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1/2007 cover The Reception of Bach's Organ Works from Mendelssohn to Brahms by Russell Stinson
Bach's music has made an indelible mark on all those who compose for the organ, and in the nineteenth century, Bach's music was revived, revered, and brought to life for a musical public. In this fascinating study, Bach scholar and organist Russell Stinson examines how four major composers of the nineteenth century--Felix Mendelssohn, Robert Schumann, Franz Liszt, and Johannes Brahms--responded to the model of Bach's organ music. Whether for keyboard, voice, orchestra, or chamber ensemble, these composers not only borrowed from Bach's organ works in creating their own masterpieces, but also reacted significantly to the music as performers, editors, theorists, and teachers. The book reveals how these four titans influenced one another as "receptors" of this repertory and how their mutual acquaintances--especially Clara Schumann--contributed as well.

1/2007 cover Gerald Finzi: His Life and Music by Diana McVeagh
Gerald Finzi is one of the best-known modern English composers. While he is especially famous as a song-writer, for his sensitive settings of poets such as Hardy and Wordsworth, he also wrote in other genres; notable works include the exquisite cantata Dies Natalis, and his cello concerto. He also exerted a major influence in the musical world as a whole, championing the neglected Ivor Gurney and reviving eighteenth-century composers with the amateur orchestra he founded.In this lively and sensitive study of his life and works, Diana McVeagh, the renowned Elgar and Finzi scholar, has made use of interviews with the main figures in his life, correspondence with contemporaries such as Vaughan Williams, Edmund Blunden, Arthur Bliss, Edmund Rubbra, Howard Ferguson and Herbert Howells, and her access to previously unpublished material in the form of his widow, Joy's, unpublished journal. The Finzi that emerges is a multi-faceted and complex character. The author shows how he developed from a solitary, introverted youth into a man with strong views and a myriad of interests: everything from education, pacifism, vegetarianism, to the Arts and Crafts movement, the English pastoral tradition, English apple varieties, and the significance of ancestry, friendship and marriage in an artist's life. She also discusses every work within the narrative of Finzi's life, and shows what makes his output so outstanding.

1/2007 cover Benjamin Britten: The Spiritual Dimension (Oxford Studies in British Church Music) by Graham Elliott
Since Britten's death in 1976, numerous articles and books have been written about his life and work. Much has been made of the strong influences of his pacifism and his homosexuality. It is often suggested that Britten felt himself to be an outsider from 'normal' society, and that this accounts for the his concern to portray the 'outsider' in his operas. There is no doubt that this is an important aspect of Britten's art, but the present work attempts to show that his music embraces much wider and more universal concerns, and in addressing those concerns there is a clearly defined pattern of spiritual influence. Part One of the book examines Britten's early life, and the strong presence which the Church had in his childhood and adolescence. It explores the way in which certain spiritual influences were first manifested, and how, like the more specifically musical 'themes' which Donald Mitchell has noted, they can be traced throughout Britten's life and work. The author was privileged to have conversations with two clergymen who were influential in Britten's life, as well as gathering valuable insights through a long series of conversations with Sir Peter Pears. Part Two examines a wide range of the composer's music in which a spiritual dimension can be traced. The specifically liturgical music has received rather less critical notice than Britten's larger works. The music is discussed here, and shown to possess musical characteristics in common with the larger works. Britten could not be described as a conventional Christian; still less is it true to describe him, as Eric Walter White has done, as 'keen, wherever possible, to work within the framework of the Church of England'. Nevertheless, his spirituality was rooted in the religious experience of his childhood. This book seeks to demonstrate that Britten retained a sense of the Christian values absorbed in childhood and adolescence, and that these - along with the specifically Christian heritage of plainsong - were strongly influential in his choice and treatment of themes.

1/2007 cover Ways of Listening: An Ecological Approach to the Perception of Musical Meaning by Eric F. Clarke
In Ways of Listening, musicologist Eric Clarke explores musical meaning, music's critical function in human lives, and the relationship between listening and musical material. Clarke outlines an "ecological approach" to understanding the perception of music, arguing that the way we hear and understand music is not simply a function of our brain structure or of the musical "codes" given to us by culture, but must be considered within the physical and social contexts of listening.

1/2007 cover Sourcebook for Research in Music by Phillip D. Crabtree, Donald H. Foster, Allen Scott
"This bibliography of bibliographies will be valuable as a classroom text and research tool."--American Music Teacher. "The Crabtree and Foster citations . . . offer a welcome new perspective on the field of music research methods and bibliography, under new and timely headings."--Fontes Artis Musicae. This bibliography of bibliographies lists and describes sources, from basic references to highly specialized materials. Valuable as a classroom text and as a research tool for scholars, librarians, performers, and teachers.

1/2007 cover Reflections On Liszt by Alan Walker
"Liszt was first presented to Beethoven by his teacher Carl Czerny, while he was a boy of eleven. . . . At the end of the meeting, Beethoven bestowed the famous ‘kiss of consecration’ on the boy’s forehead, which Liszt thereafter regarded as a benediction on his career. In later life, he often spoke of this meeting, the memory of which was a powerful stimulus to the further study and performance of Beethoven’s music."—from Chapter Two. In a series of lively essays that tell us much not only about the phenomenon that was Franz Liszt, but also about the musical and cultural life of nineteenth-century Europe, Alan Walker muses on aspects of Liszt’s life and work that he was unable to explore in his acclaimed three-volume biography of the great composer and pianist. Topics include Liszt’s contributions to the Lied, the lifelong impact of his encounter with Beethoven, his influence on students who became famous in their own right, his accomplishments in transcribing and editing the works of other composers, and his innovative piano technique. One chapter is devoted to the Sonata in B Minor, perhaps Liszt’s single most celebrated composition. Walker draws heavily on Liszt’s astonishingly large personal correspondence with other composers, critics, pianists, and prominent public figures. All the essays reveal Walker’s broad and deep knowledge of Liszt and Romantic music generally and, in some cases, his impatience with contemporary performance practice.

1/2007 cover Musica Christi: A Lutheran Aesthetic by Marion Lars Hendrickson
Theological aesthetics is a rapidly expanding subject in the field of religious humanism that, until now, has not had a participating Lutheran voice. Musica Christi: A Lutheran Aesthetic fills this void by approaching the rich tradition of music and theology in the Lutheran Church through Christology. Furthermore, this study shows Christ’s full participation in and by music. Selections from Lutheran works in Danish, German, Latin, Norwegian, and Swedish are offered in English translations for the first time by the author. Marion Lars Hendrickson is a pastor in The Lutheran Church-Missouri Synod, and teaches religion and music at Concordia University Wisconsin. With advanced degrees in music and theology, Hendrickson received his Ph.D. in theology from the University of Durham and is also a performing musician. He is the author of Behold the Man!, a book on the Christologies of John Macquarrie and Wolfhart Pannenberg.

1/2007 cover Max Bruch : His Life and Works by Christopher Fifield
Max Bruch (1838-1920), the German composer best known for his Violin Concerto in G minor, was in his day, a famous conductor and teacher as well as a prolific composer; yet he has been sadly neglected, perhaps in comparison to his contemporary Brahms. In this book - the only full-length study of Bruch - the author provides a richly documented account of Bruch's career as music director and conductor, including a spell with the Liverpool Philharmonic Society from 1880-1883, and as a teacher at the Royal Academy of Arts in Berlin from 1892 until his retirement in 1911, where Vaughan Williams was one his pupils; he paints a picture of a proud and sensitive man, whose talents were perhaps left behind at a time of rapid musical development. The book also offers a musical analysis of his one hundred published works, including three operas. CHRISTOPHER FIFIELD is foremost a conductor, but also a writer on music history (Grove, DNB, Viking Opera Guide, Oxford Companion to Music), the author of a biography of Hans Richter, the editor of the letters and diaries of Kathleen Ferrier, and a recent history of the music agents Ibbs and Tillett.

1/2007 cover The MacDowell Colony: A Musical History of America's Premier Artists' Community by Bridget Falconer-Salkeld
Presenting a musical history of the MacDowell Colony in the fullest sense, this work also contains new discoveries in several areas. It is a survey of 19th and early 20th century art colonies in the United States, and, with reference to a French exemplar, provides a context for the founding of the MacDowell Colony in 1907. The various formative pressures, influences, and motivations of the colony are explored, and its philosophical basis is identified and discussed.

1/2007 cover Kirchenmusik im 20. Jahrhundert Erbe und Auftrag by Albert Gerhards
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1/2007 cover J. S. Bach and the German Motet by Daniel R. Melamed
The motets of J. S. Bach are probably the most sophisticated works ever composed in the genre. Nevertheless, Daniel Melamed maintains, the view that they constitute a body of work quite separate from the German motet tradition is mistaken. He starts by considering the eighteenth-century understanding of the term itself and finds that Bach's own use does indeed agree with his contemporaries and that his motets are rooted in the conventions of the time, particularly in matters of musical construction, performing forces, and type of text. A fresh look at the repertory shows that Bach composed motets all through his career and an appreciation of the contemporary conception of the motet sheds light on questions of how and why Bach himself used the form. Professor Melamed also finds plenty of evidence that motets and motet style played an important role in Bach's exploration of the musical past.

1/2007 cover Giacomo Meyerbeer And Music Drama In Nineteenth-century Paris by Mark Everist
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1/2007 cover Gabriel Faure by Jean-MicheI Nectoux
Jean-Michel Nectoux's important new biography of Gabriel Fauré is the most comprehensive study yet of this central figure of fin de siecle France. It traces the composer's life and the rich cultural milieu in which he lived and worked: the world also of Saint-Saens, Flaubert, Verlaine, Ravel, Debussy and Proust. A large part of the book considers Faure's music, with particular emphasis on his adjustment to the musical language of the twentieth century and the formation of his late style. Works in all genres are discussed in detail. The book is the fruit of over twenty years' research by Nectoux, the foremost authority on Gabriel Fauré. He has read more than 5000 previously unpublished letters and has unearthed more than 120 musical manuscripts in the process of writing this definitive study. The text is richly illustrated with rare photographs from Fauré's lifetime and contains an extended chronology of the composer's life, a complete chronological listing of all his own works and a detailed bibliography.

1/2007 cover Evening in the Palace of Reason: Bach Meets Frederick the Great in the Age of Enlightenment by James R. Gaines
Johann Sebastian Bach created what may be the most celestial and profound body of music in history; Frederick the Great built the colossus we now know as Germany, and along with it a template for modern warfare. Their fleeting encounter in 1757 signals a unique moment in history where belief collided with the cold certainty of reason. Set at the tipping point between the ancient and modern world, Evening in the Palace of Reason captures the tumult of the eighteenth century, the legacy of the Reformation, and the birth of the Enlightenment in this extraordinary tale of two men.

1/2007 cover Early Recordings and Musical Style by Robert Philip
Until recently, early recordings were regarded as little more than old-fashioned curiosities by musicians. Scholars and musicians now are beginning to realise their importance as historical documents which preserve the performance of composers and the musicians with whom they worked. In this fascinating study, Robert Philip argues that recordings of the early twentieth-century provide an important and hitherto neglected resource in the history of musical performance. The book concentrates on aspects of performance which underwent the greatest change in the early twentieth century, including rhythm, rubato, vibrato, and portamento. The final chapters explore some of the implications of these changes, both for the study of earlier periods and for the understanding of our own attitudes to the music of the past.

1/2007 cover Chant Gregorien Et Musique Medievale by Michel Huglo
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1/2007 cover Bruckner's Symphonies: Analysis, Reception and Cultural Politics by Julian Horton
Despite significant advances in Bruckner scholarship, many problems persist. Although the relationship between Bruckner's music, post-Wagnerian ideology and, ultimately, Nazism has been carefully reconstructed, questions of how such matters should condition our responses to the music remain unaddressed. This important study isolates problematic issues of interpretation, analysis, reception, and historical location, and offers potential solutions through case studies of individual works.

1/2007 cover The Baroque Cello Revival: An Oral History by Paul Laird
Cellists play a variety of instruments that they call Baroque cellos, ranging from basically modern cellos with gut strings, a period bridge, and Baroque bow, to instruments where the entire set-up is altered. This is the first study in which the revival of a single period instrument has received such detailed consideration. Laird also offers many details concerning the history of the period performance movement in reference to famous ensembles and musicians.

12/2006 cover American Victorian Choral Music by N. Lee Orr (ed.)


11/2006 cover Jumping to Conclusions: The Falling-Third Cadences in Chant, Polyphony And Recitative by Richard Hudson
THE FALLING THIRD involved here is the descending interval between scale degrees 3 and 1.

7/2005 cover Words About Mozart : Essays in Honour of Stanley Sadie by Dorothea Link (Editor), Judith Nagley (Editor)
Words About Mozart is published as a tribute to Stanley Sadie, musicologist, critic and editor of The New Grove Dictionary of Music and Musicians. Of the eleven essays presented here, three focus on compositional matters: Julian Rushton examines the dramatic meaning of a recurring motif in Idomeneo; Elaine Sisman sifts through the facts surrounding the genesis of Mozart's 'Haydn' quartets; and Simon Keefe matches up pairs of piano sonatas and concertos on the basis of their common compositional features. Cliff Eisen considers some problems of performing practice posed by the solo keyboard parts in Mozart's concertos, and Robert Philip surveys tempo fluctuations in a selection of historical recordings. Felicity Baker's detailed analysis of aspects of the Don Giovanni libretto is a welcome contribution from the field of literary criticism. Three studies offer new archival research: Neal Zaslaw uncovers the background to one of Mozart's nonsense compositions; Dorothea Link examines the Viennese Hofkapelle and creates a new context for understanding Mozart's court appointment; and Theodore Albrecht proposes a candidate for Mozart's Zauberflötist. Christina Bashford considers an aspect of Mozart reception in 19th-century England connected with John Ella, and Peter Branscombe presents a comprehensive overview of research published since the bicentenary in 1991. The volume includes a full bibliography of Stanley Sadie's publications and broadcasts.

7/2005 cover Singing High Pitches With Ease by Nancy Telfer


7/2005 cover A Singer's Manual Of Foreign Language Dictions by Richard F. Sheil


7/2005 cover The Scoring of Baroque Concertos by Richard Maunder
The concertos of Vivaldi, Bach, Handel and their contemporaries are some of the most popular, and the most frequently performed, pieces of classical music; and the assumption has always been they were full orchestral works. This book takes issue with this orthodox opinion to argue quite the reverse: that contemporaries regarded the concerto as chamber music. The author surveys the evidence, from surviving printed and manuscript performance material, from concerts throughout Europe between 1685 and 1750 (the heyday of the concerto), demonstrating that concertos were nearly always played one-to-a-part at that time. He makes a particularly close study of the scoring of the bass line, discussing the question of what instruments were most appropriate and what was used when. Dr RICHARD MAUNDER is Fellow of Christ's College, Cambridge.

7/2005 cover Peter Schickele: A Bio-Bibliography by Tammy Ravas
Covers the life and works of classical music composer, Peter Schickele, who is probably best known for his humorous alter ego, P.D.Q. Bach. He has walked the line between a professional composer and musical satirist for over 35 years and his compositions have reached into virtually every genre of music from jazz to rock to folk to movie music and to classical. The major influences in his career include his love of the theater, Spike Jones, and a philosophy that no genre of music is inherently inferior. Schickele was consulted during the compilation of this volume, therefore, much of the date and premier information comes from his own resources.

7/2005 cover Musical Excellence: Strategies and Techniques to Enhance Performance by Aaron Williamon (Editor)
Musical Excellence offers performers, teachers, and researchers, new perspectives and practical guidance for enhancing performance and managing the stress that typically accompanies performance situations. It draws together, for the first time in a single collection, the findings of pioneering initiatives from across the arts and sciences. Specific recommendations are provided alongside comprehensive reviews of existing theory and research, enabling the practitioner to place the strategies and techniques within the broader context of human performance and encouraging novel ways of conceptualizing music and teaching. Part 1, Prospects and Limits, sets out ground rules for achieving musical excellence. What roles do innate talent, environmental influences, and sheer hard work play in attaining eminence? How can musicians best manage the physical demands of a profession that is intrinsically arduous throughout a career that can literally span a lifetime? How can performers, teachers, and researchers effectively assess and reflect on performance enhancement for themselves, their colleagues, and their students? Part II, Practice Strategies, presents approaches for increasing the effectiveness and efficiency of practice. These are generally for the individual and ensembles and specifically for the tasks of memorizing, sight-reading, and improvising music. Musicians spend vast amounts of time and energy acquiring and refining their skills, but are there particular rehearsal strategies that they can employ to produce better performance results or to achieve the same results more quickly? What implication does existing knowledge of human information processing and physical functioning have for musical learning and practice? Part III, Techniques and Interventions, introduces scientifically validated methods for ordered from the more physical to the psychological to the pharmacological; however, they all address the issues of both mental and physical significance for the musician. Collectively, they stand as clear evidence that applied, cross-disciplinary research can facilitate musicians' strive for performance excellence. Throughout, the book highlights ways for musicians to make the most of their existing practice, training, and experience and to give them additional tools for acquiring and developing new skills. Each chapter is underpinned by physical and psychological principles relevant to all performance traditions that demand dedication and resilience, unique artistic vision, and effective communication.

7/2005 cover Music and the Middle Class: The Social Structure of Concert Life in London, Paris & Vienna,1830-1848 by William Weber


7/2005 cover Evoking Sound: Fundamentals of Choral Conducting and Rehearsing by James Jordan


7/2005 cover The Birth of the Orchestra: History of an Institution, 1650-1815 by John Spitzer, Neal Zaslaw


7/2005 cover Beethoven After Napoleon: Political Romanticism in the Late Works by Stephen Rumph
In this provocative analysis of Beethoven's late style, Stephen Rumph demonstrates how deeply political events shaped the composer's music, from his early enthusiasm for the French Revolution to his later entrenchment during the Napoleonic era. Impressive in its breadth of research as well as for its devotion to interdisciplinary work in music history, Beethoven after Napoleon challenges accepted views by illustrating the influence of German Romantic political thought in the formation of the artist's mature style. Beethoven's political views, Rumph argues, were not quite as liberal as many have assumed. While scholars agree that the works of the Napoleonic era such as the Eroica Symphony or Fidelio embody enlightened, revolutionary ideals of progress, freedom, and humanism, Beethoven's later works have attracted less political commentary. Rumph contends that the later works show clear affinities with a native German ideology that exalted history, religion, and the organic totality of state and society. He claims that as the Napoleonic Wars plunged Europe into political and economic turmoil, Beethoven's growing antipathy to the French mirrored the experience of his Romantic contemporaries. Rumph maintains that Beethoven's turn inward is no pessimistic retreat but a positive affirmation of new conservative ideals. Illustrations: 30 music examples

5/2005 cover Worship Wars in Early Lutheranism: Choir, Congregation, and Three Centuries of Conflict by Joseph Herl
Sixteenth-century Lutherans sang hymns in church—-true or false? In this book, Joseph Herl draws on hundreds of liturgical documents, contemporary accounts of services, sermons, instructional and polemical writings on church music, and other sources to show that quite often the answer was "false." He then traces the path of Lutheran church music for the next two centuries to show how Lutherans acquired their reputation as the "singing church." This path was treacherous and fraught with conflict. In the sixteenth century, Lutherans were buffeted by Catholicism on one side and the Swiss Reformation on the other. In the seventeenth and eighteenth centuries, Lutheran churches were caught up in a debate over a new style of church music that many found more entertaining than devotional. This debate was to have a strong impact on musicians such as Johann Sebastian Bach and his contemporaries. By the end of the eighteenth century, Lutherans were trying to hold their own against a new secularism, and many clergy favored a wholesale revision or even abandonment of the historic liturgy in order to make worship more relevant in contemporary society. Herl paints a vivid picture of these developments, using as a backdrop the gradual transition from a choral to a congregational liturgy. The author eschews the usual analyses of musical repertoire and deals instead with events, people and ideas, drawing readers inside the story and helping them sense what it must have been like to attend a Lutheran church in the sixteenth through eighteenth centuries. Parallel developments in Catholic churches are discussed, as are the rise of organ accompaniment of hymns and various questions of musical performance practice. Although written with academic precision, the writing is clear and comprehensible to the nonspecialist, and entertaining anecdotes abound, including stories about the congregation that pelted the preacher with vegetables and the organist who had just three postludes: the hoppity, the skippity and the jumpity. The appendixes include translations of several important historical documents and a set of tables outlining the Lutheran mass as presented in 172 different liturgical orders. The bibliography includes 400 Lutheran church orders and reports of ecclesiastical visitations read by the author.

5/2005 cover Twentieth-Century Piano Music by David Burge
Now in paperback! In Twentieth-Century Piano Music, David Burge offers a personal and inviting overview of the often challenging music written for solo piano during this century, an artistic response by a pianist and educator widely acclaimed for introducing much of this literature to the repertoire. Divided into four sections, each covering a key historical period, the text examines the development of different styles and compositional techniques, and integrates historical and artistic details with a sophisticated and accessible approach to the music. Burge offers cogent performance suggestions for selected works of Copland, Stockhausen, Boulez, Berio, Cage, Crumb, and others.

5/2005 cover Thinking Musically: Experiencing Music, Expressing Culture by Bonnie C. Wade
Designed for undergraduates with little or no background in the subject, Thinking Musically is an ideal core text for any introductory world music or ethnomusicology course. It incorporates music from many diverse cultures and establishes the conceptual framework for exploring these cultures in a global context. The central book in the Global Music Series, it is supported by a variety of single-volume case studies, each of which covers a single musical culture. Thinking Musically discusses the importance of musical instruments and describes their significance in a culture's folklore, religion, and history. It also defines fundamental musical terms and concepts including rhythm, pitch, sound, scale, and melody, and examines how they vary across the traditions of world music. Considering the effects of cultural influences such as gender and ethnicity on the perception, interpretation, and performance of music, the text also looks at how the forces of nationalism, acculturation, and westernization can affect musical traditions. It concludes with an instructive chapter on how to conduct fieldwork in ethnomusicology. Thinking Musically is packaged with a 70-minute CD that features selections from a wide variety of musical cultures and includes activities designed to build critical listening skills.

