae (Stanford, Calif.).) by Bruce W. Holsinger
Look inside! This book has 31 sample pages. Click here to see them.
Editorial Review
"What a wonderful book! It will change the whole way we look at, read, and listen to the Middle Ages. Holsinger's grasp of the history of Latin and vernacular literature, philosophy, art, and history as it pertains to his topic, is breathtaking. What holds the whole argument together is music, and it is the author's superb grasp of the theoretical and performative aspects of the history of vocal and instrumental expression that makes this a musicological equivalent of John Boswell's Christianity, Social Tolerance, and Homosexuality and just as groundbreaking."
-- Michael Camille, University of Chicago
Book Description
Ranging chronologically from the twelfth to the fifteenth centuries and thematically from Latin to vernacular literary modes, this book challenges standard assumptions about the musical cultures and philosophies of the European Middle Ages. Engaging a wide range of premodern texts and contexts, from the musicality of sodomy in twelfth-century polyphony to Chaucer's representation of pedagogical violence in the Prioress's Tale, from early Christian writings on the music of the body to the plainchant and poetry of Hildegard of Bingen, the author argues that medieval music was quintessentially a practice of the flesh.
The book reveals a sonorous landscape of flesh and bone, pleasure and pain, a medieval world in which erotic desire, sexual practice, torture, flagellation, and even death itself resonated with musical significance and meaning. In its insistence on music as an integral part of the material cultures of the Middle Ages, the book presents a revisionist account of an important aspect of premodern European civilization that will be of compelling interest to historians of literature, music, religion, and sexuality, as well as scholars of cultural, gender, and queer studies.
About the Author
Bruce Holsinger is assistant professor of English at the University of Colorado-Boulder. He is the co-author (with Mark Winokur) of The Complete Idiot's Guide to Movies, Flicks, and Film.

cover New Approaches to Elementary Classroom Music (3rd Edition) by Rebecca Herrold
Look inside! This book has 23 sample pages. Click here to see them.
The third edition of New Approaches to Elementary Classroom Music builds on many years of success in the college classroom. The book is intended for use in a one-semester course for prospective elementary classroom teachers, and is designed to accommodate a variety of musical backgrounds. Music specialists and curriculum coordinators will find the book a useful resource for K-6 music materials, lesson planning, and teachers' in-service workshops in music.
About the Author
REBECCA M. HERROLD (D.M.A. Stanford) is Professor of Music and coordinator of music education programs at California State University, San Jose, where she has received a meritorious performance award for outstanding teaching, scholarship, and service. Dr. Herrold's career includes ten years of teaching in elementary and middle schools in Georgia, Col9orado, and California before beginning her work in teacher preparation at the university level. She is the author of Mastering the Fundamentals of Music (Prentice Hall, 1997), founder of the Consortium for the Study of Women Composers, and is listed in Who's Who of American Women.

cover The Oxford Companion to Music by Alison Latham (Editor), Allison Latham (Editor)
Book Description
First published in 1938, The Oxford Companion to Music has been the first choice for authoritative information on all aspects of music. Now, 17 years since the last edition, the Companion is here to serve a new generation of students, teachers, performers, concert goers, record collectors, and music lovers. Completely revised and updated by a distinguished team of contributors, the Oxford Companion to Music features more than 1,000 new entries than the previous edition; more than 70 percent of the entire text is either new or entirely rewritten. Here, in articles that range from clear, concise definitions of musical ideas and terms to extended surveys of musical forms and styles, is authoritative coverage of virtually every musical subject. Embracing the world of music in all its variety--including jazz, popular music, and dance--the Companion offers a concentrated focus on the Western classic tradition, from the Middle Ages to the present day. More than 8,000 articles sweep across an extraordinary range of subjects: composers, performers, conductors, individual works, instruments and notation, forms and genres. From the study of music--theory, aesthetics, scholarship--to the way it is performed and disseminated, the Companion provides comprehensive, accessible coverage of music in all its artistic, historical, cultural, and social dimensions. Comprehensive, authoritative, up-to-date, and designed throughout for clarity and accessibility, the new Oxford Companion to Music, like every edition before it, will immediately become an indispensable resource for all who wish to enrich their love and knowledge of music.