5/2005 cover Oxford Dictionary Of Musical Terms by Alison Latham (Editor)


5/2005 cover The Life of Bach by Peter Williams
Like Shakespeare, J.S. Bach is known largely by his works. Peter Williams asks many questions in this examination of the man as well as the composer. What was Bach like as a youth, father, and, eventually, church elder? What music did he know and how did he compose and perform such an amazing amount? Ultimately, Williams questions the effects of unremitting acclaim on objective evaluations of J.S. Bach.

5/2005 cover The English Bach Awakening: Knowledge Of J.s. Bach And His Music In England 1750-1830 by Michael Kassler (Editor)


5/2005 cover Composing for Voice: A Guide for Composers, Singers and Teachers by Paul Barker
Although there have been many texts on the art of singing, and others on composition, there are none on the unique challenges of composing for the voice. This book, written by a well-known contemporary composer and pedagogue, fills that gap by offering a comprehensive survey of issues surrounding both the singer and the composer. The book primarily focuses on classical vocal music, but also draws on examples from jazz, Broadway/theatrical, operatic, and popular music. From understanding the mechanics of the voice through techniques to wed text to music, this book will aid both composers and vocalists to better understand each other's craft.

5/2005 cover C.P.E. Bach and the Rebirth of the Strophic Song by William H. Youngren
C.P.E. Bach and the Rebirth of the Strophic Song brings to light the overlooked fact that C.P.E. Bach wrote a great many songs, most of which are as under appreciated as they are exemplary. All interested listeners, from amateurs to professional musicologists and singers, will benefit from the insight captured by this book.

5/2005 cover Catholic Choral Music in Vietnam 1945-1975 by Paul Van Chi Chu


5/2005 cover The Cambridge Companion to Sibelius by Daniel M. Grimley (Editor)
This Companion provides an up-to-date introduction to the life and music of Finland's greatest composer, Jean Sibelius (1865-1957). Divided into four sections, it explores Sibelius's early career, his major musical achievements, historical reception and influence, and the performance and interpretation of his work. Sibelius emerges as one of the most striking figures in twentieth-century music. The book will be of interest to performers and the general public as well as serious scholars.

5/2005 cover Brahms and the German Spirit by Daniel Beller-McKenna
The music of Johannes Brahms is deeply colored, Daniel Beller-McKenna shows, by nineteenth-century German nationalism and by Lutheran religion. Focusing on the composer's choral works, the author offers new insight on the cultural grounding for Brahms's music. Music historians have been reluctant to address Brahms's Germanness, wary perhaps of fascist implications. Beller-McKenna counters this tendency; by giving an account of the intertwining of nationalism, politics, and religion that underlies major works, he restores Brahms to his place in nineteenth-century German culture. The author explores Brahms's interest in the folk element in old church music; the intense national pride expressed in works such as the Triumphlied; the ways Luther's Bible and Lutheranism are reflected in Brahms's music; and the composer's ideas about nation building. The final chapter looks at Brahms's nationalistic image as employed by the National Socialists, 1933-1945, and as witnessed earlier in the century (including the complication of rumors that Brahms was Jewish). In comparison to the overtly nationalist element in Wagner's music, the German elements in Brahms's style have been easy to overlook. This nuanced study uncovers those nationalistic elements, enriching our understanding both of Brahms's art and of German culture.

5/2005 cover Conversations with Boulez : Thoughts on Conducting by Jean Vermeil
A giant of postwar music and the most powerful figure in the contemporary French music scene, Pierre Boulez talks about his career as one of the world's most controversial conductors and daring programmers of musical text. These candid interviews give us vintage Boulez: his bold views, enigmatic wit, practical wisdom, and uncompromising beliefs.

5/2005 cover Blessed Are The Music Makers: Warm-ups for the Musician's Spirit by Alan J. Hommerding


4/2005 cover The Art of the Piano : Its Performers, Literature and Recordings Revised and Expanded Edition by David Dubal
This is the only complete and up-to-date book profiling every major pianist (thousands) and their essential repertoire and recordings. This third edition is completely revised (second edition: 1995 Harvest Books, ISBN# 0-15-600019-9), with hundreds more entries and updated information about existing entries. The book contains a CD for the first time featuring rare performances. "For all those interested in the piano, this book will provide great insight and knowledge. It must be read by everyone who loves the instrument." - Vladimir Horowitz "The Art of the Piano is the best companion a piano aficionado could ask for." - Baltimore Sun

4/2005 cover The Church Music of Fifteenth-Century Spain by Kenneth Kreitner
The arrival of Francisco de Pealosa at the Aragonese court in May 1498 marks something of an epoch in the history of Spanish music: Pealosa wrote in a mature, northern-oriented style, and his sacred music influenced Iberian composers for generations after his death. Kenneth Kreitner's new book looks at the church music sung by Spaniards in the decades before Pealosa, a repertory that has long been ignored because much of it is anonymous and because it is scattered through manuscripts better known for something else. He identifies sixty-seven pieces of surviving Latin sacred music that were written in Spain between 1400 and the early 1500s, and he discusses them source by source, revealing the rapid and dramatic change, not only in the style and sophistication of these pieces, but in the level of composerly self-consciousness shown in the manuscripts. Within a generation or so at the end of the fifteenth century, Spanish musicians created a new national music just as Ferdinand and Isabella were creating a new nation. KENNETH KREITNER teaches at the University of Memphis.

4/2005 cover Thematic Catalogue of the Musical Works of Johann Pachelbel by Jean M. Perreault
This Catalogue provides scholars and performers with a survey of the breadth and variety of the repertoire of the composer about whom Christoph Wolff describes as one of the most seminal and influential musicians of the pre-Bach generation in Germany. Pachelbel composed the majority of his 527 works for keyboard instruments, as well as choral, vocal and chamber music and the Catalogue presents incipits for each that can be identified. The list of works is intended to determine the totality of the corpus and knowledge about it, to determine the best means of identifying each work, and to settle problems of identity among similarly titled works. An essay on authorities examines the controversies of authenticity of Pachelbel manuscripts.

4/2005 cover The organ of the twentieth century;: A manual on all matters relating to the science and art of orga by George Ashdown Audsley


4/2005 cover Words on Music: Essays in Honor of Andrew Porter on the Occasion of His 75th Birthday by David Rosen (Editor), Claire Brook (Editor), Andrew Porter


4/2005 cover With Voice and Pen: Coming to Know Medieval Song and How It Was Made by Leo Treitler
Fully revised and updated, Leo Treitler's seventeen classic essays trace the creation and spread of song (cantus), sacred and secular, through oral tradition and writing, in the European Middle Ages. Each of these seminally influential essays has been revised to take account of recent developments, and is prefaced with a new introduction to highlight the historical issues. The accompanying CD contains performances of much of the music discussed.

4/2005 cover Structure and Meaning in Tonal Music: Festschrift for Carl Schachter by Poundie Burstein, David Gagne (Editors)


4/2005 cover Stokowski And The Organ by Rollin Smith


4/2005 cover Splendid Service: The Restoration of David Tannenberg's Home Moravian Church Organ by William Armstrong, Paula Locklair, Bruce Shull


4/2005 cover A Ravel Reader : Correspondence, Articles, Interviews by Arbie Orenstein (Editor)
Considered among the most original and influential composers of the twentieth century, Maurice Ravel played a decisive role in the history of modern French music--a role that continues to be examined by students exploring the roots of musical style in our time. An internationally recognized authority on the life and works of Ravel, editor Arbie Orenstein captures the essence of this enigmatic man through his own words, both written and spoken. This outstanding compilation of articles by Ravel (who was a brilliant critic) features reviews, interviews, and some 350 letters--most of which are published here for the first time in English-from Cocteau, Colette, de Falla, Richard Strauss, Stravinsky, and other major figures of the era.

4/2005 cover Polymath of the Baroque: Agostino Steffani and His Music by Colin Timms
This is the first book to consider all aspects of the life of Agostino Steffani (1654-1728), a composer, diplomat, and bishop. A remarkable figure of the late 17th and early 18th century Europe, Steffani began his career as a composer, musician, and courtier, but his accomplishments brought him high-level positions in the courts of Germany and the Catholic Church. Throughout his diplomatic and ecclesiatical career, Steffani continued to compose chamber music, vocal chamber music, operas, and sacred music--works which inspired Handel and other Baroque composers.

4/2005 cover Operas Of Leonardo Vinci, Napolitano by KURT MARKSTROM


4/2005 cover Music Philology by Georg Feder


4/2005 cover Michael William Balfe: His Life and His English Operas by William Tyldesley


4/2005 cover Metaphor and Musical Thought by Michael Spitzer
The experience of music is an abstract and elusive one, enough so that we're often forced to describe it using analogies to other forms and sensations: we say that music moves or rises like a physical form; that it contains the imagery of paintings or the grammar of language. In these and countless other ways, our discussions of music take the form of metaphor, attempting to describe music's abstractions by referencing more concrete and familiar experiences. Michael Spitzer's Metaphor and Musical Thought uses this process to create a unique and insightful history of our relationship with music--the first ever book-length study of musical metaphor in any language. Treating issues of language, aesthetics, semiotics, and cognition, Spitzer offers an evaluation, a comprehensive history, and an original theory of the ways our cultural values have informed the metaphors we use to address music. And as he brings these discussions to bear on specific works of music and follows them through current debates on how music's meaning might be considered, what emerges is a clear and engaging guide to both the philosophy of musical thought and the history of musical analysis, from the seventeenth century to the present day. Spitzer writes engagingly for students of philosophy and aesthetics, as well as for music theorists and historians.

4/2005 cover Hymnal Collections of North America by Tina M. Schneider
Hymnal Collections of North America provides updated descriptions, addresses, web sites, and contact information for 327 hymnal collections held by libraries, individuals, museums, historical societies, denominational archives, and other organizations. Indexed by denomination, chronological holdings, languages represented, and hymnal types, this directory provides a current profile of unique hymnal collections both great and small, and includes an extensive bibliography of literature related to studies of hymnals and hymnal collections.

4/2005 cover For the End of Time: The Story of the Messiaen Quartet by Rebecca Rischin
Olivier Messiaen (1908–1992) was one of the great composers of the twentieth century. The premiere of the French composer’s Quartet for the End of Time on January 15, 1941 at -4 degrees Fahrenheit in Stalag VIIIA, a Nazi prison camp, has been called one of the great stories of twentieth century music. A devout Catholic with an interest in mysticism and the supernatural, Messiaen was also a poet and an accomplished amateur ornithologist. He mixed sounds as a painter mixes colors, associating specific shades with certain modes and chords.

4/2005 cover English Eighteenth-century Concertos: An Inventory And Thematic Catalogue by OWAIN EDWARDS


3/2005 cover Worship Wars in Early Lutheranism: Choir, Congregation, and Three Centuries of Conflict by Joseph Herl
Sixteenth-century Lutherans sang hymns in church—-true or false? In this book, Joseph Herl draws on hundreds of liturgical documents, contemporary accounts of services, sermons, instructional and polemical writings on church music, and other sources to show that quite often the answer was "false." He then traces the path of Lutheran church music for the next two centuries to show how Lutherans acquired their reputation as the "singing church." This path was treacherous and fraught with conflict. In the sixteenth century, Lutherans were buffeted by Catholicism on one side and the Swiss Reformation on the other. In the seventeenth and eighteenth centuries, Lutheran churches were caught up in a debate over a new style of church music that many found more entertaining than devotional. This debate was to have a strong impact on musicians such as Johann Sebastian Bach and his contemporaries. By the end of the eighteenth century, Lutherans were trying to hold their own against a new secularism, and many clergy favored a wholesale revision or even abandonment of the historic liturgy in order to make worship more relevant in contemporary society. Herl paints a vivid picture of these developments, using as a backdrop the gradual transition from a choral to a congregational liturgy. The author eschews the usual analyses of musical repertoire and deals instead with events, people and ideas, drawing readers inside the story and helping them sense what it must have been like to attend a Lutheran church in the sixteenth through eighteenth centuries. Parallel developments in Catholic churches are discussed, as are the rise of organ accompaniment of hymns and various questions of musical performance practice. Although written with academic precision, the writing is clear and comprehensible to the nonspecialist, and entertaining anecdotes abound, including stories about the congregation that pelted the preacher with vegetables and the organist who had just three postludes: the hoppity, the skippity and the jumpity. The appendixes include translations of several important historical documents and a set of tables outlining the Lutheran mass as presented in 172 different liturgical orders. The bibliography includes 400 Lutheran church orders and reports of ecclesiastical visitations read by the author.

3/2005 cover Solutions for Singers: Tools for Performers and Teachers by Richard Miller


3/2005 cover The Societe des Concerts du Conservatoire 1828-1967 by D. Kern Holoman
This is the story of one of the world's great philharmonic societies, told by a distinguished conductor and writer whose command of the subject is nothing short of virtuosic. Established in 1828 with roots stretching back to the 1790s, the Societe des Concerts du Conservatoire reflected and in many ways encapsulated the development of French culture, and of Western music, in the nineteenth and twentieth centuries. D. Kern Holoman describes how in the 1820s and 1830s the potent forces of democracy, exclusivity, and revolutionary fervor that collided in and around the Conservatoire forged and then tempered an organization as flexible as it was strong. In elegant and spirited prose, accompanied by illustrations and a website with copious further documentation, Holoman chronicles the life of the Societe, from its day-to-day operations to its role in creating the canon of orchestral concert music in our culture. A testament to the Societe's power and importance, his book is itself a significant contribution to the history of Western music.

3/2005 cover The Sheet Music of Irving Berlin by Thomas Inglis


3/2005 cover Music to Your Ears: An Introduction to Classical Music by Richard L., Dr. McGee, Joan B., Dr. McGee


3/2005 cover Music of the Renaissance by Giulio Ongaro
The Renaissance was not a spontaneous cultural explosion, but rather an evolution and cross-fertilization of artistic, philosophical, and scientific principles. This reference presents and examines the rich and varied world of music in Renaissance Europe. Giulio Ongaro offers an advanced technical knowledge of music, presented accessibly in a multidisciplinary approach.

3/2005 cover Music and Modern Art by James Leggio (Editor)
Music and Modern Art adopts an interdisciplinary approach to the relationship between these two fields of creative endeavor.

3/2005 cover Mormonism and Music: A History by Michael Hicks
Music has flourished in the Mormon church since its beginning. In this book--now available in paperback--Michael Hicks examines the direction that music's growth has taken since 1830. He looks closely at topics including the denomination's first official hymnals; the views of Joseph Smith and Brigham Young on singing; the Mormon Tabernacle Choir; and the changing attitudes of church officialdom and laity toward popular and non-western music styles.

3/2005 cover Maurice Ravel: A Life by Benjamin Ivry
Thoroughly steeped in French culture, poet and translator Ivry has already written studies of Rimbaud and Poulenc. He comes to this brief but tightly compressed biography of Ravel with a thesisAthat the composer was "a very secretive gay man" whose works often displayed a tension between potent creativity and iron control, a duality that was also exemplified by his life. Ravel has always been a mysterious figure, with acquaintances (he had few close friends) willing to swear he was homosexual, heterosexual or simply asexual. This is not simply a matter of prurient interest, as Ivry makes clear, for Ravel's hidden sexuality showed itself in his music, which varied enormously from the early opera L'Heure Espagnole to the famous Bolero, perhaps the most ubiquitous symphonic score of the 20th century. (Ivry explains that Ravel is by far the most financially successful composer, classical or pop, that France has ever produced, with royalties still running at the rate of several million dollars a year.) A fervent belief in sorcery and the primitive powers of the ancient wood god Pan melded with Ravel's determined dandyism and his outspoken conviction that sincerity was the enemy of true art. Artifice, he felt, was all, and though his exquisitely crafted scores do not eschew emotion, a glittering surface seems to have been what he chiefly prized. (He despised Beethoven as "the big deaf one.") Ivry is particularly good at relating Ravel's work to his life, and if at the end of the book the composer remains a remote, somewhat chilly figure, that seems to have been Ravel's choice. Illustrations not seen by PW.

3/2005 cover Machaut's Music: New Interpretations by Elizabeth Eva Leach (Editor)
Guillaume de Machaut (1300-1377) is regarded as the greatest French poet-composer of the middle ages, as he was during his lifetime. A trained secretary, with a passion for collecting, copying and ordering his own work, the number of surviving notated musical works attributed to him far exceeds that of any of his contemporaries. All the main genres of song - lais, virelais, balades, and rondeaux - together with Machaut's motets, and his famous I>Mass cycle are considered here from a variety of perspectives. These incorporate the latest scholarly understanding of both Machaut's poetry and music, and the material form they take when notated in the surviving manuscripts. The book thus presents a detailed picture of the current range of interpretative approaches to Machaut's music, focusing variously on counterpoint, musica ficta, text setting, musico-poetic meanings, citation and intertextuality, tonality, and compositional method. Several of Machaut's works are discussed by a pair of contributors, who reach conclusions at times mutually reinforcing or complementary, at times contradictory and mutually exclusive. That Machaut's music thrives on such constructive debate and disagreement is a tribute to his scope as an artist, and his musico-poetic achievement. Contributors: JENNIFER BAIN, MARGARET BENT, CHRISTIAN BERGER, JACQUES BOOGAART, THOMAS BROWN, ALICE V. CLARK, JANE E. FLYNN, JEHOASH HIRSHBERG, KARL KUEGLE, ELIZABETH EVA LEACH, DANIEL LEECH-WILKINSON, ETER M. LEFFERTS, WILLIAM PETER MAHRT, KEVIN N. MOLL, VIRGINIA NEWES, YOLANDA PLUMLEY, OWEN REES, ANNE STONE. ELIZABETH EVA LEACH lectures in music at Royal Holloway, University of London.

3/2005 cover The Interrelatedness of Music, Religion, and Ritual in African Performance Practice by Daniel K. Avorgbedor


3/2005 cover The Enjoyment of Music: An Introduction to Perceptive Listening by Joseph MacHlis, Kristine Forney
With nearly three million copies sold over eight editions, The Enjoyment of Music is the best-selling music appreciation text of all time. Spanning the Middle Ages through the twenty-first century, the text offers a thorough introduction to the elements of music, a broad overview of the history of musical styles, and fascinating cultural contexts and perspectives. The Ninth Edition of this classic text features a stunning new design, exciting new repertory, and an unmatched ancillary and media package.

3/2005 cover Emblems of Eloquence: Opera and Women's Voices in Seventeenth-Century Venice by Wendy Heller
Opera developed during a time when the position of women--their rights and freedoms, their virtues and vices, and even the most basic substance of their sexuality--was constantly debated. Many of these controversies manifested themselves in the representation of the historical and mythological women whose voices were heard on the Venetian operatic stage. Drawing upon a complex web of early modern sources and ancient texts, this engaging study is the first comprehensive treatment of women, gender, and sexuality in seventeenth-century opera. Wendy Heller explores the operatic manifestations of female chastity, power, transvestism, androgyny, and desire, showing how the emerging genre was shaped by and infused with the Republic's taste for the erotic and its ambivalent attitudes toward women and sexuality. Heller begins by examining contemporary Venetian writings about gender and sexuality that influenced the development of female vocality in opera. The Venetian reception and transformation of ancient texts--by Ovid, Virgil, Tacitus, and Diodorus Siculus--form the background for her penetrating analyses of the musical and dramatic representation of five extraordinary women as presented in operas by Claudio Monteverdi, Francesco Cavalli, and their successors in Venice: Dido, queen of Carthage (Cavalli); Octavia, wife of Nero (Monteverdi); the nymph Callisto (Cavalli); Queen Semiramis of Assyria (Pietro Andrea Ziani); and Messalina, wife of Claudius (Carlo Pallavicino).

3/2005 cover Divining the Oracle : Monteverdi's Seconda prattica by Massimo Ossi
Claudio Monteverdi's historical position in music has been compared to that of Shakespeare in literature: almost exact contemporaries, each worked from traditional beginnings to transform nearly every genre he attempted. In this book, Massimo Ossi delves into the most significant aspect of Monteverdi's career: the development, during the first years of the seventeenth century, of a new compositional style he called the seconda prattica or "second manner." Challenged in print for the unconventional aspects of his music, Monteverdi found himself at the center of a debate between defenders of Renaissance principles and the newest musical currents of the time. The principles of the seconda prattica, Ossi argues in this sophisticated analysis of Monteverdi's writings, music, and approaches to text-setting, were in fact much more significant to the course of Monteverdi's career than previously thought by modern scholars-not only did Monteverdi continue to pursue their aesthetic and theoretical implications for the rest of his life, but they also affected his dramatic compositions as well as his chamber vocal music and sacred works. Ossi "divines the oracle" of Monteverdi's ambiguous theoretical concepts in a clear way and in terms of pure music; his book will enhance our understanding of Monteverdi as one of the most significant figures in western music history.

3/2005 cover Creating Uncommon Worship: Transforming the liturgy of the Eucharist by Richard Giles
Creating Uncommon Worship is a groundbreaking resource that can be put to immediate use in churches. Creating Uncommon Worship seeks to transform the way worship is conducted and experienced. Offering helpful suggestions on how to avoid the common problem of restricting liturgy to words being spoken in the front of the church, Creating Uncommon Worship is filled with ideas on how to enrich the liturgy by creating a context of action, movement, and symbolic expression involving the whole assembly. Creating Uncommon Worship is an essential theological companion that not only provides instruction and inspiration for the clergy and worship leaders, but also fully engages the laity in creating nurturing and challenging worship.

3/2005 cover The Benedictine Gift to Music by Katharine Le Mee
Western music originates in the Gregorian chant sung in Benedictine monasteries as early as the sixth century. This fascinating book illustrates how this sung liturgy of prayer and praise, faithfully practiced daily in monasteries across Europe, developed into the complex polyphonic music we enjoy today. After establishing the Benedictine identity of chant, and its origins in the Mass and the Opus Dei, the author reveals the outstanding contributions of Benedictine musicians from the medieval abbey of Cluny to the modern French Abbey of Solesmes. And she explores how Mary, the mother of Jesus, inspired musical works such as the Stabat Mater and the Magnificat, and many hymns still sung today. Throughout, in an engaging, accessible style, Le Mée emphasizes the music as part of the contemplative tradition of the church that encourages order, spirituality, and peace.

3/2005 cover Bach's Well-Tempered Clavier: The 48 Preludes and Fugues by David Ledbetter
Bach's Well-Tempered Clavier (or the 48 Preludes and Fugues) stands at the core of baroque keyboard music and has been a model and inspiration for performers and composers ever since it was written. This invaluable guide to the 96 pieces explains Bach's various purposes in compiling the music, describes the rich traditions on which he drew, and provides commentaries for each prelude and fugue. In his text, David Ledbetter addresses the main focal points mentioned by Bach in his original 1722 title page. Drawing on Bach literature over the past three hundred years, he explores German traditions of composition types and Bach's novel expansion of them; explains Bach's instruments and innovations in keyboard technique in the general context of early eighteenth-century developments; reviews instructive and theoretical literature relating to keyboard temperaments from 1680 to 1750; and discusses Bach's pedagogical intent when composing the Well-Tempered Clavier. Ledbetter's commentaries on individual preludes and fugues equip readers with the concepts necessary to make their own assessments and include information about the sources when details of ornament, notation, and fingerings have a bearing on performance.

3/2005 cover An Annotated Bibliography of Church Music by Fang-Lan Hsieh


2/2005 cover Studies in Italian Sacred and Instrumental Music in the 17th Century by Stephen Bonta


2/2005 cover Practicing the Sacred Art of Listening: A Guide to Enrich Your Relationships... by Kay Lindahl, Amy Schnapper
It happens at work and at home, with strangers and close friends, in heated debates and in quiet conversations--you hear someone speaking, but often you don’t truly listen. Kay Lindahl’s highly respected workshops are attended by people from a broad range of backgrounds. Her first book, The Sacred Art of Listening, has been published to acclaim in North America, Europe, and Asia. Now she offers practical, easy-to-follow advice and exercises to enhance your capacity to listen in a spirit-filled way. Using examples from her own life and her work as a teacher of the sacred art of listening, Lindahl explores the nature and use of silence, reflection, and divine presence as foundational qualities of listening and shows you how you can apply these in your everyday life.

2/2005 cover Music Analysis in Britain in the Nineteenth and Early Twentieth Centuries by Catherine Dale


2/2005 cover An Introduction to the Study of Medieval Latin Versification by Dag Norberg
Dag Norberg’s analysis and interpretation of Medieval Latin versification, which was published in French in 1958 and remains the standard work on the subject, appears here for the first time in English with a detailed, scholarly introduction by Jan Ziolkowski that reviews the developments of the past fifty years. Norberg examines various theories of Medieval Latin metrics and proposes his own insightful empirical solutions. His interpretation brings much needed clarification to a controversial and misunderstood subject.

2/2005 cover Debussy's Iberia (Studies in Musical Genesis and Structure) by Matthew Brown
This book suggests ways in which Debussy's sketches and drafts may be used to explain how he composed one of his last great symphonic scores: Iberia (from mages for orchestra, 1903-10). Part 1 shows how we might understand the process of musical composition as a form of expert problem solving; Part 2 reconstructs the genesis of each of the three movements in turn.

2/2005 cover Composing Music for Worship by Stephen Darlington (Editor), Alan Kreider (Editor)


2/2005 cover Baptist Offspring, Southern Midwife: Jesse Mercer's Cluster of Spiritual Songs (1810) by Kay Norton


2/2005 cover Bach Performance Practice, 1945-1975: A Comprehensive Review of Sound Recordings and Literature by Dorottya Fabian


11/2004 cover Cantor Basics by James Hansen


11/2004 cover The Musician's Spirit: Connecting to Others Through Story by James Jordan


11/2004 cover Bach and the Pedal Clavichord : An Organist's Guide by Joel Speerstra
This is an extremely important study which brings together valuable musicological research and practical experimentation in a unique way - every organist should read it! CHOIR & ORGAN September 2004 This scholarship combined with successful practical application makes Speerstra's work invaluable to all organists, pedagogues, instrument builders-indeed all those who are fascinated by the music of Bach. -- David Higgs, Chair of the Organ Department, Eastman School of Music, University of Rochester Synthesizing a wealth of historical documentation along with the results of new, experimental studies, Speerstra (Eastman School of Music) has written a thorough analysis of the musicological and performance issues that surround the ambigious history and usage of the pedal clavichord. Despite its subtitle, this book should prove valuable for a broad audience not limited to organists; it speaks to all keyboardists interested in expanding their interpretation of Baroque literature. Highly recommended.

11/2004 cover The Richard Strauss Companion by Mark-Daniel Schmid (Editor)
Featuring ten new essays on different aspects of the compositions, artistic influences, and persona of Richard Strauss, The Strauss Companion explores the composer's relationship to his own work and to that of his noted contemporaries. Guided by not only musical interests but literary, political, and philosophical ones as well, Strauss is an ideal candidate for this sort of treatment. Following this discussion of his influences, the volume moves to a discussion of the works themselves, including operas, tone poems, and stage works; these compositions are explored analytically and also in terms of their critical reception. The final chapter investigates for the first time Strauss's much-neglected choral works, revealing their rich musical and vocal capacities, while a select bibliography and complete works-list round out the volume.

11/2004 cover Read the Way You Talk: A Guide for Lectors by Jack Hartjes
Read the Way You Talk offers instruction for lectors. It presents guidelines for making oral reading meaningful and believable. Three lessons give detailed instructions in eighteen different areas including parallelism, repetition, and pronunciation. Special guidance is provided for using inflection and stressing words. With practice, readers who share the Word of God with others can read as naturally as they speak while they become comfortable with their audience, sure of what they are saying, and confident their message is important. Part I, "The Word of God in Human Speech," explains why the readings need to be spoken in conversational tone. Part 2, "Rules for Reading Like Talk," is divided into lessons and contains rules, explanations of techniques, and examples. Read the Way You Talk is a useful resource for lectors, deacons, priests, and leaders who instruct lectors and seminarians.

11/2004 cover Musical Constructions of Nationalism: Essays on the History and Ideology of European Musical Culture by Harry White, Michael Murphy
Working from the premise that music as a cultural abstraction is vitally conditioned by political thought, these essays are presented in the spirit of the so called "new musicology," which looks to other disciplines for new impetus and technique. Rather than abstracting music from the environment which created it, these essays seek to study the relations between music and nationalism in different national contexts. Although music and nationalism have been topics of research for a number of years this is the first time that commissioned essays have been published in a volume devoted to this area of interest. The editors have tried to focus on countries which have received less attention in musicology and have drawn together leading experts in a variety of national contexts to contribute. These include Stephen Downes and Mikulas Bek who treat different aspects of the ancient/modern dichotomy of musical nationalism. Robert Vilan and Annegret Fauser provide fascinating new interventions on reception history. Although not intended to be a country-by-country survey, most European countries receive an essay. These include Germany and France, as well as less well-known examples such as Ireland, Scotland, Scandinavia and Poland.

11/2004 cover Ministries: A Relational Approach by Edward P. Hahnenberg


11/2004 cover Mendelssohn: A Life in Music by R. Larry Todd
An extraordinary prodigy of Mozartean abilities, Felix Mendelssohn Bartholdy was a distinguished composer and conductor, a legendary pianist and organist, and an accomplished painter and classicist. Lionized in his lifetime, he is best remembered today for several staples of the concert hall and for such popular music as "The Wedding March" and "Hark, the Herald Angels Sing." Now, in the first major Mendelssohn biography to appear in decades, R. Larry Todd offers a remarkably fresh account of this musical giant, based upon painstaking research in autograph manuscripts, correspondence, diaries, and paintings. Rejecting the view of the composer as a craftsman of felicitous but sentimental, saccharine works (termed by one critic "moonlight with sugar water"), Todd reexamines the composer's entire oeuvre, including many unpublished and little known works. Here are engaging analyses of Mendelssohn's distinctive masterpieces--the zestful Octet, puckish Midsummer Night's Dream, haunting Hebrides Overtures, and elegiac Violin Concerto in E minor. Todd describes how the composer excelled in understatement and nuance, in subtle, coloristic orchestrations that lent his scores an undeniable freshness and vividness. He also explores Mendelssohn's changing awareness of his religious heritage, Wagner's virulent anti-Semitic attack on Mendelssohn's music, the composer's complex relationship with his sister Fanny Hensel, herself a child prodigy and prolific composer, his avocation as a painter and draughtsman, and his remarkable, polylingual correspondence with the cultural elite of his time. Mendelssohn: A Life offers a masterful blend of biography and musical analysis. Readers will discover many new facets of the familiar but misunderstood composer and gain new perspectives on one of the most formidable musical geniuses of all time.

11/2004 cover Empress Marie Therese and Music at the Viennese Court, 1792-1807 by John A. Rice
Empress Marie Therese, second wife of Emperor Franz II, devoted much of her life to music. She played piano and sang, compiled a large music library and supported professional musicians and composers. This comprehensive survey of the Empress as musician and patron is based upon John Rice's discovery and analysis of extensive unpublished material from her private collection. In this work Rice introduces readers to the musical and cultural worlds of the Viennese court at the end of the eighteenth century.

11/2004 cover Directing the Choral Music Program by Kenneth H. Phillips


11/2004 cover Deems Taylor: A Biography by James A. Pegolotti
Composer, critic, author, and radio personality, (Joseph) Deems Taylor (1885–1966) was one of the most influential figures in American culture from the 1920s through the 1940s. A self-taught composer, the New York City native wrote such pieces as the orchestral suite Through the Looking Glass and the acclaimed operas The King's Henchman and Peter Ibbetson, the first commissions ever offered by the Metropolitan Opera. Taylor's operatic works were among the most popular and widely performed of his day, yet he achieved greatest fame and recognition as the golden-voiced intermission commentator for the New York Philharmonic radio broadcasts and as the on-screen host of Walt Disney's classic film Fantasia. With his witty, clever, charming, and informative but unpatronizing manner, he almost single-handedly introduced classical music to millions of Americans across the nation. In this first biography of Taylor, James A. Pegolotti brings to life the remarkably multi-talented man within the context of his times. The captivating portrait recounts his formative years in the Bronx, his college years at New York University, where he composed four successive varsity musicals, his journalistic career first as a writer for the New York Tribune Sunday Magazine and then as the powerful music critic for the New York World, and his musical triumphs. Pegolotti also details Taylor's stints as editor of Musical America, president of the American Society of Composers, Authors and Publishers (ASCAP), best-selling author of Of Men and Music and other books, collaborator with Disney and Leopold Stokowski on Fantasia, and even judge for the Miss America pageant. He describes how Taylor used his critic's pulpit to champion American music, opera, and musicians, and also chronicles his colorful personal life, including his third marriage at age sixty to a twenty-year-old costume designer. Enlivened with such figures as George Gershwin, Jerome Kern, F. Scott Fitzgerald, Ayn Rand, and Taylor's fellow Algonquin Round Table tastemakers, this in-depth, well-balanced, and objective biography will stand as the definitive work on the great American composer-critic.

11/2004 cover Beyond the Notes : Journeys with Chamber Music by Susan Tomes
Describes the life of the dedicated professional musician more vividly and honestly than any other work I've read. ALAN RUSBRIDGER Susan Tomes, a rare example of a leading musician who writes about the craft of performance, describes her experience of twenty years of rehearsal, concerts and recording. Her performing life has been centred on chamber music and the need to communicate it fully to an audience hungry for meaningful musical experience. Susan Tomes was a founder member and the pianist of both Domus and the Florestan Trio, award-winning groups at the top of their field. Part One is a series of diaries describing their travels and performances: Domus in the 1980s with its own portable concert hall, struggling to create the conditions for informal but intense concert performances, and the Florestan Trio, currently one of the world's finest piano trios. Part Two is a collection of thought-provoking essays about teachers, making records, practising and rehearsing, audiences, earning a living, and the particular challenges of being a concert pianist. Beyond the Notes gives an unusually candid view of the complexities of a life in music. SUSAN TOMES, alongside her packed concert schedule, is a frequent contributor, on music and other subjects, to the Guardian.

10/2004 cover The Organ by David Baker


10/2004 cover A Short History of Opera, Fourth Edition by Donald Jay Grout, Hermine Weigel Williams
First published in 1947 and beloved by generations of students, teachers, and opera lovers, A Short History of Opera begins with opera's precursors in the lyric theatre of the Greeks, reveals the genre's beginnings in the seventeenth century, and charts its progress to the present day. An extensive bibliography, musical examples, and illustrations that reveal the importance of stage and scene design enhance the text. For this edition, Williams has added new material on twentieth century music and the American musical, added material on female composers, increased the number of illustrations and examples, and reorganized several chapters for easier reference.

10/2004 cover Performance Success : Performing Your Best Under Pressure by Don Greene
Performance Success teaches a set of skills so that a musician can be ready to go out and sing or play at his or her highest level, working with energies that might otherwise be wasted in unproductive ways. This is a book of skills and exercises, prepared by a master teacher.

10/2004 cover The Music of Luigi Dallapiccola by Raymond Fearn
Luigi Dallapiccola (1904-1975) was one of the most important Italian composers of the twentieth century. As well as writing several operas, he composed a large number of works in which the human voice, whether in solo or in chorus, plays an important role. Dallapiccola also set texts by writers as diverse as James Joyce, Salvatore Quasimodo, Antonio Machado, Goethe and Heine. This book is the first in English to deal with Dallapiccola as a whole, from the first, hesitant vocal compositions of his student years up to the works of his last decade, in which Italian lyricism is combined with great formal rigor. The author suggests that Dallapiccola should be understood not only as an influential figure in the post-war developments of Italian music, but also as one who renewed and revitalized the older traditions of Italian music.

10/2004 cover Music in European Capitals: The Galant Style, 1720-1780 by Daniel Heartz
A glittering cultural tour of Europe's major capitals during a period of intense musical change. This second volume of the monumental trilogy that began with the author's Haydn, Mozart, and the Viennese School, 1740-1780 takes us on a musical tour of Naples, Venice, Dresden, Berlin, Mannheim, and Paris. Through richly informed discussions, we learn how the galant style held sway in Europe for much of the eighteenth century. 12 color plates, 116 illustrations, music examples.

10/2004 cover Letters and Diaries of Kathleen Ferrier by Christopher Fifield (Editor)
Fifty years on, a voice that still touches the heart. GRAMOPHONE A vivid self-portrait of a brave, secure woman in love with life and music... Anyone interested in Kathleen Ferrier's life and art will find this welcome book required reading. It is above all, and despite the final descent, a celebration of living. JOHN TALBOT, BRITISH MUSIC SOCIETY NEWSLETTER On closing (this book) with a terrible sadness, I'm a fan too... These letters...chronicle everything, from whom she knocked around with - Britten, Pears, Barbirolli, Danny Kaye, Rex Harrison - to what she sang and what she greedily ate. FINANCIAL TIMES (Michael Church) Delightful letters and diaries. DAILY TELEGRAPH (Rupert Christiansen) 'Ferrier is a national icon, 2003 is the fiftieth anniversary of her cruelly early death. There is an aura about her name, posthumous image and memory that I think is going to make people want to buy these very human, unaffected, in hindsight moving letters... I read with a lump in my throat: Ferrier seems to be goodness incarnate, the most wonderful of all contraltos, beautiful and doomed.' BRUCE PHILLIPS, music editor Fifty years ago, Kathleen Ferrier, the greatest lyric contralto Britain has ever produced, lost her courageous battle with breast cancer. Her name endures to this day, for she struck a chord with a wide-ranging public - in concerts, on records and on the radio - despite a career which lasted barely ten years. Within a decade this former telephone exchange operator was singing on stage at Covent Garden or before royalty at private parties. She was surely fun to know: this collection of 300+ letters and twelve years of her personal diaries give a sunny picture of her life in the muted post-war years. Her indefinable personality was a mix of extreme modesty and self-determined ambition, and a mischievously blunt sense of earthy Lancastrian humour. Until now, Kathleen Ferrier has been a glorious voice, but through the pages of these fascinating letters and diaries, never previously published, we get to the real person. CHRISTOPHER FIFIELD is foremost a conductor, but also a writer on music history (Grove, DNB, Viking Opera Guide, Oxford Companion to Music), and the author of two biographies, of Bruch and Hans Richter.

10/2004 cover The Keyboard in Baroque Europe by Christopher Hogwood, John Butt, Lauren Dreyfus (Editors)
Twelve of today's most distinguished scholar-performers present essays on Baroque keyboard music. Topics include the place of the keyboard in concerted music, comparative teaching methods, studies of the repertoire of J.S. Bach and his sons, and writing in the later eighteenth century (including Mozart) and on matters of repertoire and performance practice. The volume concludes with a new arrangement for keyboard of Bach's D minor Violin Partita, published here for the first time.

10/2004 cover The Janacek Opera Libretti: Translations and Pronunciation, Vol. 1 by Leos Janacek, Timothy Cheek
Responding to the increasing popularity and international performances of operas by the Czech composer Leos Janacek, this volume provides a full translation of "The Cunning Little Vixen" in English. This work meets the needs of English-speaking singers, conductors, coaches and state directors and provides idiomatic translations, including translations of stage and musical directions. In addition, the International Phonetic Alphabet (IPA) is used to indicate pronunciation. Cheek also provides practical notes about Janiacek's style, both in general terms and specific issues relating to this opera along with a plot summary with translations of characters and the pronunciation of their names.

10/2004 cover The Influence of African-American Music on the Works of Frederick Delius by Derek Healey


10/2004 cover George Grove, Music and Victorian Culture by Michael Musgrave (Editor)
Though George Grove, 1820-1900, was never a professional musician, his is one of the most familiar names in music: as founder of the great Dictionary of Music and Musicians that bears his name and first director of the Royal College of Music. This book surveys his varied activities as engineer, biblical scholar, administrator, educationalist, and writer on music, and assesses the qualities that led him to play a major role in the cultural life of London in the period 1850-1900.

10/2004 cover The Enjoyment of Music: An Introduction to Perceptive Listening by Joseph MacHlis, Kristine Forney
With nearly three million copies sold over eight editions, The Enjoyment of Music is the best-selling music appreciation text of all time. Spanning the Middle Ages through the twenty-first century, the text offers a thorough introduction to the elements of music, a broad overview of the history of musical styles, and fascinating cultural contexts and perspectives. The Ninth Edition of this classic text features a stunning new design, exciting new repertory, and an unmatched ancillary and media package.

10/2004 cover Discovering Jewish Music by Marsha Bryan Edelman
From ancient biblical music to the modern Israeli pop scene, Discovering Jewish Music charts the evolution of Jewish music through the ages. Edelman begins 3,000 years ago, with a discussion of music in the Bible, and moves on to examine the nature of folk songs and liturgy hymns from the Diaspora, then takes us up to the 20th century, highlighting Jewish music in North America and Israel, including the general popularity of many of today’s Bar Mitzvah favorites, like "Hava Nagila." The author explains musical terms in a way that is understandable to those unfamiliar with the terminology; at the same time, students of music will appreciate the book’s juxtaposition of the many aspects of Jewish life and practice that come together to provide a stage for Jewish music. With an accompanying CD and over 150 musical illustrations in the book, this multimedia package is a treasure for anyone interested in Jewish culture, history, philosophy, and music.

10/2004 cover A Creative Approach to Music Fundamentals (with CD-ROM) by William Duckworth
This market-leading book for the Fundamentals of Music course addresses the most difficult challenge in teaching the course: the need to allow for students' differing abilities. Internationally renowned composer William Duckworth covers the fundamentals in 11 concise main chapters that are supplemented by 11 enrichment appendices. These offer extended coverage for teachers or students who desire additional instruction. With a practical focus on developing skills, Duckworth presents many clear examples that show students the basics. Because students can best learn the fundamentals by using them, written and aural exercises give students the opportunity to creatively apply their knowledge in realistic music situations.

10/2004 cover Craft of Piano Playing: A New Approach to Piano Technique by Alan Fraser, Sonya Ardan
This work presents a comprehensive approach to piano technique with a series of exercises designed to help the reader put this approach into practice. Alan Fraser has combined his extensive concert pedagogical experience, his long-standing collaboration with the virtuoso Kemal Gekich and his professional training in Feldenkrais Method to create this innovative technique. Using numerous musical examples and sketches he shows how many common movement habits at the keyboard are counterproductive and provides a new way of manipulating the skeletal frame of the hand to produce sonic results from the instrument. The book suggest that in the light of new insights into the physics of human movement, a further development of piano technique is now possible and that improved physical ability can free musical individuality to express itself more fully. The author presents a series of movement exercises that activate the physical functions necessary to the pianist. The exercises help both students who need remedial work in basic strength at the keyboard and those who seek a new dimension of musical understanding and a new path for the development of pianist skills - synthesizing musical and physical issues. This approach can also serve as an effective antidote to debilitating performance anxiety, increasing one's emotional security by improving the physical and musical basis for it. By filling in a missing link between intention and physical execution, this book aims to advance the craft of piano playing.

10/2004 cover The Complete Musician: An Integrated Approach to Tonal Theory, Analysis, and Listening by Steven Laitz
Bringing together the analytical, aural, and tactile activities that comprise a tonal theory curriculum, The Complete Musician relies on a diverse repertoire and innovative exercises to integrate theory (writing and analysis), skills (singing, playing, and dictation), and music-making outside the theory class. Key Features * Common practice literature is the driving force of the text and comprises the bulk of the harmonic dictation component. * Musical examples range from Schutz to Scriabin and from solo vocal and instrumental music to orchestral ensembles. They include popular and folk music. * Topics covered run the gamut from rudiments to compositional processes of the late nineteenth century. * Exercises are interspersed throughout and increase in pedagogical complexity, ranging from passive identification activities to active composition. * The CD packaged with each text includes more than 300 recorded textbook examples performed by students and faculty from the Eastman School of Music. (A separate set of 8 CDs offers nearly 2000 more examples--from solo piano to full orchestra--played by the same performers.) * The premise of the text is that students can learn to hear, comprehend, and model the structure and syntax of the music they love, and that simple processes, which are fleshed out in diverse contexts, underlie tonal music. An innovative text, The Complete Musician makes the study of tonal theory as engaging and as musical as possible. It provides students with a strong foundation in the principles of writing, analyzing, hearing, singing, and playing tonal harmony and enables them to understand the most important musical forms. Students can then apply these principles to their performances and to any tonal pieces that they encounter throughout their musical careers.

10/2004 cover Christoph Willibald Gluck: A Guide to Research by Patricia Howard
Christoph Willibald Gluck composed for operas in such a way that served the story and related the poetic quality of music. He possessed a gift for creating unity between the art forms that comprise a ballet or opera. This bibliography and guide ties together the different writings on this artist, providing faster access to the information on his life and work.