cover Piano Duet Repertoire: Music Originally Written for One Piano, Four Hands by Cameron McGraw
Book Description
Here is a guide to works from 1,700 composers in a descriptive listing of works from 1760 to 1980 arranged alphabetically by composer--from Abeille to Zutphen, with plenty of more familiar names in between.
About the Author
Cameron McGraw (1919-1995) was Co-director of the Jenkintown Music School and composer of numerous works for piano, orchestra, and chorus. His articles appeared in Piano Quarterly and Clavier, and he edited the anthology Four Centuries of Keyboard Music.

cover Treatise on Vocal Performance and Ornamentation (Cambridge Musical Texts and Monographs) by Johann Adam Hiller, Suzanne J. Beicken (Translator)

Voiceworks: A Handbook for Singing by Peter Hunt
Book Description
This is a magnificent new resource for promoting good singing in schools and choirs. Packed with songs and ideas, the book and double CD will inspire any choir and make singing fun.

What's Midi?: Making Musical Instruments Work Together by Jon F. Eiche, Emile Menasche

cover Women Writing Opera: Creativity and Controversy in the Age of the French Revolution (Studies on the History of Society and Culture) by Jacqueline Letzter, Robert Adelson
Book Description
In the age of the French Revolution, opera was the locus of cabals, intrigues, and violent journalistic invective. Yet it was also a period when women composers and librettists gained access to concert halls as never before, some of their works among those most performed in Paris. Jacqueline Letzter and Robert Adelson's engaging history explains what made this possible. At the same time it demonstrates how the Revolution fostered many dreams and ambitions for women that would be doomed to disappointment in the repressive post- Revolutionary era.

The first part of the book concentrates on the women who succeeded in bringing their operas to the stage. The authors examine their backgrounds, the institutional barriers they had to surmount, and the problems they faced in asserting their authority and authorship. The book's second half is a detailed case study of Isabelle de Charrire (1740Ð1805), a prolific author and composer who witnessed the success of her female colleagues but was unable to gain recognition for herself. In an analytical epilogue Letzter and Adelson discuss the status of creative women in Revolutionary culture and society.
From the Back Cover
"This book opens many doors, not simply those that reveal the work of women writers and composers in post-Revolution France... There is more than fine sociology and musicology here: real music is at the heart of the matter."-- Christopher Hogwood, Director of the Academy of Ancient Music

"Letzer and Adelson bring vividly to life a moment in cultural production unknown to most of us, and they help us understand more fully both the general problems confronting women artists and the specific conditions of this particular time and place. We now have theoretically informed studies of the careers of only a few female composers before 1900; Women Writing Opera greatly enriches our knowledge."
--Susan McClary, author of Conventional Wisdom
About the Author
Jacqueline Letzter is Assistant Professor of French at the University of Maryland, College Park. Robert Adelson is Assistant Professor of Clarinet at Towson University.

Samuel Wesley 1766-1837: A Source Book by Michael Kassler, Philip Olleson

cover How Can We Keep From Singing: Music and the Passionate Life by Joan Oliver Goldsmith
Look inside! This book has 11 sample pages. Click here to see them.