10/2004 cover Choral Conducting: Philosophy and Practice by Colin Durrant
Choral Conducting begins with an overview of what is involved in leading a choral group. It then examines theories of learning and human behavior, the history of choral music and the conductor's role. The book discusses issues of the conductor-vocalist relationship, the mechanics of singing, rehearsal strategies, and more. A final overview of what makes a successful conductor rounds out this comprehensive guide, making it the perfect college-level text for students of choral conducting, and a resource for teachers and choral conductors.

10/2004 cover Catalogue of Vocal Solos and Duets Arranged in Biblical Order by James Laster, Diana Reed Strommen
This edition serves as a companion volume to "A Catalogue of Choral Music Arranged in Biblical Order".

9/2004 cover Teaching Music with Passion by Peter Loel Boonshaft
Teaching Music with Passion is a one-of-a-kind, collective masterpiece of thoughts, ideas and suggestions about the noble profession of music education. Both inspirational and instructional, it will surely change the way you teach (and think) about music. Filled with personal experiences, anecdotes and wonderful quotations, this book is an easy-to-read, essential treasure!

9/2004 cover A Portrait of Mendelssohn by Clive Brown
Since his death in 1847, Felix Mendelssohn’s music and personality have been both admired and denigrated to extraordinary degrees. In this valuable book Clive Brown weaves together a rich array of documents—letters, diaries, memoirs, reviews, news reports, and more—to present a balanced and fascinating picture of the composer and his work. Rejecting the received view of Mendelssohn as a facile, lightweight musician, Brown demonstrates that he was in fact an innovative and highly cerebral composer who exerted a powerful influence on musical thought into the twentieth century. Brown discusses Mendelssohn’s family background and education; the role of religion and race in his life and reputation; his experiences as practical musician (pianist, organist, string player, conductor) and as teacher and composer; the critical reception of his works; and the vicissitudes of his posthumous reputation. The book also includes a range of hitherto unpublished sketches made by ! Mendelssohn. The result is an unprecedented portrayal of the man and his achievements as viewed through his own words and those of his contempories.

9/2004 cover Piano Mastery: Talks With Paderewski, Hofmann, Bauer, Godowsky, Grainger, Rachmaninoff, and Others by Harriette Brower, Jeffrey Johnson
The material in this volume consists of selected chapters from Harriette Brower's Piano Mastery (1915), Piano Mastery, Second Series (1917), and Modern Masters of the Keyboard (1926). Included are interviews with dozens of the world's greatest pianists, organized alphabetically by name.

9/2004 cover Monsters and Angels by Seymour Bernstein
This book by internationally known writer, composer, teacher and lecturer Seymour Bernstein expounds upon topics touched on in his bestseller With Your Own Two Hands (HL50482589). Bernstein teaches readers the truth about performing careers, offering insights and advice on both personal and musical issues. In Part 2, he discusses the importance of music education, covering both "monster" and "angel" teachers, managers and critics. Bernstein believes that everyone has a right to develop whatever talent they have, for self-fulfillment and self-development, if not necessarily for a career.

9/2004 cover Luca Marenzio: The Career of a Musician Between the Renaissance and the Counter-Reformation by Marco Bizzarini, James Chater
Regarded by his contemporaries as the leading madrigal composer of his time, Luca Marenzio was an important figure in 16th-century Italian music. This English translation of Marco Bizzarini's life and work of Marenzio provides provides insights into the composer's influence and place in history, and features a bibliography and an updated list of works. Women play a decisive role as dedicatees of Marenzio's madrigals and in influencing the way in which they were performed. Bizzarini examines in detail the influence of both female and male patrons and performers on Marenzio's music and career, including his connections with the confraternity of SS Trinita. Dedications were also a political tool, as the book reveals. Many of Marenzio's dedications were made at the request of his employer Cardinal d'Este who wanted to please his French allies. Bizzarini examines these extra-musical dimensions to Marenzio's work and re-examines the composer's fall from grace under the more austere administration of Clement VIII.

9/2004 cover Handel's Path to Covent Garden: A Rocky Journey by E. A. Bucchianeri
E. A. Bucchianeri presents a provocative philosophical exposé of Handel's progression within the tumultuous opera culture of London, offering a new perspective on Handel's psychological need for artistic independence, and his endeavour to maintain complete control over his opera productions.

9/2004 cover Felix Mendelssohn : A Guide to Research by John Michael Cooper
Detailed bibliography of important composer of Romantic instrumental works. Includes a timeline of his life in relation to important conemporary events amd discussions of his compositions.

9/2004 cover The Craft of Tonal Counterpoint by Thomas Benjamin, Johann Sebastian Bach
The Craft of Tonal Counterpoint is an introductory text to the analysis and composition of tonal counterpoint. Tonal counterpoint is the basis of all classical music composition; students of music theory and composition are all required to take a course on this topic. Using examples from the music of J.S. Bach - the master of this style - the author takes students through a series of carefully graded, cumulative exercises that stress both analysis and writing. Benjamin covers chromaticism and fugal writing in exceptional detail. The exercises cover a wide range of formats, including error detection, linear pitch reduction, analysis and composition. The book also incorporates a 100-page anthology of scores, effective for analysis, in-class performance, and compositional models.

9/2004 cover Binding and Care of Printed Music by Alice Carli
The fields of library conservation and music publishing are both developing rapidly. Now that the balance between paper and electronic means of storing and using musical information is shifting, pamphlet bound repetory scores will begin to decline. This book presents practices developed to balance cost-effectiveness with archival soundness for binding and preserving musical scores.

9/2004 cover Benchmarks in Action: A Guide to Standards-Based Assessment in Music by Carolynn A. Lindeman


9/2004 cover Beethoven by Anna Carew-Miller


9/2004 cover Aspects of British Music of the 1990s by Peter O'Hagan
The product of a conference held at the University of Surrey, Roehampton, in 1999, which brought together composers and academics in a forum in which issues of musical style and language could be addressed in context. The book focuses on the work of six composers, including Birtwistle and Harvey.

9/2004 cover The Art of Piano Pedaling: Two Classic Guides by Joseph Banowetz, Teresa Carreno, Anton Rubinstein


8/2004 cover On Music: Essays and Diversions by Robin Holloway
This collection of essays contains some of the most exciting and original analyses of the Wagner operas from music critic and composer Robin Holloway, who is known for his trenchant style and impassioned thinking. These essays provide sustained, meditative, and illuminating accounts both of the masterpieces of the romantic era and of the classical tradition from which they derive. Holloway persuades listeners that music matters, that there is a real difference between good and bad, great and trivial, and sincere and sentimental, and that one's enjoyment can only be enhanced by the habit of critical study.

8/2004 cover Saints, Signs, & Symbols (Morehouse Clip Art) by W. Elwood Post
Morehouse's popular collection of clip art of Christian symbols is now on CD! Saints, Signs & Symbols contains 350 images churches and individuals have found useful for many years. The book itself has been one of Morehouse's best sellers for over a decade. Now you can use the images found in the book easily with this CD containing the images in TIF and JPEG formats, suitable to most PCs and Macintosh computers. An assortment of symbols are available, including those for the four Evangelists, the twelve Apostles, the Holy Trinity, a variety of Christian saints, depictions of many different crosses, Old and New Testament images, illustrations suitable for the church year, and much more.

8/2004 cover A Josquin Anthology: 12 Motets by Ross W. Duffin, Paul Hillier
This collection of eleven motets for from three to six voices by the most influential of all the Franco-Flemish composers of the early sixteenth century includes outstanding compositions from all periods of his life. This is both a scholarly and practical performing edition--each piece has a full keyboard reduction as well as a comprehensive critical commentary--and will prove indispensable to all exploreres of this important, exquisite, and too often neglected repertoire.

8/2004 cover Finding an Ending: Reflections on Wagner's Ring by Philip Kitcher, Richard Schacht
Few musical works loom as large in Western culture as Richard Wagner's four-part Ring of the Nibelungs. In Finding an Ending, two eminent philosophers, Philip Kitcher and Richard Schacht, offer an illuminating look at this greatest of Wagner's achievements, focusing on its far-reaching and subtle exploration of problems of meanings and endings in this life and world. Kitcher and Schacht plunge the reader into the heart of Wagner's Ring, drawing out the philosophical and human significance of the text and the music. They show how different forms of love, freedom, heroism, authority, and judgment are explored and tested as it unfolds. As they journey across its sweeping musical-dramatic landscape, Kitcher and Schacht lead us to the central concern of the Ring--the problem of endowing life with genuine significance that can be enhanced rather than negated by its ending, if the right sort of ending can be found. The drama originates in Wotan's quest for a transformation of the primordial state of things into a world in which life can be lived more meaningfully. The authors trace the evolution of Wotan's efforts, the intricate problems he confronts, and his failures and defeats. But while the problem Wotan poses for himself proves to be insoluble as he conceives of it, they suggest that his very efforts and failures set the stage for the transformation of his problem, and for the only sort of resolution of it that may be humanly possible--to which it is not Siegfried but rather Brunnhilde who shows the way. The Ring's ending, with its passing of the gods above and destruction of the world below, might seem to be devastating; but Kitcher and Schacht see a kind of meaning in and through the ending revealed to us that is profoundly affirmative, and that has perhaps never been so powerfully and so beautifully expressed.

8/2004 cover The Episcopal Church Annual 2004 by Not Applicable


8/2004 cover Enchanted Evenings: The Broadway Musical from Show Boat to Sondheim by Geoffrey Block
The classic musicals of Broadway can provide us with truly enchanted evenings. But while many of us can hum the music and even recount the plot from memory, we are often much less knowledgeable about how these great shows were put together. What was the inspiration for Rodgers and Harts Pal Joey, or Rodgers and Hammersteins Carousel? Why is Marias impassioned final speech in West Side Story spoken, rather than sung? Now, in Enchanted Evenings, Geoffrey Block offers theatre lovers an illuminating behind-the- scenes tour of some of the best loved, most admired, and most enduring musicals of Broadways Golden Era. Readers will find insightful studies of such all-time favorites as Show Boat, Anything Goes, Porgy and Bess, Carousel, Kiss Me, Kate, Guys and Dolls, The Most Happy Fella, My Fair Lady, and West Side Story. Block provides a documentary history of fourteen musicals in all--plus an epilogue exploring the plays of Stephen Sondheim--showing how each work took shape and revealing, at the same time, production by production, how the American musical evolved from the 1920s to the early 1960s, and beyond. The book's particular focus is on the music, offering a wealth of detail about how librettist, lyricist, composer, and director work together to shape the piece. Drawing on manuscript material such as musical sketches, autograph manuscripts, pre-production librettos and lyric drafts, Block reveals the winding route the works took to get to their final form. Block blends this close attention to the nuances of musical composition and stagecraft with trenchant social commentary and lively backstage anecdotes. Jerome Kern, Cole Porter, the Gershwins, Rodgers and Hart, Rodgers and Hammerstein, Lerner and Loewe, Kurt Weill, Frank Loesser, Leonard Bernstein, Sondheim, and other luminaries emerge as hardworking craftsmen under enormous pressure to sell tickets without compromising their dramatic vision and integrity. Opening night reviews and accounts of critical and popular response to subsequent revivals show how particular musicals have adapted to changing times and changing audiences, shedding light on why many of these innovative shows are still performed in high schools, colleges, and community theaters across the country, while others, such as Weills One Touch of Venus or Marc Blitzsteins The Cradle Will Rock, languish in comparative obscurity. Packed with information, including a complete discography and plot synopses and song-by-song scenic outlines for each of the fourteen shows, Enchanted Evenings is an essential reference as well as a riveting history. It will deepen readersappreciation and enjoyment of these beloved musicals even as it delights both the seasoned theater goer and the neophyte encountering the magic of Broadway for the first time.

8/2004 cover The Dickinson Songs of Aaron Copland by Larry Starr, Michael J. Budds


8/2004 cover Cloth for the Cradle: A Book of Worship Resources for Advent, Christmas and Epiphany by Wild Goose Worship Group
This rediscovery of the stories of Christ's birth through adult eyes is for use in group and worship situations. The material is drawn from the work of the Wild Goose Worship Group who have an innovative style of worship.

8/2004 cover Bach and the Pedal Clavichord : An Organist's Guide by Joel Speerstra
Friederich Griepenkerl, in his 1844 introduction to Volume 1 of the first complete edition of J. S. Bach's organ works, wrote: "Actually the six Sonatas and the Passacaglia were written for a clavichord with two manuals and pedal, an instrument that, in those days, every beginning organist possessed, which they used beforehand, to practice playing with hands and feet in order to make effective use of them at the organ. It would be a good thing to let such instruments be made again, because actually no one who wants to study to be an organist can really do without one." What was the role of the pedal clavichord in music history? Was it a cheap practice instrument for organists or was Griepenkerl right? Was it a teaching tool that helped contribute to the quality of organ playing in its golden age? Most twentieth-century commentary on the pedal clavichord as an historical phenomenon was written in a kind of vacuum, since there were no playable historical models with which to experiment and from which to make an informed judgment. At the heart of Bach and the Pedal Clavichord: An Organist's Guide aresome extraordinary recent experiments from the Göteborg Organ Art Center (GOArt) at Göteborg University. The Johan David Gerstenberg pedal clavichord from 1766, now in the Leipzig University museum, was documented and reconstructed; the new copy was then used for several years as a living instrument for organ students and teachers to experience. On the basis of these experiments and experiences, the book explores, in new and artful ways, Johann Sebastian Bach's keyboard technique, a technique preserved by his first biographer, J. N. Forkel (1802), and by Forkel's own student, Griepenkerl. It also sifts and weighs the assumptions and claims made for and against the clavichord and pedal clavichord over two and a half centuries: by Bach's son Carl Philipp Emanuel, by such noted Bach scholars as Walter Emery and Robert Marshall, and by sharp-eared music lovers, including one of the most perceptive (and one of the few from his era to have actually encountered a clavichord and recognized its unique qualities), George Bernard Shaw.

7/2004 cover What Every Pianist Needs to Know About the Body by Thomas Mark, Roberta Gary, Thom Miles
Techniques on how to gain greater fluidity of movement while playing to improve the quality of the experience are offered in this manual for serious piano players. This book encourages musicians to develop a broader understanding of the involvement of the entire body in playing-and the strains playing places on the body-by focusing on body mapping to increase awareness of the body's function, size, and structure. Ways in which piano, organ, harpsichord, clavichord, and digital keyboard players can eliminate or prevent carpal tunnel syndrome and other debilitating conditions without traditional medical treatments are also explored.

7/2004 cover Franz Schubert: Music and Belief by Leo Black
Remarkable new study...Its central submission, that we have hitherto disregarded or mininterpreted the most profound intuitions of a unique composer, certainly carries conviction. And even after one reading there are already musical passages that this Schubert enthusiast find himself hearing in quite a new way. Bayan Northcott, BBC MUSIC MAGAZINE A sensitive and richly allusive commentary... likely to change the way we listen to certain works. Brian NewbouldThe old stereotypes of Schubert as Bohemian artist and unselfconscious creator have been replaced over the past half-century with a picture of a difficult man in difficult times. The author aims to redress the balance, concentrating firstly on works where Schubert's beliefs are clearly expressed (masses, other religious music, songs amounting to Geistliche Lieder). This also prompts an examination of instrumental masterpieces (Unfinished and Great C Major Symphonies, and the Wanderer Fantasy), which show that Schubert's religious side encompasses awe and terror as well as wonder. Schubert's `complete voice' is thus clearly heard, rather than the sombre one currently emphasised in both literature and concert.LEO BLACK is a former BBC chief producer for music.

7/2004 cover The Music Lover's Quotation Book by David W. Barber
"I would much rather have written the best song of a nation than its noblest epic." -- Edgar Allan Poe. This collection of wise, witty and wonderful words by and about musicians of all kinds and styles contains hundreds of entries. The Music Lover's Quotation Book brings together memorable words and quips from composers, performers, writers, listeners, critics and fans. The book covers a wide range of musical genres and time periods from classical masters to jazz legends to country crooners to the bad boys of hip-hop and rap. "You can't cheat in mathematics or poetry or music," John Steinbeck writes in Sweet Thursday, "because they're based on truth." There is certainly truth to be found in this collection of quotes along with humor, sadness, wisdom and insight. Whatever your musical tastes or interests, The Music Lover's Quotation Book will entertain, amuse and enlighten you.

7/2004 cover The Benedictine Gift to Music by Katharine Le Mee
Western music originates in the Gregorian chant sung in Benedictine monasteries as early as the sixth century. This fascinating book illustrates how this sung liturgy of prayer and praise, faithfully practiced daily in monasteries across Europe, developed into the complex polyphonic music we enjoy today.

7/2004 cover William Grant Still: African-American Composer by Catherine Reef


7/2004 cover Who Was Wolfgang Amadeus Mozart? by Yona Zeldis McDonough, Carrie Robbins
Born in Austria in 1756, Wolfgang Amadeus Mozart composed his first piece of music, a minuet, when he was just five years old! Soon after, he was performing for kings and emperors. Although he died at the young age of thirty-five, Mozart left a legacy of more than 600 works. This fascinating biography charts the musician's extraordinary career and personal life while painting a vivid cultural history of eighteenth-century Europe. Black-and-white illustrations on every spread explore such topics as the history of opera and the evolution of musical instruments. There is also a timeline and a bibliography.

7/2004 cover Vincenzo Bellini: A Guide to Research by Stephen A. Willier


7/2004 cover Vaughan Williams Essays by Byron Adams, Robin Wells


7/2004 cover Schubert's Song Sets by Michael Hall


7/2004 cover Schenker Made Simple by Steven Porter


7/2004 cover Die Orgel Im Altertum by Michael Markovits
This monumental history of the organ in antiquity provides a wide overview of the technical development, use and recognition of the organ as an instrument. The interdisciplinary study relies on a comprehensive collection of literary works and archaeological monuments from Hellenistic, Roman, Jewish, Early Byzantine, Syrian and Western civilization ranging from 270 B.C. to 630 A.D., and discusses the survival of this rich heritage in Byzantium, the Islam and the Latin Middle Ages until about 1200.

7/2004 cover Johannes Brahms: A Guide to Research by Heather Platt
In his opposition to the conventions of composition furthered by Franz Liszt and the New German School, his strained relationship with Richard Wagner, but his admiration and friendship with Robert Schumann, Brahm's is a truly fascinating object of study. This guide is an essential resource for all serious and casual scholars of Brahm's music and life.

7/2004 cover The House of Novello: Practice and Policy of a Victorian Music Publisher, 1829-1866 by Victoria L. Cooper


7/2004 cover Adventures in Singing: A Process for Exploring, Discovering, and Developing Vocal Potential by Clifton Ware
This popular voice text combines a thorough introduction to the singing process with an anthology of 60 songs. The text offers a clear introduction to the basics of how the voice works along with methodical voice-building techniques. Throughout, the text takes a holistic approach, reflecting the view that the study of singing helps students develop greater self-awareness of body and mind. Piano accompaniments of the songs in the anthology are included on both cassette and CD.

7/2004 cover The Microphone Book by John Eargle
The Microphone Book provides a fundamental background on how microphones operate. Detailed chapters analyze the different types of microphones including, among others, pressure and pressure gradient microphones; first order directional microphones, high directionality microphones, and wireless microphones. Chapters based on actual recording sessions/studio operations focus on different microphone applications in recording venues such as studio recording, classical recording, news gathering, and more. Surround sound is covered from both a creative and a technical viewpoint.

6/2004 cover A Survey of Christian Hymnody by William J. Reynolds, Milburn Price, David W. Music


6/2004 cover Serving in Your Church Music Ministry by Randall D. Engle, Paul E. Engle
This book is designed to provide practical orientation to the thousands of church members who volunteer to serve both vocally and instrumentally in the music program of their church through choral groups, instrumental groups, and special music selections.

6/2004 cover Crossings: Meditations for Worship by Susan Palo Cherwien
Crossings is a unique collection of meditations that were written primarily for use in hymn festivals. The meditations in Crossings are appropriate for use in worship services, hymn festivals, or for private reading. The book contains 145 meditations in categories such as: Images, Mysteries, Epiphanies, and Colors. A sample hymn festival outline is included as well as an index of possible usage.

6/2004 cover Mendelssohn: A Life in Music by R. Larry Todd
An extraordinary prodigy of Mozartean abilities, Felix Mendelssohn Bartholdy was a distinguished composer and conductor, a legendary pianist and organist, and an accomplished painter and classicist. Lionized in his lifetime, he is best remembered today for several staples of the concert hall and for such popular music as "The Wedding March" and "Hark, the Herald Angels Sing." Now, in the first major Mendelssohn biography to appear in decades, R. Larry Todd offers a remarkably fresh account of this musical giant, based upon painstaking research in autograph manuscripts, correspondence, diaries, and paintings. Rejecting the view of the composer as a craftsman of felicitous but sentimental, saccharine works (termed by one critic "moonlight with sugar water"), Todd reexamines the composer's entire oeuvre, including many unpublished and little known works. Here are engaging analyses of Mendelssohn's distinctive masterpieces--the zestful Octet, puckish Midsummer Night's Dream, haunting Hebrides Overtures, and elegiac Violin Concerto in E minor. Todd describes how the composer excelled in understatement and nuance, in subtle, coloristic orchestrations that lent his scores an undeniable freshness and vividness. He also explores Mendelssohn's changing awareness of his religious heritage, Wagner's virulent anti-Semitic attack on Mendelssohn's music, the composer's complex relationship with his sister Fanny Hensel, herself a child prodigy and prolific composer, his avocation as a painter and draughtsman, and his remarkable, polylingual correspondence with the cultural elite of his time. Mendelssohn: A Life offers a masterful blend of biography and musical analysis. Readers will discover many new facets of the familiar but misunderstood composer and gain new perspectives on one of the most formidable musical geniuses of all time.

6/2004 cover The Way of Song: A Guide to Freeing the Voice and Sounding the Spirit by Shawna Carol
Anyone who's gotten so mad they could scream, or let out a mellow sigh of relief, knows that the voice is a powerful tool for releasing emotions. In this beautifully written guide, singer and teacher Shawna Carol shows how to harness the power of the voice as a means of self-expression and spiritual growth. Using her SpiritSong method, Carol encourages you to sing-whether or not you have what is commonly considered a "good voice." Stripping away the mystique, fear, and perfectionism that so often surround singing, she begins with simple breathing exercises and builds to simple toning, followed by more complete songs. The goal is a feeling of openness, connection, and freedom that comes from self-expression. The singing itself can be done with or without words, alone or in a group. Whether or not you can read music, or even carry a tune, The Way of Song illuminates a sure path to reconnecting with the joy and the power of singing.

6/2004 cover Seventeenth-Century British Keyboard Sources by Candace Lea Bailey


6/2004 cover Sacred Song in America: Religion, Music, and Public Culture by Stephen A. Marini
In Sacred Song in America, Stephen A. Marini explores the full range of American sacred music and demonstrates how an understanding of the meanings and functions of this musical expression can contribute to a greater understanding of religious culture. Marini examines the role of sacred song across the United States, from the musical traditions of Native Americans and the Hispanic peoples of the Southwest, to the Sacred Harp singers of the rural South and the Jewish music revival to the music of the Mormon, Catholic, and Black churches. Including chapters on New Age and Neo-Pagan music, gospel music, and hymnals as well as interviews with iconic composers of religious music, Sacred Song in America pursues a historical, musicological, and theoretical inquiry into the complex roles of ritual music in the public religious culture of contemporary America.

6/2004 cover Parry's Creative Process by Michael Allis


6/2004 cover Max Reger and Karl Straube: Perspectives on an Organ Performing Tradition by Christopher Anderson


6/2004 cover Index to Poetry in Music: A Guide to the Poetry As Solo Songs by 125 Major Song Composers by Carol June Bradley
Encompassing both the art song and Lieder traditions, the book includes: comprehensive lists of the compositions of 125 major western composers, identities of the poets who wrote the lyrics, titles used by respective composers with cross references from variant titles used by other composers, cross references from the first lines, publishers of the individual songs, location of individual songs within the collected works of individual composers, and date of composition. With this resource, a reader can find the songs written by a particular composer, who published a specific song, and which composers might have set a particular poem to music. Bradley's guide offers a user-friendly, contemporary index of information for which scholars previously had to search extensively.

6/2004 cover A History of the Harpsichord by Edward L. Kottick
"A History of the Harpsichord" brings together more than 200 photographs, illustrations, and drawings of harpsichords in public museums and private collections throughout Europe the US. Edward L. Kottick draws on his extensive technical knowledge and experience as a harpsichord builder to detail the changing design, structure, and acoustics of the instrument over six centuries.

6/2004 cover Gregorian Chant Intonations and the Role of Rhetoric by Columba Kelly


6/2004 cover Franz Schubert: Music and Belief by Leo Black
Remarkable new study...Its central submission, that we have hitherto disregarded or mininterpreted the most profound intuitions of a unique composer, certainly carries conviction. And even after one reading there are already musical passages that this Schubert enthusiast find himself hearing in quite a new way. Bayan Northcott, BBC MUSIC MAGAZINE A sensitive and richly allusive commentary... likely to change the way we listen to certain works. Brian NewbouldThe old stereotypes of Schubert as Bohemian artist and unselfconscious creator have been replaced over the past half-century with a picture of a difficult man in difficult times. The author aims to redress the balance, concentrating firstly on works where Schubert's beliefs are clearly expressed (masses, other religious music, songs amounting to Geistliche Lieder). This also prompts an examination of instrumental masterpieces (Unfinished and Great C Major Symphonies, and the Wanderer Fantasy), which show that Schubert's religious side encompasses awe and terror as well as wonder. Schubert's `complete voice' is thus clearly heard, rather than the sombre one currently emphasised in both literature and concert.LEO BLACK is a former BBC chief producer for music.

6/2004 cover English Ways:Conversations with English Choral Conductors by Jeffrey Sandborg


6/2004 cover The Aquitanian Kyrie Repertory of the Tenth and Eleventh Centuries by David A. Bjork, Richard L. Crocker


5/2004 cover Why the Mystics Matter Now by Frederick Christian Bauerschmidt


5/2004 cover Thomas East and Music Publishing in Renaissance England by Jeremy L. Smith
In the London of Shakespeare and William Byrd, Thomas East was the premier, often exclusive, printer of music. As he tells the story of this influential figure in early English music publishing, Jeremy Smith also offers a vivid overall portrait of a bustling and competitive industry, in which composers, patrons, publishers, and tradesmen sparred for creative control and financial success. It provides a truly comprehensive study of music publishing and a new way of understanding the place of musical culture in Elizabethan times. In addition, Smith has compiled the first complete chronology of East's music prints, based on both bibliographical and paper-based evidence.

5/2004 cover Schubert the Progressive: History, Performance Practice, Analysis by Brian Newbould (Editor)


5/2004 cover Preacher As Risk Taker by Richard Hart
Many individuals take risks in life such as mountain climbers, magicians, farmers, and gamblers. But do we ever include preachers in that category? Preachers have opportunities to be some of the greatest risk takers. In Preacher as Risk Taker, Richard Hart, O.F.M. Cap., challenges preachers to be on the cutting edge by taking risks resulting in better preaching. How many preachers are willing to submit their homilies to an editor or have their homilies taped? Are poetic preachers ready to preach in a changing Church? How often do preachers discuss social sin, the environment, ageing, the reign of God, or Paul’s epistles? Do today’s preachers realize how important it is to preach through healing or Jesus as a wisdom figure? Finally, do preachers know the true difference between a eulogy and a homily? Hart offers insight to each of these questions for preachers interested in improving their homilies. Preachers might not be asked to scale a mountain or act as a magician. But preachers are asked to take similar risks when preaching on challenging topics. In Preacher as Risk Taker, Father Hart provides answers for those interested in becoming spirited preachers. Chapters are "Preacher as Risk Taker," "Editing a Homily," "To Tape or Not to Tape," "Preacher as Poet," "Preaching in a Changing Church," "Dare We Preach on Sin?" "Have We Ever Preached on the Environment?" "Do We Heal When We Preach?" "How To Preach on Ageing," "Preaching the Wisdom of Jesus," "What Jesus Preached Most," "Why Not Preach on St. Paul’s Epistles?" and "Homilies Vs. Eulogies."

5/2004 cover A Prayer Book for Remembering the Women: Four Seven Day Cycles of Prayer by J. Frank Henderson, Mary Louise Bringle
This new prayerbook (the perfect companion to "Remembering the Women") presents four seven-day cycles of morning and evening prayer, centered around four special themes: Anointing Women, Women Evangelists and Apostles, Holy Wisdom, and Creator and Creation. What the church doesn't pray, the church sometimes forgets. This has happened with some of the images that fill these pages. The hope in this compilation is that many of the nrglected stories and poems of scriptures can take on new life in the four cycles of prayer presented. They are simple, relatively brief and readily adaptable to many situations. For communities and individuals, men and women,those who are fimiliar with the liturgy of the hours and those who are not, and especially for those simply looking for a new way to pray or a way to give the gift of prayer to someone else.

5/2004 cover The Jewish Study Bible: Tanakh Translation, Torah, Nevi'Im, Kethuvim by Adele Berlin, Marc Zvi Brettler, Michael Fishbane (Editors)
Now, readers of the Bible who are interested in studying Jewish traditions have a one-volume resource specifically tailored for their needs. The Jewish Study Bible presents the center of gravity of the Scriptures where Jews experience it--in Torah. It offers readers the fruits of various schools of Jewish traditions of biblical exegesis (rabbinic, medieval, mystical, etc.) and provides them with a wealth of ancillary materials that aid in bringing the ancient text to life. The nearly forty contributors to the work represent the cream of Jewish biblical scholarship from the world over. No knowledge of Hebrew is required for one to make use of this unique volume. The JSB uses The Jewish Publication Society TANAKH Translation, whose name is an acronym formed from the Hebrew initials of the three sections into which the Hebrew Bible is traditionally divided (Torah, Instruction; Nevi'im, Prophets; and Kethubim, Writings). A committee of esteemed biblical scholars and rabbis from the Orthodox, Conservative, and Reform Judaism movements produced this modern translation, which dates from 1985. Anyone interested in acquiring a fuller understanding of the riches of the Bible will profit from reading The Jewish Study Bible.

5/2004 cover Dies Irae: A Guide to Requiem Music by Robert Chase


5/2004 cover Being Presbyterian in the Bible Belt: A Theological Survival Guide for Youth, Parents, and Other Con by Ted V. Foote, P. Alex Thornburg


5/2004 cover Being Methodist in the Bible Belt: A Theological Survival Guide for Youth, Parents, and Other Confus by F. Belton, Jr. Joyner, Belton F. Joyner


4/2004 cover The Solo Cantata in Eighteenth-Century Britain: A Thematic Catalog by Paul F. Rice


4/2004 cover Selling Britten: Music and the Market Place by Paul Francis Kildea
Benjamin Britten's relationships with Boosey & Hawkes, Decca, Covent Garden, the Aldeburgh Festival, the English Opera Group, and the Arts Council, had a huge influence on the music he wrote. This book explores the effect of these commercial and national institutions on the music of one of the foremost British composers of the twentieth century.

4/2004 cover Schumann's Dichterliebe and Early Romantic Poetics : Fragmentation of Desire by Beate Julia Perrey
Schumann's famous song cycle Dichterliebe of 1840 is one of the most enigmatic works in the Western musical repertoire. This book employs Romantic poetics and recent critical thought to help explain the mysterious magnetism of this essentially fragmentary work. A musico-poetic analysis demonstrates the voice of the "Other" and presents Schumann as the "second poet of the poem" when setting Heine's famous Lyrisches Intermezzo. Methodologically, the analysis attempts to synthesize philosophical, literary-critical, music-analytical and psycho-analytical modes of thought.

4/2004 cover Pierre De LA Rue and Musical Life at the Habsburg-Burgundian Court: Beginnings by Honey Meconi
For twenty-four or more years composer Pierre de la Rue (d. 1518) provided music for one of the leading musical institutions of his day, the grande chapelle of the Habsburg-Burgundian court. Serving successive rulers Maximilian I, Philip the Fair, Juana of Castile, Marguerite of Austria, and the future Charles V, La Rue surpassed a dozen composer colleagues in his creation of polyphony to meet the needs of the court and its extravagant liturgy. This study, the first ever in English, traces La Rue's life and career, explores aspects of his compositional output, and recounts the reawakening of modern scholarship to his unique contributions.

4/2004 cover Musical Performance : A Guide to Understanding by John Rink (Editor)
This book unravels the complexities of playing music and reveals aspects of learning, playing and responding to music relevant to performances of all levels. A survey of performance through the ages leads to a presentation of basic historical, analytical and psychological concepts. Four chapters follow on teaching, development, practice and memorization. The next section considers the "translation" from score to sound, physical projection, ensemble playing and performance anxiety. The final section addresses the act of listening, the legacy of recordings, music criticism and "performers on performance".

4/2004 cover Musical Instruments of the Bible by Jeremy Montagu


4/2004 cover Lost in the Stars: The Forgotten Musical Career of Alexander Siloti by Charles Barber


4/2004 cover Guillaume de Machaut and Reims : Context and Meaning in his Musical Works by Anne Walters Robertson
Guillaume de Machaut, fourteenth-century French composer and poet, wrote the first polyphonic Mass and many other important musical works. Friend of royalty, prelates, noted poets, and musicians, Machaut was a cosmopolitan presence in late medieval Europe. He also served as canon of the cathedral of Reims, the coronation site of French kings. From this penetrating study of his music, Machaut emerges as a composer deeply involved in the great crises of his day, one who skillfully and artfully expressed profound themes of human existence in ardent music and poetry.

4/2004 cover The Death of Franz Liszt: Based on the Unpublished Diary of His Pupil Lina Schmalhausen by Alan Walker (Editor), Lina Schmalhausen
"If only I do not die here." After falling ill during a visit to Bayreuth, Franz Liszt uttered this melancholy refrain throughout his final days, which were spent in rented rooms in a house opposite Wahnfried, the home of his daughter Cosima and his deceased son-in-law Richard Wagner. Attended by incompetent doctors and ignored and treated coldly by his daughter, the great composer endured needless pain and indignity, according to a knowledgeable eyewitness. Lina Schmalhausen, his student, caregiver, and close companion, recorded in her diary a graphic description of her teacher’s illness and death. Alan Walker here presents this never-before-published account of Liszt’s demise in the summer of 1886. Walker, whose three-volume biography of Liszt was praised as "without rival" by Time, states that "no one who is remotely interested in the life and work of Franz Liszt can remain unaffected by the diary." Schmalhausen’s tale of neglect, family indifference, and medical malpractice was considered so explosive at the time of its writing that it was kept from public view. The twenty-two-year-old Schmalhausen was regarded with suspicion by many in the composer’s inner circle, as well as by other confidants, and a sanitized and inaccurate depiction of Liszt’s death made its way into the history books. For this volume, Walker has overseen the translation and thoroughly annotated the eighty-one-page handwritten diary, and added a selection of illustrations. A prologue contains important background information on Liszt himself and on Lina Schmalhausen’s diary. An epilogue discusses the funeral and ensuing controversies over disposition of the composer’s remains.

4/2004 cover Britten on Music by Benjamin Britten, Paul Kildea (Editor)
Benjamin Britten was a most reluctant public speaker. Yet his contributions were without doubt a major factor in the transformation during his lifetime of the structure of the art-music industry. This book, by bringing together all his published articles, unpublished speeches, drafts, and transcriptions of numerous radio interviews, explores the paradox of a reluctant yet influential cultural commentator, artist, and humanist. Whether talking about his own music, about the role of the artist in society, about music criticism, or wading into a debate on Soviet ideology at the height of the cold war, Britten always gave a performance which reinforced the notion of a private man who nonetheless saw the importance of public disclosure.

4/2004 cover Biographical and Bibliographical Checklist of Principal Works Related to Western Music Published... by Samuel J. Rogal


4/2004 cover Bartok and the Piano: A Performer's View by Barbara Nissman


4/2004 cover African American Concert Singers Before 1950 by Darryl Glenn Nettles
Marian Roberts, Roland Hayes, and Paul Robeson were among the most visible early African American concert singers, but they were not the only ones. Many others were involved in the arts as concert singers and, given the times in which they lived, achieved tremendous results in the face of great adversity and helped pave the way for the post–1950 African American vocal artist. Drawn from articles, reviews, programs, biographical sources, and interviews, this work is a survey of the unknown early African American concert singers. Much of the information from periodicals was taken from The New York Amsterdam News, The Chicago Defender, and The New York Age. The book covers the African Americans who came before Roberts, Hayes, and Robeson, and details the opportunities available in Europe for black concert singers.

3/2004 cover Stage Presence from Head to Toe: A Manual for Musicians by Karen A. Hagberg
STAGE PRESENCE FROM HEAD TO TOE is the only resource of its kind--a practical, authoritative guide to accepted practices of stage presence for performing musicians. It answers the basic questions every musician has about a performance: how to prepare, how to dress, how to walk out on stage, how to bow, how to look confident and put one's audience at ease, and how to interact with other musicians onstage and with personnel backstage. Hagberg discusses the specific needs of soloists and both small and large ensembles, instrumental and vocal. Illustrations, several helpful checklists, and a comprehensive bibliography are included. This book should appear on the shelves of all musicians--professionals and amateurs, students and teachers. Teachers at the conservatory, high school, and elementary level can use this book as THE reference handbook on stage presence. It is the first textbook for supplementary coursework on this neglected topic.

3/2004 cover Music and Mathematics: From Pythagoras to Fractals by John Fauvel, Raymond Flood, Robin Wilson (Editors)


3/2004 cover Liszt Letters in the Library of Congress by Michael Short (Introduction)


3/2004 cover From Paris to Peoria: How European Piano Virtuosos Brought Classical Music to the American Heartland by R. Allen Lott
It’s difficult to imagine Franz Liszt performing in Peoria, but his contemporary and foremost rival, Sigismund Thalberg, did just that. During the mid-nineteenth century, Americans in more than a hundred cities—from Portland, Maine, to Dubuque, Iowa, to Mobile, Alabama—were treated to performances by some of Europe’s most celebrated pianists. From Paris to Peoria deftly chronicles the visits of these pianists to the America of Mark Twain. Whether performing in small railroad towns throughout the Midwest or in gold-rush California, these five charismatic pianists—Leopold de Meyer, Henri Herz, Sigismund Thalberg, Anton Rubinstein, and Hans von Bülow—introduced many Americans to the delights of the concert hall. With humor and insight, R. Allen Lott describes the glamour and the drudgery of the touring life, the transformation of American audiences from boisterous to reverent, and the establishment of the piano recital as a viable artistic and financial enterprise. Lott also explores the creative and sometimes outlandish publicity techniques of managers seeking to capitalize on prosperous but uncharted American markets. The result of extensive archival research, From Paris to Peoria is richly illustrated with concert programs, handbills, caricatures, and maps. A comprehensive list of repertoires and itineraries, audio music examples, and more primary documents are available on the book's companion web site. Certain to delight pianists, musicologists, and historians, From Paris to Peoria is an engaging, thoroughly researched, and often funny account of music and culture in nineteenth-century America.

3/2004 cover Film Music at the Piano: An Index to Piano Arrangements of Instrumental Film and Television Music... by H. Stephen Wright


3/2004 cover From Dvorak to Duke Ellington: A Conductor Rediscovers America's Music & Its African-American Roots by Maurice Peress
In From Dvorak to Duke Ellington the prominent symphony conductor Maurice Peress describes his career and experiences with American music and musicians. Peress conducted the world premiere of Leonard Bernstein's Mass, worked with Duke Ellington on the Suite from Black Brown and Beige and Queenie Pie, and reconstructed and recreated historic American concerts at which Antheil's Ballet Mecanique, Gershwin's Rhapsody in Blue, and Ellington's Black, Brown, and Beige were first presented. Peress also revisits Dvorak's three year residency in 1892-95, the controversy that greeted his radical notion that composers turn to Negro music for inspiration, and the careers of his students who went on to teach Copeland, Gershwin, and Ellington.

3/2004 cover The Complete Musician: An Integrated Approach to Tonal Theory, Analysis, and Listening by Steven G. Laitz
This student workbook accompanies The Complete Musician: An Integrated Approach to Tonal Theory, Analysis, and Listening. The first of two volumes, it provides exercises that accompany chapters 1-22 of the text.

3/2004 cover C.P.E. Bach and the Rebirth of the Strophic Song by William H. Youngren


3/2004 cover Bela Bartok: A Celebration by Benjamin Suchoff
This compilation of essays, lectures, and scholarly papers on Bart-k studies from 1953 to the present includes insights obtained by the author over a half-century career as a Bart-k specialist.Divided into three parts, chapters examine Bart-k as a multifaceted music figure: composer, folklorist, pianist, and teacher. As composer, it includes program notes, an introduction to his principles of composition, and theoretic-analytical discussion of selected works, including Mikrokosmos . As folklorist, it examines the outcome of Bart-k's fieldwork, methodology, and findings in East European, Arabic, and Turkist autochthonous folk music materials. Bart-k's American years are also discussed. The narrative is supported by a substantial number of musical examples and references.

3/2004 cover Beethoven: The Music and the Life by Lewis Lockwood
A fresh look at Beethoven's life, career, and milieu highlighting his development as a composer. In this brilliant portrayal of the world's most famous composer, eminent Beethoven scholar Lewis Lockwood interweaves his subject's musical and biographical dimensions and places them in their historical and artistic contexts. Written for the lay reader, the book describes the special problems Beethoven faced as a highly gifted artist who fulfilled his destiny as Mozart's main successor while remaining a true, rebellious original. It sketches the turbulent personal, historical, political, and cultural frameworks in which Beethoven worked and demonstrates their effects on his music. Finally, it turns to the composer in his last years, with great achievements behind him, surmounting the crisis of finding still further artistic paths by which to continue. Also, by providing glimpses into the composer's sketchbooks and autograph manuscripts, Lockwood allows us to gain substantial insights into Beethoven's compositional methods. In a publishing first, musically literate readers will find some one hundred notated music examples on a special Web site. 50 illustrations, 8 music examples.

2/2004 cover Sound Advice: Becoming a Better Children's Choir Conductor by Jean Ashworth Bartle
Sound Advice is a valuable resource for college students, beginning teachers, and experienced conducters of children's choirs. It covers the vast array of skills needed by today's conductor and will benefit all choir directors who want their choirs to reach a higher level of artistry. This book will be useful on many levels: for the college student studying the child voice and elementary teaching methods; for the teacher beginning to direct choirs in schools, synagogues, churches and communities; for experienced children's choir directors who wish to know more about orchestral repertoire for treble voices, conducting an orchestra, and preparing a children's choir to sing a major work with a professional orchestra. The underlying educational philosophy is sound; the author sees development of musicianship through singing as the primary goal of a children's choir program. This philosophy differs dramatically from the traditional concept of the conductor as all-knowing and the singers as receptacles. An outstanding aspect of the book is how the author leads the reader to an understanding of how to teach musicianship. Developing literacy in the choral setting is a mysterious, amorphous process to many conductors, but the author clearly outlines this important process with practical suggestions, well-documented examples, and a clear reading style which will reach readers on many levels. The comprehensive repertoire, skill-building sheets, and programs for all types of children's choirs will provide teachers with immediate and highly valuable resources.

2/2004 cover Poetry and Music in Medieval France : From Jean Renart to Guillaume de Machaut by Ardis Butterfield (Author), Alastair Minnis (Editor)
In Poetry and Music in Medieval France Ardis Butterfield examines vernacular song in medieval France. She begins with the moment when French song first survives in writing in the early thirteenth century, and examines a large corpus of works which combine elements of narrative and song, as well as a range of genres which cross between different musical and literary categories. Emphasising the cosmopolitan artistic milieu of Arras, Butterfield describes the wide range of contexts in which secular songs were quoted and copied, including narrative romances, satires and love poems. She uses manuscript evidence to shed light on medieval perceptions of how music and poetry were composed and interpreted. The volume is well illustrated to demonstrate the rich visual culture of medieval French writing and music. This interdisciplinary study will be of interest to both literary and musical scholars of late medieval culture.

2/2004 cover Mozart's Piano Concertos by John Irving (Editor)


2/2004 cover Mendelssohn's Italian Symphony by John Michael Cooper
This is the first book-length study of the composition, reception, extramusical implications, and stylistic eclecticism of Mendelssohn's Italian Symphony, a staple of the nineteenth-century musical canon. Cooper devotes extensive attention to the differences between the posthumously published familiar version of the work and the composer's revision, which remained unpublished until 2001. He presents substantial new insights into a work which many listeners and scholars have known only in the version the composer considered less successful.