cover Praise Now!: Ready-To-Use Services for Contemporary Worship by Lynn Hurst, Sherrell Boles
Look inside! This book has 11 sample pages. Click here to see them.
Editorial Reviews
From Publishers Weekly
Goldsmith did everything right to become a professional singer: she was a voice major at Oberlin Conservatory of Music, a singing teacher, did some commercials and some auditions in New York. Still, like so many, she never "made it." What happens to artists when they don't achieve the professional successes for which they're groomed? Goldsmith opted for an M.B.A. and becoming a successful businesswoman. At midlife, her passion for music compelled her to audition for the Minnesota Chorale. Accepted, Goldsmith found her "tessitura" a sense of home both vocally and personally. The 20 million Americans in choruses are generally referred to as "volunteers," rather than the dreaded term "amateur." She writes, "Conductor Robert Shaw fought this connotation every time he repeated his maxim, `Music and sex are too important to leave to the professionals.' Indeed, we Americans seem to have forgotten that `amateur' comes from the Latin for `lover,' not `can't make a living at it.' " And so Goldsmith learns music, makes friends, recovers from divorce and works with conductors like Shaw and Bobby McFerrin. With an ear for the music of language as well as for the nuances of pitch and meter, Goldsmith's passion for singing becomes tangible. Her words soar, growl, cry and whisper. And they inspire: rebuilding a life is a choice, she writes, which "comes wrapped in fear, fear and a particular sense of inevitability. Excitement also stirs within you and a touch of joy. You, who know entirely too well what you are risking, are about to begin."
Copyright 2001 Cahners Business Information, Inc.
From Library Journal
Citing a National Endowment for the Arts survey, Goldsmith reports that over 20 million Americans perform in choral groups a large potential readership for her unusual book. A classically trained singer who abandoned singing for the business world, she was depressed, broke, and alone when a call to audition for the Minnesota Chorale, a highly respected amateur choral group, brought her back from the edge. Her personal story, however, is only a framework for the substance of the book, which celebrates creativity, camaraderie, and the courage to participate rather than to be only a passive consumer of professionally produced music. There are insights for knowledgeable musicians and clear explanations for neophytes a little history, a little theory, a little pedagogy, some soul-baring, and much humor. Singers will find themselves thinking, "Yes that's it exactly," as the author puts into words what is paradoxically an intensely personal experience shared with others in a public setting the joy and spiritual nourishment that come from singing. Difficult to describe or categorize, this small book will strike a chord with musicians and should find a place in most public libraries. Kate McCaffrey, Onondaga Cty. P.L., Syracuse, NY
Copyright 2001 Cahners Business Information, Inc.
'Singing for your life' is what Goldsmith's book is all about. Read it and sing!
--Bobby McFerrin
Book Description
In making music, essential lessons for making a life-a celebration of singing and the creative spirit. Over twenty million Americans sing publicly in a choir, chorus, or other ensemble. In an irresistible writing voice, Joan Oliver Goldsmith celebrates this amateur world of song-and revives the original meaning of the word "amateur" as lover. She brings the reader not only behind the scenes but inside the music itself. Above all, Goldsmith teaches us to listen to ourselves and not to hold back in playing the "invisible instrument" of the creative spirit-whether in writing poetry, restoring old cars, planting a garden, or singing a good old song.
About the Author
Joan Oliver Goldsmith is a freelance writer living in Minneapolis, Minnesota. She sings with The Minnesota Chorale, The Saint Paul Chamber Orchestra, The Minnesota Orchestra, and other orchestras.