2/2004 cover Me of All People: Alfred Brendel in Conversation With Martin Meyer by Alfred Brendel, Richard Stokes (Translator), Martin Meyer
"I was not a child prodigy; indeed, I had none of the requisite qualities for making a successful career." This "shortcoming" has not prevented Alfred Brendel from becoming one of the greatest pianists of the twentieth century. His solo recitals and appearances with the leading orchestras of the world make him a regular guest in London, Paris, New York, Vienna, Berlin, Munich, and Amsterdam, and at the major European and American music festivals. In a series of dialogues with Martin Meyer, Brendel speaks about his life, the development of his career, his music-making, his travels, his poems and essays; about his childhood in Zagreb, adolescence in Graz, and experiences as a young man in Vienna ("I was in Vienna, but I was never a 'genuine' Viennese"); about literature, painting, architecture, and kitsch. Brendel talks about the freedoms and obligations of a performer and discusses the work of musicians who have fascinated him- Alfred Cortot, Edwin Fischer, Wilhelm Furtwängler, Wilhelm Kempff, and Bruno Walter-and those who have irritated him, as did Glenn Gould. The conversations between Brendel and Meyer are both serious and witty. Me of All People abounds in amusing anecdotes and contains penetrating insights into the music of Haydn, Mozart, Beethoven, Schubert, Schumann, Liszt, Busoni, and Schoenberg. Alfred Brendel emerges as a deep thinker, a passionate skeptic, and an emotional musician. He is a multitalented figure with an engaging sense of humor, a healthy dose of modesty, and an enormous appetite for life.

2/2004 cover Improvisation in the Arts of the Middle Ages and Renaissance by Timothy J. McGee (Editor)


2/2004 cover Honoring God and the City: Music at the Venetian Confraternities, 1260-1807 by Jonathan Emmanuel Glixon
This is the first detailed history of musical activities at Venetian lay confraternities. Based on over two decades of research in Venetian archives, the book traces musical practices from the origins of the earliest confraternities in the mid-thirteenth century through their suppression under the French and Austrian governments of Venice in the early nineteenth century. The first section of the book treats the scuole grandi, the largest and most important of the Venetian confraternities, and the only ones to maintain musical establishments for long periods. The second portion of the book is concerned with the scuole piccole, the numerous less-important confraternities, sometimes as many as 300 of which were active simultaneously, located in churches throughout Venice. Appendices include an attempt to reconstruct a calendar of musical events at all Venetian confraternities in the early eighteenth century, demonstrating the vital role they played in the cultural and ceremonial life of this great city.

2/2004 cover History of Performing Pitch: The Story of "A" by Bruce Haynes


2/2004 cover A History of Music in Western Culture by Mark Evan Bonds
Focuses squarely on the music, tying names, dates, and concepts to the study of a carefully selected repertory of works. Tells the story of Western music in a clear and compelling narrative to help students gain a broad understanding of the nature of music, its role in society, and the ways in which it has changed over time. Challenges readers to think critically about music using primary sources to demonstrate that the raw materials of history are often open to conflicting interpretations, and that these conflicts can open new perspectives. Integrates the textual narrative with the anthology of scores; every work in the anthology is discussed in the text.

2/2004 cover Edvard Grieg and His Songs by Sandra Jarrett


2/2004 cover The Discovery of Musical Equal Temperament in China and Europe in the Sixteenth Century by Gene J. Cho


2/2004 cover Daniel Barenboim: A Life in Music by Daniel Barenboim
A LIFE IN MUSIC reviews five decades of the rich and uniquely varied musical life of Daniel Barenboim. A child prodigy as a pianist and a virtuoso conductor of symphonies and opera, he has known and worked with many of the most distinguished and exciting musicians of the 20th century, including Rubinstein, Klemperer, Furtwangler, Zubin Mehta, Pierre Boulez, Fischer-Dieskau, Pablo Casals and not least his own wife Jacqueline du Pré, among many others. `He still insists on undertaking grand projects that only a madman or genius would contemplate', The Times noted in August 2001, and recent years have included his work at the annual Wagner Festival in Bayreuth; his involvement with the rebirth of the State Opera House in Berlin; taking over from George Solti's 22-year reign in Chicago; his summer festivals at Weimar in Germany where young Arab and Israelis can play music together; and his worldwide travels. He gives us his trenchant thoughts on Israel today, the problems facing young musicians and the changing world of music at the beginning of the 21st century.

2/2004 cover Chromatic Transformations in Nineteenth-Century Music by David Kopp (Author), Ian Bent (Editor)
David Kopp's book develops a model of chromatic chord relations in nineteenth-century music by composers such as Schubert, Beethoven, Chopin, Schumann, and Brahms. The emphasis is on explaining chromatic third relations and the pivotal role they play in theory and practice. Drawing on tenets of nineteenth-century harmonic theory, contemporary transformation theory, and the author's own approach, the book presents a clear and elegant means for characterizing commonly acknowledged but loosely defined elements of chromatic harmony. The historical and theoretical argument is supplemented by many analytic examples.

2/2004 cover The Cambridge Companion to Debussy by Simon Trezise (Editor), Jonathan Cross (Editor)
Often considered the father of twentieth-century music, Debussy was a visionary whose influence is still felt. This Companion offers new insights into Debussy's character, his environment and his music, including challenging views of the roles of nature and eroticism in his life and music. While works in all genres are discussed, they are considered through the themes of sonority, rhythm, tonality and form, with closing chapters considering the performance and reception of his music in the first years of the new century.

2/2004 cover Beethoven's Ninth: A Political History by Esteban Buch, Richard Miller (Translator)
Who hasn't been stirred by the strains of Beethoven's Ninth Symphony? That's a good question, claims Esteban Buch. German nationalists and French republicans, communists and Catholics have all, in the course of history, embraced the piece. It was performed under the direction of Leonard Bernstein at a concert to mark the fall of the Berlin Wall, yet it also serves as a ghastly and ironic leitmotif in Stanley Kubrick's A Clockwork Orange. Hitler celebrated his birthdays with it, and the government of Rhodesia made it their anthem. And played in German concentration camps by the imprisoned, it also figured prominently at Mitterand's 1981 investiture. In his remarkable history of one of the most popular symphonic works of the modern period, Buch traces such complex and contradictory uses--and abuses--of Beethoven's Ninth Symphony since its premier in 1824. Buch shows that Beethoven consciously drew on the tradition of European political music, with its mix of sacred and profane, military and religious themes, when he composed his symphony. But while Beethoven obviously had his own political aspirations for the piece--he wanted it to make a statement about ideal power--he could not have had any idea of the antithetical political uses, nationalist and universalist, to which the Ninth Symphony has been put since its creation. Buch shows us how the symphony has been "deployed" throughout nearly two centuries, and in the course of this exploration offers what was described by one French reviewer as "a fundamental examination of the moral value of art." Sensitive and fascinating, this account of the tangled political existence of a symphony is a rare book that shows the life of an artwork through time, shifted and realigned with the currents of history.

1/2004 cover Manufacturing the Muse: Estey Organs and Consumer Culture in Victorian America by Dennis G. Waring


1/2004 cover Dies Irae: A Guide to Requiem Music by Robert Chase


1/2004 cover The Restoration of Gregorian Chant: Solesmes and the Vatican Edition by Dom Pierre Combe
This book presents for the first time in English the fully documented history of the Gregorian chant restoration which culminated in the publication of the Vatican Edition ordered by Pope Pius X at the dawn of the twentieth century. It is based upon archival documents in the Abbey of St. Pierre de Solesmes. The ecclesia orans, the Praying Church, has always regarded genuine church music as an integral part of prayer and of solemn public worship as a whole. Sacred music is not intended to beautify and decorate worship. Rather, taking shape from the depths of the Church’s interior life, sacred music bears the imprint of that divine beauty which never grows old—and which is far more sublime than all mere artistic or historical intentions. Gregorian chant, the Catholic Church’s very own music, is proper to the Roman liturgy, but during the course of its long history it has experienced periods of ascendancy and of decline. A century ago, Pope Pius X called for a restoration of the sacred melodies, and the result was the Vatican Edition. This book describes in careful, vivid detail the strenuous efforts of personalities like Dom Joseph Pothier, Dom Andre Mocquereau, Fr. Angelo de Santi, and Peter Wagner to carry out the wishes of the Pope. The attentive reader will not fail to note that many of the questions so fervidly debated long ago are still current and topical today. The original French edition, Histoire de la restauration du chant grégorien, was published by the Abbey of Solesmes in 1969. Robert A. Skeris’s new introduction to this edition illuminates the current discussion with documentation including the Preface to the Vatican Gradual and the "Last Will and Testament" written by Dom Eugene Cardine.

1/2004 cover What Every Pianist Needs to Know About the Body by Thomas Mark, Thom Miles, Roberta Gary
Techniques on how to gain greater fluidity of movement while playing to improve the quality of the experience are offered in this manual for serious piano players. This book encourages musicians to develop a broader understanding of the involvement of the entire body in playing-and the strains playing places on the body-by focusing on body mapping to increase awareness of the body's function, size, and structure. Ways in which piano, organ, harpsichord, clavichord, and digital keyboard players can eliminate or prevent carpal tunnel syndrome and other debilitating conditions without traditional medical treatments are also explored.

1/2004 cover Television Opera : The Fall of Opera Commissioned for Television by Jennifer Barnes
Television opera - that is, opera commissioned for television - was one of the earliest attempts by television to bridge the distinction between high culture and popular culture: between 1951 and 2002, in Britain and the United States, over fifty operas were commissioned for television. This book discusses three case studies, the first a live broadcast, the second a video recording, and the third a filmed opera made for television: Gian Carlo Menotti's 'Amahl and the Night Visitors' (NBC, 1951; Benjamin Britten's 'Owen Wingrave' (BBC, 1971), taking into account Britten's earlier television experiences with 'The Turn of the Screw' (Associated Rediffusion, 1959) and 'Billy Budd' (NBC, 1952 and BBC 1966); and Gerald Barry's 'The Triumph of Beauty and Deceit' (1995), part of Channel 4's decision in 1989 to embark upon a series of six hour-long television operas. In each case, the composer's response to the demands of television, and his place within the production's hierarchy, are examined; and the effect of the formats and techniques peculiar to television on the process of composing are discussed. JENNIFER BARNES is Assistant Principal and Dean of Studies at Trinity College of Music, London.From its beginnings, television has relied on music to signal its message to the broadest market, and opera was a significant part of that plan. But whereas in opera the role of the composer is paramount and his vision provides the driving force, in opera commissioned for television there are other priorities, both practical and artistic. Over the decades, conflict of expectations, methods and authority have influenced the production of many television operas. To chart these changes, this work examines three, commissioned at twenty-year intervals - Menotti's 'Amahl and the Night Visitors', Britten's 'Owen Wingrave' and Barry's 'Triumph of Beauty and Deceit.Over fifty operas have been commissioned for television since the early 1950s. Examining changes in television techniques, Jennifer Barnes considers their impact on the role of the composer and questions whether television, in its rapid evolution, has abandoned early indigenous production methods, and with that its secrets of writing and producing opera for television.

1/2004 cover Teaching Choral Music (2nd Edition) by Don L. Collins
Written in a lively and engaging style, this comprehensive, practical, and authoritative guide to teaching choral music offers a sequential, organized plan of approach that explores the foundation principles and methods of the discipline, covers the nuts and bolts of the profession, and helps users learn to structure administration and organization responsibilities to promote long, complete, and satisfying careers. Offers practical guidance and explains complex concepts about vocal and choral technique in a simple and easy-to-understand language. Covers theŸgistory of choral music in Europe and America, and delineates aspecific philosophy of teachingchoral music with a particular emphasis on its justification in the secondary school curriculum. Now recommends long- and short-term Study Projects for each chapter, and comes with new and expanded appendices that include: Suppliers of Choral Music, Materials and Equipment; Choral Literature for Mid-Level Grades; Multicultural Choral Music; Sight Reading Methods; plus useful Web Sites. Makes an ideal reference.

1/2004 cover Songs and Madrigals by Denis Stevens (Translator)
This is the first collection of Claudio Monteverdi's "Madrigal and Song" texts published in parallel Italian and English versions. Denis Steven's unique anthology ranges across four centuries of verse for music. More than thirty poets, old and new, famous and obscure, are represented here, many for the first time in English. Enthusiasts and scholars of the music and its period will be extremely interested in finding out what the poems Monteverdi set to music really mean. The keys Stevens uses in his translations come from a lifetime's work devoted to Monteverdi and his contemporaries.

1/2004 cover Puccini: His Life and Works by Julian Budden
Julian Budden, one of the world's foremost scholars of Italian opera and author of a monumental three-volume study of Verdi's works, now offers music lovers a major new biography of one of the giants of Italian opera, Giacomo Puccini. Blending astute musical analysis with a colorful account of Puccini's life, here is an illuminating look at some of the most popular operas in the repertoire, including Manon Lescaut, La Boheme, Tosca, Madama Butterfly, and Turandot. Budden provides an illuminating look at the process of putting an opera together, the cut-and-slash of nineteenth-century Italian opera--the struggle to find the right performers for the debut of La Boheme, Puccini's anxiety about completing Turandot (he in fact died of cancer before he did so), his animosity toward his rival Leoncavallo (whom he called Leonasino or "lion-ass"). Budden provides an informative analysis of the operas themselves, examining the music act by act. He highlights, among other things, the influence of Wagner on Puccini--alone among his Italian contemporaries, Puccini followed Wagner's example in bringing the motif into the forefront of his narrative, sometimes voicing the singer's unexpressed thoughts, sometimes sending out a signal to the audience of which the character is unaware. And Budden also paints an intriguing portrait of Puccini the man--talented but modest, a man who had friends from every walk of life: shopkeepers, priests, wealthy landowners, fellow artists. Affable, well mannered, gifted with a broad sense of fun, he rarely failed to charm all who met him. A new volume in the esteemed Master Musicians series, Puccini offers a masterful portrait of this beloved Italian composer.

1/2004 cover Play, Sing, & Dance: An Introduction to Orff Schulwerk by Doug Goodkin


1/2004 cover Parallels and Paradoxes : Explorations in Music and Society by Edward W. Said
This fascinating exchange between two of the most prominent figures in contemporary culture, Daniel Barenboim, Music Director of the Chicago Symphony Orchestra and the Deutsche Staatsoper Berlin, and Edward W. Said, the eminent literary critic and scholar and a leading expert on the Middle East, grew out of the acclaimed Carnegie Hall Talks. A unique and impassioned discussion about politics and culture, it touches on many diverse subjects: the importance of a sense of place; the differences between writing prose and music; the conductors Wilhelm Fürtwangler and Arturo Toscanini; Beethoven as the greatest sonata composer; the difficulty of playing Wagner; the sound at Bayreuth; the writers Balzac, Dickens, and Adorno; the importance of great teachers; and the power of culture to transcend all national and political differences——something they both witnessed when they brought together young Arab and Israeli musicians to play at Weimar in 1999. Although Barenboim and Said have very different points of view, they act as catalysts for each other. The originality of their ideas makes this a book that is both accessible and compelling for anyone who is interested in the culture of the twenty-first century.

1/2004 cover Musorgsky: His Life and Works by David Brown
Modest Musorgsky was one of the towering figures of nineteenth-century Russian music. Now, in this new volume in the Master Musicians series, David Brown gives us the first life-and-works study of Musorgsky to appear in English for over a half century. Indeed, this is the largest such study of Musorgsky to have appeared outside Russia. Brown shows how Musorgsky, though essentially an amateur with no systematic training in composition, emerged in his first opera, Boris Godunov, as a supreme musical dramatist. Indeed, in this opera, and in certain of his piano pieces in Pictures at an Exhibition, Musorgsky produced some of the most startlingly novel music of the whole nineteenth century. He was also one of the most original of all song composers, with a prodigious gift for uncovering the emotional content of a text. As Brown illuminates Musorgsky's work, he also paints a detailed portrait of the composer's life. He describes how, unlike the systematic and disciplined Tchaikovsky, Musorgsky was a fitful composer. When the inspiration was upon him, he could apply himself with superhuman intensity, as he did when composing the initial version of Boris Godunov. Sadly, Musorgsky deteriorated in his final years, suffering periods of inner turmoil, when his alcoholism would be out of control. Finally, unemployed and all but destitute, he died at age forty-two. His failure to complete his two remaining operas, Khovanshchina and Sorochintsy Fair, Brown concludes, is one of music's greatest tragedies. Written by one of the leading authorities on nineteenth-century Russian composers, Musorgsky is the finest available biography of this giant of Russian music.

1/2004 cover A Music Learning Theory for Newborn and Young Children by Edwin E. Gordon


1/2004 cover Music and Culture in Late Renaissance Italy by Iain Fenlon
This collection of essays is unified by a number of concerns: one is the way in which musical activity of all kinds was instrumentalized by those in power, in Italy, during the Sixteenth Century. A second expressed through the chornological concentration on the second half of the century, is with a period which is still often regarded as one of decline and degeneracy after the achievements of the Quattrocento and the decades before the calameta d'Italia. This book implicitly argues that Italian culture did not lose its vigor after 1530, but underwent a transformation, as both individuals and institutions reacted to new economic, political, and religious circumstances.

1/2004 cover Medieval Music-Making and the Roman de Fauvel by Emma Dillon
This book explores the role of music in an early fourteenth-century French manuscript. It sets the manuscript against the wider culture of Parisian book-making, showing how in devising new systems of design and folio layout, its creators developed a new kind of materiality in music. It also illustrates how music is expressive in ways that are unperformable apart from its visual representation, and argues that the new attitudes to material music making embodied in the manuscript serve as a model for exploring other music manuscripts to emerge in late medieval France.

1/2004 cover Mahler: A Biography by Jonathan Carr
Evaluating with exemplary judiciousness the masses of material about Gustav Mahler (1860-1911), British journalist Jonathan Carr pens a highly readable biography. Whether describing the composer's youth in Central Europe, triumphs as a conductor in Vienna and New York, or stormy marriage to Alma Schindler, Carr elucidates Mahler's complex nature without presuming to "explain" it. Devilish or saintly? Cunning or naive? Extrovert or withdrawn? "He was all these things," writes Carr, "brandishing his contradictions in music of stinging intensity." Mahler's compositions and personality gain new dimensions from this fresh, nuanced approach.

1/2004 cover Joseph Haydn and the Eighteenth Century: Collected Essays of Karl Geiringer by Karl Geiringer


1/2004 cover J.S. Bach: the Complete Cantatas in Parallel Translation by Richard Stokes (Translator)


1/2004 cover The Healing Power of Sound : Recovery from Life-Threatening Illness Using Sound, Voice, and Music by Mitchell L. Gaynor


1/2004 cover Gilbert and Sullivan: A Dual Biography by Michael Ainger
A Gilbert is of no use without a Sullivan. With these words, W.S. Gilbert summed up his reasons for persisting in his collaboration with Arthur Sulllivan despite the combative nature of their relationship. In fact, Michael Ainger suggests in Gilbert and Sullivan the success of the pair's work is a direct result of their personality clash, as each partner challenged the other to produce his best work. After exhaustive research into the D'Oyly Carte collection of documents, Ainger offers the most detailed account to date of Gilbert and Sullivan's starkly different backgrounds and long working partnership. Having survived an impoverished and insecure childhood, Gilbert flourished as a financially successful theater professional, married happily and established himself as a property owner. His sense of proprietorship extended beyond real estate, and he fought tenaciously to protect the integrity of his musical works. Sullivan, the product of a supportive family who nourished his talent, was much less satisfied with stability than his collaborator. His creative self-doubts and self-demands led to nervous and physical breakdowns, but it also propelled the team to break the successful mode of their earliest work to produce more ambitious pieces of theater, including The Mikado and The Yeoman of the Guards. Offering previously-unpublished draft librettos and personal letters, this thorough double-biography will be an essential addition to the library of any Gilbert and Sullivan fan.

1/2004 cover Copland Connotations: Studies and Interviews by Peter Dickinson (Editor)
The contributors to Copland Connotations - both American and British - include the leading figures in Copland studies. Pre-eminent among these is Vivian Perlis, whose two-volume memoirs were written in collaboration with the composer himself; then Howard Pollack, whose substantial biography of Copland has been acclaimed; and also other established specialists in American music such as Stephen Banfield, William Brooks, Mark DeVoto, Peter Dickinson, David Schiff, Larry Starr and the distinguished analyst Arnold Whittall. Brilliant studies from young scholars are a special feature - Jessica Burr, Jennifer DeLapp, Sally Bick, Daniel E. Mathers and Marta Robertson. These all offer exciting new perspectives on Copland's work; unique reflections on his private life; and indicate the undoubted vitality of his appeal to future generations.The British-based team of authors, along with Anthony Burton, David Nicholls and Bayan Northcott, engages in a lively open forum discussion covering many issues in connection with Copland and his work. And finally Copland Connotations brings Copland himself into the picture by providing transcriptions of two previously unpublished interviews Copland gave to Peter Dickinson at Keele University in 1976.

1/2004 cover Beethoven's Anvil: Music in Mind and Culture by William L. Benzon
Why does the brain create music? In Beethoven's Anvil, cognitive scientist and jazz musician William Benzon finds the key to music's function in the very complexity of musical experience. Music demands that our symbol-processing capacities, motor skills, and emotional and communicative skills all work in close coordination--not only within our own heads but also with the heads (and bodies) of others. Music is at once deeply personal and highly social, highly disciplined yet open to emotional nuance and interpretation. It's precisely this coordination of different mental functions, Benzon argues, that underlies our deep need to create and participate in music. At once daring and scholarly, this remarkable book offers a sweeping vision of a vital, underappreciated force in our minds and our culture.