cover The Art of the Chorale: An Organ Anthology, Vol. 1
On this CD:
1. Chorale prelude for organ ("Komm, heiliger Geist, Herre Gott")
2. Komm, heiliger Geist, Herre Gott
3. Chorale fantasia for organ ("Komm, heiliger Geist"), BWV 651
4. Ein' feste burg ist unser Gott, for chorus
5. Ein Feste Burg Ist Unser Gott, chorale prelude for organ
6. Chorale prelude for organ ("Ein' feste burg ist unser Gott")
7. Aus tiefer Not schrei ich zu Dir, for chorus
8. Chorale prelude for organ ("Aus tiefer Not schrei ich zu dir"), BWV 686
9. Pieces (9) for organ Aus tiefer Not schrei ich zu Dir
10. Ich dank' dir, lieber Herre, for chorus
11. Chorale prelude for organ ("Ich dank' dir, lieber Herre")
12. Choral-Improvisations (66) for organ, Op 65 Ich dank' dir, lieber Herre
13. Wie schön leuchtet der Morgenstern, for chorus
14. Chorale for organ, "Wie schön leuchtet der Morgenstern"
15. Chorale prelude for organ ("Wie schön leuchtet der Morgenstern")
16. O Welt, ich muss dich lassen, for chorus
17. Little Chorale Preludes (30) for organ, No. 22, "O Welt, ich muß dich lassen", Op. 135a/22
18. Chorale prelude for organ ("O Welt, ich muss dich lassen")
19. Der Tag, der ist so freudenreich
20. Chorale Prelude for organ in G major, BuxWV 182, "Der Tag, der ist so freudenreich"
21. Chorales (79) for organ, Op. 28 Der Tag der ist so Freudenreich
22. Schmücke dich, o liebe Seele
23. Schmücke dich, chorale prelude
24. Chorale prelude for organ ("Schmücke dich, o liebe Seele")
25. O Traurigkeit, o Herzeleid, for chorus
26. Choral prelude and fugue for organ ("O Traurigkeit, O Herzeleid"), WoO 7
27. Chorale Preludes (6) for organ O Traurigkeit, o Herzeleid
28. Lobe den Herren, den Mächtigen König
29. Chorale prelude for organ ("Lobe den Herren, den Mächtigen König")

Hymns of Vaughan Williams Composer: Ralph Vaughan Williams, Felice Giardini, et al. / Performer: Frederick Swann
On this CD:
1. The Old 100th Psalm ("All people that on earth do dwell"), for chorus, unison chorus, orchestra, & organ
2. Father We Praise Thee, hymn (harmonization of "Christe sanctorum" from La Feillée's Méthode du plain-chant)
3. 'Tis Winter now, the fallen snow, hymn ("Danby")
4. Come Down, O Love Divine, hymn ("Down Ampney")
5. Thou Whose Almighty Word, hymn
6. O Little Town of Bethlehem, carol (arr. from English traditional, "Forest Green")
7. On Christmas Night, carol for chorus or voice & piano ("Sussex Carol"; Traditional English Carols No. 2)
8. Behold the great Creator makes, hymn ("This Endris Nyght")
9. At the Name of Jesus, hymn ("King's Weston")
10. O God of earth and altar, hymn ("King's Lynn")
11. For All the Saints Who from Their Labours Rest, hymn ("Sine nomine")
12. O Thou, who at thy Eucharist did pray (on the tune "Song 1"), hymn
13. He Who Would Valiant Be, hymn ("Monks Gate")
14. I heard the voice of Jesus say, hymn ("Kingsfold")
15. Christ, the Fair Glory, hymn (harmonization of "Coelites plaudant")
16. Hail Thee, Festival Day!, hymn ("Salve festa dies")
17. Hymn(s)
18. The Call ("Come, my way"), song for baritone, chorus (ad lib.) orchestra (or organ) (Mystical Songs No. 4)
19. God Be with You Till We Meet Again, hymn ("Randolph")
20. All Hail The Power, hymn for unison chorus, chorus, & organ (or orchestra)

Great Organs of First Church, Volume 1
Track Listings
1. Grand Chor
2. Magnificat Primi Toni, BuxWV203
3. Lyric Rhap
4. Fanfares To The Tongues Of Fire
5. Fant And Fugue in c, BWV537
6. Chorale (Sym II)
7. Fugue And Chorale
8. Apparition De L'Eglise Eternelle
9. Intro And Fugue On 'St. Denio'

cover David Higgs at Riverside
On this CD:
1. Comes Autumn Time, for organ, H 124
2. There is a Happy Land
3. I Love Thee, my Lord
4. Andante for organ in D major [Little Pieces (4) for organ No. 2]
5. Pieces (3), for organ, No. 3 Pièce héroïque in B minor, M 37
6. Fantasmagorie for organ, AWV73
7. Free Fantasia on O Zion Haste and How Firm a Foundation
8. Soliloquy, for organ
9. Suite for organ, Op. 5

Monthly Links Archive