1/2004 cover Arthur Bliss: Music and Literature by Stewart R. Craggs


1/2004 cover Abide With Me: The World of Victorian Hymns by Ian C. Bradley


12/2003 cover Whatever Name or Creed: Hymns and Songs by Andrew Pratt


12/2003 cover Wagner's Meistersinger : Performance, History, Representation by Nicholas Vazsonyi (Editor)
"Intellectually speaking, this is a delicious tome." WAGNER NOTES. Richard Wagner's Die Meistersinger von Nurnberg has been one of the most performed operas ever since its premier in 1868. It was adopted as Germany's national opera ('Nationaloper'), not least because of its historical coincidence with the unification of Germany under Bismarck in 1871. The first section of this volume, 'Performing Meistersinger', contains three commissioned articles from internationally respected artists - a conductor (Peter Schneider), a stage director (Harry Kupfer) and a singer (Dietrich Fischer-Dieskau),all experienced in the performance of this unusually demanding 5-hour work. The second section, 'Meistersinger and History', examines both the representation of German history in the opera and the way the opera has functioned in history through political appropriation and staging practice. The third section, 'Representations', is the most eclectic, exploring in the first place the problematic question of genre from the perspective of a theatrical historian. The chronic issue of Wagner's chief opponent, Eduard Hanslick, and his musical and dramatic representation in the opera as Beckmesser, is then addressed, as are gender issues, and Wagner's own utterances concerning the opera.Contributors: NICHOLAS VAZSONYI, PETER SCHNEIDER, HARRY KUPFER, DIETRICH FISCHER-DIESKAU, HANS RUDOLF VAGET, LUTZ KOEPNICK, DAVID B. DENNIS, KLAUS VAN DEN BERG, THOMAS S. GREY, LINDA GOEHR, EVA RIEGER, PETER HÖYNGNICHOLAS VAZSONYI is Associate Professor of German and Comparative Literature, University of South Carolina.

12/2003 cover Vaughan Williams and the Symphony (Symphonic Studies) by Lionel Pike
An analysis of all nine symphonies by Ralph Vaughan Williams, one of the greatest British composers, this book reveals the hidden complexities of both the composer and his music. Pike argues that Vaughan Williams’s symphonies have depths far beyond the pure sound of music, depths that will stand analytical investigation just as the works of other great symphonists do. He further argues that Vaughan Williams is consistently denied his rightful place in 20th-century music and in the history of the symphony, and that close investigation can uncover elements of construction that show the mind of a genius at work.

12/2003 cover Vaughan Williams Essays by Byron Adams (Editor), Robin Wells (Editor)


12/2003 cover L'orgue corse de 1557 à 1963 : histoire, facteurs, esthétique by Sébastien Rubellin
Text: French

12/2003 cover New Worlds of Dvorak: Searching in America for the Composer's Inner Life by Michael Beckerman, Michael, B. Beckerman
A forceful reinterpretation of the composer's personality and work. Focusing on Dvorák's three-year stay in the United States, this book explores the world behind the public legend, concluding that the composer suffered from a debilitating and previously unexplored anxiety disorder. Readers of this book will gain a rich view of Dvorák that will deepen their understanding of his works, especially his Symphony From the New World. Audio compact disc included; 16 pages of b/w illustrations.

12/2003 cover The Music of Lennox Berkeley by Peter Dickinson
Sir Lennox Berkeley (1903-1989) was one of the leading British composers of the mid-twentieth century and his music has unique qualities which will ensure its survival far beyond transient fashions. Peter Dickinson knew Berkeley for more than thirty years and this much enlarged book places the composer in the context of his extended study with Nadia Boulanger, his friendship with Britten, and the achievement of an independent voice of remarkable distinction. The new book now benefits from interviews with Lady Berkeley, Michael Berkeley, Julian Bream, Colin Horsley, Sir John Manduell, Nicholas Maw, Malcolm Williamson and the late Basil Douglas, Desmond Shawe-Taylor and Norman del Mar. There are photographs, a full list of works, bibliographies and over a hundred musical examples. PETER DICKINSON is Head of Music at the Institute of United States Studies at the University of London and an Emeritus Professor of the Universities of Keele and London.

12/2003 cover The Life and Music of Sir Malcolm Arnold: The Brilliant and the Dark by Paul R. W. Jackson


12/2003 cover Johannes Klais (1852-1925) : ein rheinischer Orgelbauer und sein Schaffen by Horst Hodick


12/2003 cover Dvorak in America: In Search of the World by Joseph Horowitz
Antonin Dvorak's New World Symphony is one of the most popular classical works ever. In this spirited account of the story behind the composition, Joseph Horowitz brings to life the diverse musical and cultural influences that inspired the composer, who came from Czechoslovakia to America in 1892. Listening to his assistant, Henry Burleigh, sing slave songs, and visiting Wild West shows and the Kickapoo Medicine Show gave Dvorak the raw material from which to compose his masterpiece that, to both popular audiences and critics, captures the vibrancy and power of American music. Illustrated with archival black-and-white photos, and including index and source notes for further research, this book brings the dramatic and inspiring story of a musical masterpiece to life for young readers.

12/2003 cover The Cambridge Companion to Mozart by Simon P. Keefe (Editor), Jonathan Cross (Editor)
Bridging the gap between scholarly and popular images of Mozart, this volume provides comprehensive coverage of all of his important works; the reception of his music since his death; the contexts which inform his work and his significance as a performer. It paints a rounded yet focused picture of one of the most revered artists of all time and enhances readers' appreciation of his extraordinary output.

12/2003 cover Papal Patronage and the Music of St. Peter'S, 1380-1513 by Christopher A. Reynolds
A new picture of music at the basilica of St. Peter's in the fifteenth century emerges in Christopher A. Reynolds's fascinating chronicle of this rich period of Italian musical history. Reynolds examines archival documents, musical styles, and issues of artistic patronage and cultural context in a fertile consideration of the ways historical and musical currents affected each other. This work is both a historical account of performers and composers and an examination of how their music revealed their cultural values and educational backgrounds. Reynolds analyzes several anonymous masses copied at St. Peter's, proposing attributions that have biographical implications for the composers. Taken together, the archival records and the music sung at St. Peter's reveal a much clearer picture of musical life at the basilica than either source would alone. The contents of the St. Peter's choirbook help document musical life as surely as that musical lifeinsofar as it can be reconstructed from the archivesillumines the choirbook.

11/2003 cover The Soundscape of Modernity: Architectural Acoustics and the Culture of Listening in America by Emily Thompson
In this history of aural culture in early-twentieth-century America, Emily Thompson charts dramatic transformations in what people heard and how they listened. What they heard was a new kind of sound that was the product of modern technology. They listened as newly critical consumers of aural commodities. By examining the technologies that produced this sound, as well as the culture that enthusiastically consumed it, Thompson recovers a lost dimension of the Machine Age and deepens our understanding of the experience of change that characterized the era. Reverberation equations, sound meters, microphones, and acoustical tiles were deployed in places as varied as Boston’s Symphony Hall, New York’s office skyscrapers, and the soundstages of Hollywood. The control provided by these technologies, however, was applied in ways that denied the particularity of place, and the diverse spaces of modern America began to sound alike as a universal new sound predominated. Although this sound--clear, direct, efficient, and nonreverberant—-had little to say about the physical spaces in which it was produced, it speaks volumes about the culture that created it. By listening to it, Thompson constructs a compelling new account of the experience of modernity in America.

11/2003 cover Russian Opera and the Symbolist Movement by Simon Alexander Morrison
An aesthetic, historical, and theoretical study of four scores, Russian Opera and the Symbolist Movement is a groundbreaking and imaginative treatment of the important yet neglected topic of Russian opera in the Silver Age. Spanning the gap between the supernatural Russian music of the nineteenth century and the compositions of Prokofiev and Stravinsky, this exceptionally insightful and well-researched book explores how Russian symbolist poets interpreted opera and prompted operatic innovation. Simon Morrison shows how these works, though stylistically and technically different, reveal the extent to which the operatic representation of the miraculous can be translated into its enactment. Morrison treats these largely unstudied pieces by canonical composers: Tchaikovsky's Queen of Spades, Rimsky-Korsakov's Legend of the Invisible City of Kitezh and the Maiden Fevroniya, Scriabin's unfinished Mysterium, and Prokofiev's Fiery Angel. The chapters, revisionist studies of these composers and scores, address separate aspects of Symbolist poetics, discussing such topics as literary and musical decadence, pagan-Christian syncretism, theurgy, and life creation, or the portrayal of art in life. The appendix offers the first complete English-language translation of Scriabin's libretto for the Preparatory Act. Providing valuable insight into both the Symbolist enterprise and Russian musicology, this book casts new light on opera's evolving, ambiguous place in fin de siècle culture. 4 b/w photographs, 51 music examples.

11/2003 cover Redefining Teacher Education: The Theories of Jerome Bruner and the Practice of Training Teachers by Diane D. Orlofsky


11/2003 cover Reading Opera between the Lines : Orchestral Interludes and Cultural Meaning from Wagner to Berg by Christopher Morris
A characteristic feature of Wagnerian and post-Wagnerian opera is the tendency to link scenes with numerous and often surprisingly lengthy orchestral interludes, frequently performed with the curtain closed. Often taken for granted or treated as a filler by audiences and critics, these interludes can take on very prominent roles, representing dream sequences, journeys and sexual encounters. Combining studies of individual musical texts with an investigation of the critical discourse surrounding the operas, Christopher Morris investigates the implications of these important but strangely overlooked passages.

11/2003 cover Quotation and Cultural Meaning in Twentieth-Century Music by David Metzer
Musicians frequently incorporated portions of works by other musicians into their own compositions and performances throughout the twentieth century. This book examines how this practice of "quotation" affected cultural dialogues regarding race, childhood, madness and the mass media. When a musician borrows from a piece, he or she draws upon not only a melody but also the cultural associations of the original piece. By working with and altering a melody, a musician also transforms those associations.

11/2003 cover Q&A: Seasons, Sacraments, and Sacramentals by Dennis C. Smolarski
Can a layperson preside at a blessing? Should a wedding always be celebrated during a celebration of eucharist? Can names be added to the litany of the saints? Should chrism be wiped off after confirmation? Should individual confessions be celebrated during or after a communal reconciliation service? In this second volume of the Q&A series, Father Dennis Smolarski, SJ, answers these and more questions about the liturgy and its celebration—40 in all—posed by priests, liturgists, music directors, liturgy committees, ministry coordinators and diocesan liturgy offices. As in the first volume, Q&A: The Mass, the answers are informed by both the author’s legal expertise and his pastoral sensitivity. Subject topics include baptism, confirmation, penance, marriage and anointing of the sick; funerals and blessings; liturgical architecture and objects; devotions; and celebrating Advent and Christmas, and Lent and Easter. The answer to each question takes into account the latest edition of the General Instruction of the Roman Missal, as well as other official documents. At the same time, each answer is informed with the common sense and pastoral concern of an experienced presider and member of the assembly.

11/2003 cover A Philosophy of Music Education: Advancing the Vision (3rd Edition) by Bennett Reimer
The first (1970) and second (1989) editions of this book played a significant role in establishing the philosophy of aesthetic education as a widely accepted basis for the field of music education in the United States and around the world. Few if any alternative philosophies were offered during those times, allowing the field to establish a strong, common bond of values and aspirations, powerfully fueled by the widespread adoption of this book. In the 1990s and to the present, professional philosophical work in music education grew dramatically, leading to a higher degree of sophistication and the emergence of more varied alternatives than ever before in its history. Confusion about basic values began to be felt, with concomitant loss of security and of a broadly shared vision. Fragmentation and disunity became a real possibility. This edition offers a synergistic solution to problems of professional philosophical uncertainty. It argues that what seem to be alternative value positions are better viewed as varied approaches to goals most music educators share, goals now encompassing a wider diversity of values than had previously been recognized. A key addition is the author's new theory of intelligence, based on roles rather than frames of mind. By demonstrating how each of various musical roles constitutes a particular manifestation of intelligence, he liberates the concept of intelligence from its traditional and continuing narrowness. The challenging implications of the philosophy are spelled out both as the conclusion of each chapter and as the culminating chapters of the book.

11/2003 cover Golden Age of Automatic Musical Instruments: Remarkable Music Machines and Their Stories by Arthura A. Reblitz


11/2003 cover Gather into One: Praying and Singing Globally by C. Michael Hawn, John D. Witvliet


11/2003 cover The Contemporary Singer: Elements of Vocal Technique by Anne Peckham
This comprehensive guide based on the curriculum of the Voice Department at Berklee College of Music is a must-have for every vocalist! Covers all the essentials, including: an overview of the singing process, treating voice as an instrument, tips for getting started and overcoming stage fright, proper posture and breathing, tone, discovering resonance, belting, diction, maintaining vocal health, mic techniques, and exercises for all voice ranges and types on the accompanying CD. Includes lead sheets for such standard vocal repertoire pieces as: Yesterday, I'm Beginning to See the Light, and I Heard it Through the Grapevine. Maximize your vocal potential with this outstanding guide!

10/2003 cover Organists and Organ Playing in Nineteenth-Century France and Belgium by Orpha C. Ochse
An account of the rise to brilliance of the organ profession in France and Belgium in the nineteenth century.

10/2003 cover The Organ As a Mirror of Its Time: North European Reflections, 1610-2000 by Kerala J. Snyder
Because it has always represented a rich collaboration of the music, art, architecture, handicraft and science of its day, the organ, more than any other instrument, continues to reflect the spirit of the age in which it was built. The Organ as a Mirror of its Time, the first book to consider this instrument's historical and cultural significance, reflects the efforts of twenty leading scholars of the organ.L The book chronicles the history of six organs in Scandinavia and Northern Germany, at least one specimen for every century from 1600 to the present. By considering their original contexts and their histories since they were built, as well as the extraordinary coincidences that link them together, the book offers a unique perspective on the cultural history of northern Europe. A CD with appropriate repertoire played on each of the six instruments accompanies the book.

10/2003 cover Music and Ideology in Cold War Europe by Mark Carroll
This study analyzes the radicalization of art music in early post-war France in its broader socio-cultural and political context, pursuing two lines of inquiry. The first details the attitudes towards musical conservatism and innovation adopted by cultural strategists representing Western and Soviet ideological interests at the onset of the Cold War. The second, which draws upon the commentaries of Adorno and Sartre, recognizes that the Cold War generated a heightened political awareness among French musicians precisely when the social relevance of avant-garde music had become the subject of widespread debate.

10/2003 cover The Modern Invention of Medieval Music : Scholarship, Ideology, Performance by Daniel Leech-Wilkinson
Scholars and performers of the nineteenth and twentieth centuries attempted to revive music that could evoke the Middle Ages. They invented new sounds and new ways of understanding medieval music. This is the fascinating story of the musicians and the societies in which they worked to remake a lost musical world.

10/2003 cover Composing for Voice: A Guide for Composers, Singers and Teachers by Paul Barker
Although there have been many texts on the art of singing, and others on composition, there are none on the unique challenges of composing for the voice. This book, written by a well-known contemporary composer and pedagogue, fills that gap by offering a comprehensive survey of issues surrounding both the singer and the composer. The book primarily focuses on classical vocal music, but also draws on examples from jazz, Broadway/theatrical, operatic, and popular music. From understanding the mechanics of the voice through techniques to wed text to music, this book will aid both composers and vocalists to better understand each other's craft.

10/2003 cover Composers of Classical Music of Jewish Descent by Lewis Stevens


10/2003 cover Chopin's Funeral by Benita Eisler
The author of the acclaimed biography Byron: Child of Passion, Fool of Fame brings to life a closely focused portrait of another great romantic artist, Frédéric Chopin. At twenty-one, Chopin fled Russian-occupied Poland for exile in France. He would never see his native country again. With only two public concerts in as many years, he became a star of Parisian society and a legendary performer at its salons, revered by his great contemporaries Schumann, Liszt, and the painter Eugène Delacroix. Blessed with genius, success, and the love of Europe’s most famous—and infamous—woman novelist, George Sand, Chopin’s years of triumph ended with his expulsion from paradise: less than two decades after his conquest of Paris, the composer lay destitute and dying in the arms of Sand’s estranged daughter, Solange. Chopin’s Funeral is the story of this fatal fall from grace, of an Oedipal tragedy unfolding, and of illness and loss redeemed by the radical breakthrough of the composer’s last style. Richly textured and artfully compressed, Chopin’s Funeral is an intimate close-up of an embattled man, grappling with conflict on all sides: family violence, political passions, and, not least, his own dependency and pride. With consummate skill Benita Eisler tells the story of the artist as exile, of an explosive love affair, and of worlds—private and public—convulsed by momentous change.

10/2003 cover An American Musical Dynasty: A Biography of the Wolle Family of Bethlehem, Pennsylvania by Paul S. Larson


9/2003 cover Repertorium Orgelmusik : Komponisten, Werke, Editionen : 1150-1998 by Klaus Beckmann


9/2003 cover How to Be a Successful Choir Director by John Bertalot


9/2003 cover The Mastery of Music: Ten Pathways to True Artistry by Barry Green
A private lesson with the masters: The groundbreaking author of The Inner Game of Music reveals ten qualities shared by the world’s most successful musicians, from Leonard Bernstein to Bobby McFerrin, that make them truly great. The Inner Game of Music, the breakout hit that became a standard primer in the music world, has taught thousands of musicians—professionals and amateurs alike—how to overcome self-consciousness and stage fright and to recapture a youthful, almost effortless capacity to learn. Now, in his follow-up book, The Mastery of Music, Barry Green turns his expert hand to the artistic qualities that make an extraordinary musician. He culls advice from dozens of interviews with legends including Joshua Bell, Dave Brubeck, Jeffrey Kahane, Bobby McFerrin, Christopher Parkening, Doc Severinsen, Frederica von Stade, the Harlem Boys Choir, and the Turtle Island String Quartet. As bassist Barry Green discovered in these dialogues, it’s not enough to have a cerebral and emotional connection to the notes; musical excellence requires a mastery of these ten unique qualities of the soul and the human spirit. Green organizes this ineffable virtuoso quality that the greats possess into ten characteristics, such as confidence, passion, discipline, creativity, and relaxed concentration, and discusses specific ways in which all musicians, composers, and conductors can take their skills to higher levels. He carefully incorporates all instruments and techniques in his rejuvenating discussions, inspiring the stifled student to have fun again and the over-rehearsed performer to rediscover the joy of passionate expression. Essential reading for every musician, The Mastery of Music strikes a beautiful new chord.

9/2003 cover Temperament: The Idea That Solved Music's Greatest Riddle by Stuart M. Isacoff
Involving mathematics, philosophy, aesthetics, religion, politics, and physics, Stuart Isacoff 's Temperament invokes the tone of a James Burke documentary. However, the focus is not on a modern invention, but rather a modern convention: that of tuning keyboards so that every key is equally in tune--and equally out of tune. With the existing literature tending to bog down in mathematical theory or historical tuning methods, Isacoff bravely attempts to make this seemingly arcane topic interesting to the general reader. He distills the mathematics and music theory into their simplest essences, and draws apt analogies from the everyday. He also generously peppers the text with the quirks and escapades of its more flamboyant central characters; the relevance of the information is often tenuous at best, but Isacoff has obviously done his homework, and he can be forgiven some frivolity. Less forgivable is his neglect of "well-temperament." Namesake of Bach's masterful collection of 24 pieces (one each in all the major and minor keys), the well-tempered keyboard liberated composers from the howl of badly tuned keys in the way equal temperament did, while preserving the distinct quality of each key. It was a pragmatic and aesthetically rich solution that captivated composers and theorists for decades. Yet Isacoff reserves less than two pages for its description. (Perhaps he deliberately overlooked the topic since it doesn't fit well with his casting of equal temperament's opponents as rigid, dogmatic, and impractical.) Despite its flaws, Temperament is an accessible guide to a fascinating topic seldom discussed outside musical circles. Though the book may not invigorate hard-core theorists, the amateur musician, armchair scientist, history buff, or plain old curious can glean plenty from it. The advent of digital keyboards--some of which can be tuned to historical temperaments at the flip of a switch--makes this an ideal time for the topic to be rejuvenated.

9/2003 cover Study of Orchestration, Third Edition by Samuel Adler
The third edition of this high successful orchestration text follows the approach established in its innovative predecessor: Learning orchestration is best achieved through familiarity with the orchestral literature; this familiarity is most effectively accomplished from the music notation in combination with the recorded sound. The text has been revised to reflect the most informed reactions to the first and second editions, as well as Professor Adler's revisions. For comprehensiveness, conciseness, and contemporaneity, The Study of Orchestration remains without peer.

9/2003 cover Stravinsky and Balanchine: The Journey of Invention by Charles M. Joseph
Igor Stravinsky and George Balanchine, among the most influential artists of the twentieth century, together created the music and movement for many ballet masterpieces. This engrossing book is the first full-length study of one of the greatest artistic collaborations in history. Drawing on extensive new research, Charles M. Joseph discusses the Stravinsky-Balanchine ballets against a rich contextual backdrop. He explores the background and psychology of the two men, the dynamics of their interactions, their personal and professional similarities and differences, and the political and historical circumstances that conditioned their work. He describes the dancers, designers, and sponsors with whom they worked. He explains the two men's approach to the creative process and the genesis of each of the collaborative ballets, demolishing much received wisdom on the subject. And he analyzes selected sections of music and dance, providing examples of Stravinsky's working sketches and other helpful illustrative materials. Engagingly written, the book will be of great interest not only to music and dance historians but also to ballet lovers everywhere.

9/2003 cover The Spirituality of the Psalms by Carroll Stuhlmueller (Editor)
The psalms offer a harmony to life and a rhythm that keeps us peacefully in tune with the intense fervor of life. In The Spirituality of the Psalms, Carroll Stuhlmueller, C.P., looks at the structure of the psalms to explain how they can have bearing in our lives today. He describes how we can apply the psalms to our spiritual lives and integrate the psalms in the Church's prayer life and ministry. The Spirituality of the Psalms is the last work of Stuhlmueller which was uncompleted upon his death in 1994. He had completed a first draft of all but two chapters, 12 and 13, which Timothy Lenchak, S.V.D., added from Stuhlmueller's commentary Psalms 1 and 2. The completed text was then edited, revised, and updated by Carol Dempsey, O.P., who did so with care so as not to lose Stuhlmueller's "voice" and "hand" in the text.

9/2003 cover Prokofiev--A Biography: From Russia to the West 1891-1935 by David Nice
Since 1991—the year that marked both the fall of the Soviet Union and the centenary of Sergey Prokofiev’s birth—a new assessment of the renowned composer’s life and work has become both possible and necessary. In this engrossing book, David Nice draws on a remarkable range of previously unexamined sources to present that reassessment. The book follows Prokofiev’s personal and musical progression from his childhood on a Ukrainian country estate to the years he spent traveling in America and Europe as an acclaimed interpreter of his own works. Nice sheds new light on Prokofiev’s early years at the St. Petersburg Conservatoire, his departure from Russia in 1918 for what he thought would be a short tour of America, and his marriage and family relationships. He considers the music of Prokofiev’s years in the west (long dismissed by Soviet musicologists as decadent work weakened by the composer’s absence from the motherland), moving from the lyricism of his St Petersburg years to the fresh simplicity of his early Soviet scores. Nice also examines the complex reasons which led Prokofiev to move his family to the Soviet Union in 1936. A second volume will cover Prokofiev’s life from this period to his death in 1952.

9/2003 cover Practicing Perfection: Memory and Piano Performance (Expertise, Research and Applications) by Roger Chaffin, Gabriela Imreh, Mary Crawford


9/2003 cover Playing with History : The Historical Approach to Musical Performance by John Butt
Why do we feel the need to perform music in a historically informed style? Is this need related to wider cultural concerns? In this challenging study, John Butt sums up recent debates on the nature of the early music movement, calling upon a seemingly inexhaustible fund of ideas gleaned from historical musicology, analytic philosophy, literary theory, historiography and theories of modernism and postmodernism. He develops the critical views of both supporters and detractors, claiming ultimately that it has more intellectual and artistic potential than its detractors may have assumed.

9/2003 cover Performance Practice of the Instrumental-Vocal Works of Johann Sebastian Bach by Karl Hochreither, Melvin P. Unger, Penny Hutchins Paquette


9/2003 cover Percy Whitlock, Organist & Composer by Malcolm Riley


9/2003 cover My Father by Peter Bartok


9/2003 cover The Ministry and Mission of Sung Prayer by David Haas


9/2003 cover A Guide to Piano Music by Women Composers by Pamela Youngdahl Dees
Designed as a practical reference guide for professional pianists and piano teachers, A Guide to Piano Music by Women Composers, Volume I, is an annotated catalogue of the available piano music in print composed by 144 women born before the 20th century. The work also features biographies and extensive bibliographical information for each composer. Arranged alphabetically by composer into categories including single works, collections, and anthologies, the music is also described in terms of grade level, genre, mood, style characteristics, and technical requirements, and ranges in difficulty from late elementary to virtuoso concert repertoire. As far too many teachers, students, professional musicians, and audiences are unaware of the contributions made by women in music, and of the beauty and merit of their specific compositions, this reference work provides an invaluable addition to the current literature.

9/2003 cover The First Golden Age of the Viennese Symphony by A. Peter Brown
The first volume to appear in the five-volume magnum opus of A. Peter Brown, this work sets a new standard for writing about the symphonies of Haydn, Mozart, Beethoven, and Schubert. Now a single source provides up-to-date overviews of the status of research, former or present questions of attribution, discussion of stylistic traits, background material on the musical context of composition and early performances, as well as samplings from the early reception of works that we now call classics.

9/2003 cover Exploring Twentieth-Century Vocal Music: A Practical Guide to Innovations in Performance... by Sharon Mabry
The vocal repertoire of the twentieth century--including works by Schoenberg, Boulez, Berio, Larsen, and Vercoe--presents exciting opportunities for singers to stretch their talents and demonstrate their vocal flexibility. Contemporary composers can be very demanding of vocalists, requiring them to recite, trill, and whisper, or to read non-traditional scores. For singers just beginning to explore the novelties of the contemporary repertoire, Exploring Twentieth-Century Vocal Music is an ideal guide.L Drawing on over thirty years of experience teaching and performing the twentieth century repertoire, Sharon Mabry has written a cogent and insightful book for singers and voice teachers who are just discovering the innovative music of the twentieth century. The book familiarizes readers with the new and unusual notation systems employed by some contemporary composers. It suggests rehearsal techniques and vocal exercises that help singers prepare to tackle the repertoire. And the book offers a list of the most important and intereting works to emerge in the twentieth century, along with suggested recital programs that will introduce audiences as well as singers to this under-explored body of music.

9/2003 cover Ernst Von Dohnanyi: A Song of Life by Ilona Von Dohnanyi, James A. Grymes (Editor)
Ernst von Dohnanyi (1877-1960) was one of the most highly respected musicians of his time. He was a virtuoso pianist, composer, and conductor who brought international prominence to Hungarian music. From a young age Dohncnyi enjoyed an international prestige that brought him into contact with such 19th-century masters as Johannes Brahms and Eugene d'Albert. Dohnanyi's technique and interpretive skills as a pianist and conductor are legendary. He is also remembered as the composer of masterpieces for piano, chamber ensembles, and orchestra. As a teacher and administrator, Dohnanyi was responsible for the training of an entire generation of musicians in Hungary, and for helping to shape the country's musical culture. After World War II, Dohnanyi's career suffered when he was falsely accused of being a Nazi sympathiser. Although he was eventually able to disprove the allegations, rumours would continue to follow him. In 1953, at the age of 76, Dohnanyi returned to international prominence with a triumphant 're-debut' at Carnegie Hall. This is an English-language biography of the musician. Written by Ilona von Dohnanyi, Dohnanyi's widow, it presents a unique perspective. The first half of the book relates Dohnanyi's public life through 1937 as a great musician who brought international prominence to Hungarian music through his own unparalleled success as a virtuoso pianist, composer, conductor, and pedagogue. The second half recounts the demise of Dohnanyi's career after World War II, when he was falsely accused of being a Nazi sympathiser and his triumphant return to performing late in life.

9/2003 cover Charles Villiers Stanford: Man and Musician by Jeremy Dibble
One of Britain's most gifted and productive composers, Stanford (1852-1924) is perhaps best known for his church music, but he was also an eminent symphonist, songwriter, and author of many fine choral works. Cosmopolitan, ambitious, and pragmatic, he was untiring in his efforts to advance the cause of British music during its renaissance at the end of the nineteenth century, promoting the music of his contemporaries, and the many pupils he taught at Cambridge and the Royal College of Music.

8/2003 cover All the Stops: The Glorious Pipe Organ and Its American Masters by Craig R. Whitney
From Publishers Weekly. In this lively history of the pipe organ in America, Whitney, assistant managing editor of the New York Times and an amateur organist, weaves a tale of opposing ideas and colorful personalities. Pipe organs in this country were built much as they had been for centuries in Europe until the early 20th century, when Ernest Skinner electrified their mechanical parts, thus enabling them to produce massive sound that could fill theaters and concert halls. In the 1930s, Skinner's ideas were challenged by one of his associates, G. Donald Harrison, who advocated a return to organs built with mechanical action. Harrison prevailed, and eventually Skinner was driven out of the company he had founded. Mirroring the story of the contest between Skinner and Harrison is Whitney's account of the rivalry between two of the best-known organists of the mid- 20th century Virgil Fox, the flamboyant showman who developed a cult following with performances on electronic organs (without pipes) in rock concert halls, and the more reserved but equally popular E. Power Biggs, who agreed with Harrison's philosophy. In the 1960s and '70s, Charles B. Fisk devised a way to build mechanical-action organs that could produce rich, full-bodied sounds as well as the bright, crisp sounds appropriate for German baroque music. Whitney (Spy Trader) admits that many important American organ builders and performers are left out of his history. But by concentrating on a few outstanding personalities and the organs they built or played on, he presents an engrossing story that should help fuel the resurgence of interest in the organ in this country. Photos not seen by PW.

8/2003 cover The History of American Catholic Hymnals: Since Vatican II by Donald Boccardi


8/2003 cover Meditations for Church Staff (Faithful Servants) by Susan Rafter Beebe


8/2003 cover Historic Organ Conservation: A Practical Introduction to Processes and Planning by Dominic Gwynn
Intended as a practical guide to organ conservation issues, this work covers such topics as: the need for regulation; the availability of grants; the benefits of good advice; the results of neglect and bad practice; the rewards of care and good housekeeping; and the principles of good restoration practice. Dominic Gwynn draws on his knowledge, experience and expertise and dedicates over half of the book to restoration techniques and the materials from which organs are made.

8/2003 cover Varèse: Astronomer in Sound by Malcolm MacDonald
The works of Edgard Varèse (1883-1965) represent the most radical expression of 20th-century modernism in music. A friend of Debussy, Strauss, and Busoni, he lived to become the conscience of modern American music and a colleague of Cage, Boulez, and Xenakis. This intensive study of Varèse's music comprises a series of descriptive analyses of all Varèse's available works, addressing the ideas, both aesthetic and scientific, which underlie the composer's boldly original view of sound and musical structure. Also discussed is Varèse's conception of music as influenced by both 20th-century humanities' expanding consciousness of its place in the universe and the esoteric philosophies of late 19th-century Paris. As much of Varèse's oeuvre has been tragically destroyed, MacDonald demonstrates the possibility of inferring much of his lost early works, such as the unachieved choral symphony Espace, designed to be performed simultaneously in various capitals around the world, enlarging listeners' appreciation of his works that survive. Also explored for the first time in print are the previously unpublished scores Tuning Up and Dance for Burgess and the reinstated original version of Amériques, released for performance in 1998 by Varèse's executor Chou Wen Chung.

8/2003 cover The Story of Christian Music: From Gregorian Chant to Black Gospel by Andrew Wilson-Dickson
Music has been at the heart of Christian worship since the beginning, and this lavishly illustrated and wonderfully written volume fully surveys the many centuries of creative Christian musical experimentation. From its roots in Jewish and Hellenistic music, through the rich tapestry of medieval chant to the full flowering of Christian music in the centuries after the Reformation and the many musical expressions of a now-global Christianity, Wilson-Dickson conveys "a glimpse of the fecundity of imagination with which humanity has responded to the creator God.

8/2003 cover Simon Silber: Works for Solo Piano by Christopher Miller
Simon Silber has a huge ego, a pushy father, a house full of pianos, a closet full of tuxedos—in short, all the trappings of musical genius except genius itself. He seeks inspiration by walking around town with his eyes shut, or by transcribing the pattern of crows perched on his backyard power lines. His singular contributions to modern music—an hourlong performance of the “Minute Waltz,” an etude composed on a telephone keypad, a “chord-a-day” diary, among many others—may not please the ear, but they delight the fancy. As recounted by his biographer-cum-friend-cum-enemy, Norm Fayrewether, Silber’s life story becomes the tragicomic personification of thwarted potential. Norm, himself a frustrated artist (if writing aphorisms can be called an art), mingles biography with autobiography, treating us to an uproarious exploration of the nether realm between brilliance and the desire for it. Norm’s fraught relationship with Silber also sheds piercing light on the volatile bonds between artist and subject, mentor and protégé, truth and self-promotion. Simon Silber evokes classics of unreliable narration from Nabokov’s Pale Fire to Steven Millhauser’s Edwin Mullhouse, but it charts a path all its own with artful lampoons of the classical music scene, antic turns of phrase, and an infectious reverence for the mundane.

8/2003 cover The Piano Shop on the Left Bank: Discovering a Forgotten Passion in a Paris Atelier by Thaddeus Carhart
Walking his two young children to school every morning, Thad Carhart passes an unassuming little storefront in his Paris neighborhood. Intrigued by its simple sign—Desforges Pianos—he enters, only to have his way barred by the shop’s imperious owner. Unable to stifle his curiosity, he finally lands the proper introduction, and a world previously hidden is brought into view. Luc, the atelier’s master, proves an indispensable guide to the history and art of the piano. Intertwined with the story of a musical friendship are reflections on how pianos work, their glorious history, and stories of the people who care for them, from amateur pianists to the craftsmen who make the mechanism sing. The Piano Shop on the Left Bank is at once a beguiling portrait of a Paris not found on any map and a tender account of the awakening of a lost childhood passion.

8/2003 cover Musical Lives by Nicholas Kenyon (Editor), Brian Harrison (Editor)
This latest addition to the series contains miniature biographies taken from the archives of the Dictionary of National Biography of some of the men and women of the 20th century who made music the centre of their life. Nicholas Kenyon, Controller of BBC Proms, uses his expertise and experience in the subject to make his very personal selection of entries.

8/2003 cover Music in Worship: The Use of Music in the Church Service (2nd edition) by Joseph Nickerson Ashton, Peter E. Roussakis (Introduction)


8/2003 cover The Mastery of Music: Ten Pathways to True Artistry by Barry Green
A private lesson with the masters: The groundbreaking author of The Inner Game of Music reveals ten qualities shared by the world’s most successful musicians, from Leonard Bernstein to Bobby McFerrin, that make them truly great. The Inner Game of Music, the breakout hit that became a standard primer in the music world, has taught thousands of musicians—professionals and amateurs alike—how to overcome self-consciousness and stage fright and to recapture a youthful, almost effortless capacity to learn. Now, in his follow-up book, The Mastery of Music, Barry Green turns his expert hand to the artistic qualities that make an extraordinary musician. He culls advice from dozens of interviews with legends including Joshua Bell, Dave Brubeck, Jeffrey Kahane, Bobby McFerrin, Christopher Parkening, Doc Severinsen, Frederica von Stade, the Harlem Boys Choir, and the Turtle Island String Quartet. As bassist Barry Green discovered in these dialogues, it’s not enough to have a cerebral and emotional connection to the notes; musical excellence requires a mastery of these ten unique qualities of the soul and the human spirit. Green organizes this ineffable virtuoso quality that the greats possess into ten characteristics, such as confidence, passion, discipline, creativity, and relaxed concentration, and discusses specific ways in which all musicians, composers, and conductors can take their skills to higher levels. He carefully incorporates all instruments and techniques in his rejuvenating discussions, inspiring the stifled student to have fun again and the over-rehearsed performer to rediscover the joy of passionate expression. Essential reading for every musician, The Mastery of Music strikes a beautiful new chord.

8/2003 cover Choral Ensemble Intonation by James Jordan, Matthew Mehaffey


8/2003 cover Catherine Urner (1891-1942) and Charles Koechlin (1867-1950: A Musical Affaire by Barbara Urner Johnson


8/2003 cover British Organ Music of the Twentieth Century: The Composers, Their Music, and Musical Style by Peter Hardwick


8/2003 cover Beyond the Scandals: A Guide to Healthy Sexuality for Clergy by G. Lloyd Rediger
Recent sexual scandals have rocked the North American religious scene and left the churches concerned about credibility and liability. What are the bounds of clergy sexuality? What constitutes misconduct, and what legal, moral, and religious norms apply? More broadly, what has gone wrong, and how can clergy understand their own sexuality and their lives of service? Lloyd Rediger is a uniquely qualified national expert on all these questions with a strong message for clergy about their sexuality, spirituality, and behavior. In this timely volume, which incorporates material from his earlier volume Ministry and Sexuality, Rediger brings his extensive research, clinical experience, and theological insights to bear on the topic. He offers a comprehensive, authoritative account of clergy sexuality and sexual ethics with up-to-date legal information; helpful research on ethnic, gender, and denominational factors; a religious and moral framework for understanding clergy sexuality; and analysis of the sexual problems encountered by clergy. This volume could well become the standard pro-fessional resource for clergy in a new era of increased accountability and moral reflection.

8/2003 cover An Annotated Anthology of Hymns by J. R. Watson (Editor), Timothy Dudley-Smith
This is a selection of 250 of the best-known hymns in the English language, including texts translated from Greek, Latin, and German. An introduction discusses the hymn as a historical and literary artifact and each hymn is printed with notes that set it in context, identify significant sources, and provide explanatory and critical material.

8/2003 cover Amazing Grace : The Story of America's Most Beloved Song by Steve Turner
Behind our most beloved song is a fascinating story spanning continents, cultures, and centuries. Inspired by the way "Amazing Grace" continues to change and grow in popularity, acclaimed music writer Steve Turner embarks on a journey to trace the life of the hymn, from Olney, England, where it was written by former slave trader John Newton, to tiny Plantain Island off the coast of Africa, where Newton was held captive for almost a year, to the Kentucky-Tennessee border and other parts of the South, where the hymn first began to spread.

7/2003 cover Maurice Durufle, 1902-1986: The Last Impressionist by Ronald Ebrecht (Editor), William A. Sampson
"Maurice Durufle (1902-1986) is best known as composer of his hauntingly beautiful and moving Requiem of 1947, and as organist during his long tenure at the church of Saint-Etienne-du-Mont in Paris. He studied composition and organ with Tournemire, Vierne, Gigout, and Dukas among others, and became well known outside France through tours and conferences, often attended with his wife, the late Marie-Madeleine Chevalier. Ebrecht has brought together in this centenary tribute a fine collection of articles on Durufle's life and work that will enthrall all those who have come under the spell of this great master of French Impressionism. About the contributors: Marie-Claire Alain the renowned French organist, recording artist, and teacher was one of Durufles first harmony students at the Paris Conservatoire. James Frazie has studied liturgy and music at several universities, and was a Fulbright scholar in France, where he studied privately with Madame Durufle. Maria Rubis Bauer concluded her doctoral dissertation on Durufle at the University of Kansas. Jeffrey Reynolds is Associate Professor of Humanities and chair of the music department at the University of Alabama, Birmingham. Herndon Spillman's landmark recording of the complete works of Durufle won him a Grand Prix du Disque in 1973. He is Professor of Music at Louisiana State University. Eliane Chevalier was the sister of Marie-Madeleine Durufle, with whom she shared a passion for music. Ted Tipton is Director of Music of the American Cathedral in Paris."

7/2003 cover Television Opera: The Fall of Opera Commissioned for Television by Jennifer Barnes


7/2003 cover A Symposium for Pianists and Teachers by Gail Berenson, Jacqueline Csurgai-Schmitt, William DeVan
Bringing together the unique perspectives of some of the top pianists and pedagogues, along with physicians specializing in the treatment and rehabilitation of performance-related injuries, this text is truly unparalleled. Reflecting the dedication of its contributors to pursuing new ideas and approaches to piano pedagogy, the collection covers such topics as developing an advanced technique, myofasical pain and its treatment, benefits of fitness, performance anxiety, a child's first lessons, mechanics of the piano, and musicality. The best of twentieth-century thinking on the subject, including references to the works of Matthay, Schultz, Ortmann, Whiteside, and others, is also organized and presented in accessible manner. These broad-based subjects are included in one of five sections – Mechanical, Technical, Musical, Healthful (Mind and Body), and Pedagogical – and include goals and exercises clearly articulated in a concise manner. Although written by and intended for pianists, the universal concepts of wellness and musicality are equally insightful for all musicians. Collectively, A Symposium for Pianists and Teachers presents a holistic approach to healthful and effective piano technique, resulting in a significant twenty-first century resource for the serious student and teacher.

7/2003 cover The Singing Thing: A Case for Congregational Song by John L. Bell


7/2003 cover The Selected Letters of William Walton by William Walton


7/2003 cover Playing the Beethoven Piano Sonatas by Robert Taub


7/2003 cover Music at Oxford in the Eighteenth and Nineteenth Centuries by Susan Wollenberg
This survey distills a wide range of documentary and musical evidence relating to a particularly rich period in the history of the city of Oxford, embracing both "town and gown". The author discusses in detail, among other aspects, concert life in Oxford during the 18th and 19th centuries, when notable visitors to the city included Handel, Haydn, Liszt, and Joachim; the choral tradition; and developments in the university that led to the eventual establishment of an honour school of music. A brief outline of musical activity in Oxford before c.1660 and after c.1914 is also provided. In addition, the author examines the achievements of a number of individual musical personalities, drawing particular attention to the role of William Crotch, Frederick Ouseley, and Hubert Parry in raising the status of music and the music profession. The book makes an important contribution to a number of spheres of enquiry that have developed significantly in recent years: the history of universities, social history of music, and the study of concert life.

7/2003 cover The Music of Lord Berners, 1883-1950: The Versatile Peer by Bryony Jones


7/2003 cover Music in Ancient Greece and Rome by John G. Landels
Music in Ancient Greece and Rome is a comprehensive introduction to the study of music from Homeric times to the Roman emperor Trajan. John G. Landels offers the first scholarly overview of the practical and performance elements of music, rather than the moral and aesthetic discussion typified by the works of Plato. Illustrated with transcriptions of surviving musical scores, diagrams and line-drawings of instruments and performers, the book explores the contexts in which music played a role, such as mythology and poetry. Detailed discussion is also given to the instruments, including the aulos, the kithara and the lyre, as well as the ingenious notation system devised by the Greeks which enables us to read the few surviving scores.

7/2003 cover Harmonious Child: Introducing Your Child to Music by Stella Saperstein, Beth Luey
Children are musical by nature, whether tooting toy instruments, clapping their hands, or banging wooden blocks. Parents who want to nurture those healthy musical tendencies will delight in THE HARMONIOUS CHILD’s practical, friendly, and knowledgeable advice. In this comprehensive guide, Stella Saperstein and Beth Luey walk you through the basics of finding the right instrument and instructor for your child, the ins and outs of music lessons, and successful ways to manage your child’s practice time. They also discuss marching band, orchestra, and recitals—even the possibility of a musical career for your child. With a thorough list of resources and a glossary, this guide will help you encourage your child to channel that joyful ruckus into beautiful music.

7/2003 cover Gyorgy Ligeti: Music of the Imagination by Richard Steinitz
One of the world's best known living composers, György Sándor Ligeti is widely acknowledged as the most influential and admired creative figure of the late twentieth century. His brilliantly conceived and challenging pieces, searingly intense at times and full of humor and irony at others, include the orchestral ‘Apparitions’ and ‘Atmosphères,’ piano études, the opera ‘Le Grand Macabre,’ and the unaccompanied choral work ‘Lux aeterna,’ which Stanley Kubrick actually pirated for the film soundtrack of ‘2001: A Space Odyssey.’ In this book, Richard Steinitz fuses biographical, stylistic, and technical analysis to examine thoroughly the evolution of Ligeti's innovative music. Drawing extensively on his own private conversations with the composer as well as on many published and recorded interviews, Steinitz places Ligeti's extraordinary body of work within the context of his complex personal life.

7/2003 cover The Composer-Pianists: Hamelin and The Eight by Robert Rimm, Stephen Hough


7/2003 cover Camille Saint-Saens 1835-1921: A Thematic Catalogue of His Complete Works: The Instrumental Works by Sabina Teller Ratner
This text aims to ensure an objective knowledge of the total musical creation of the extraordinary French musician Camille Saint-Saens. The catalogue, classified by genre chronologically, encompasses unpublished compositions, incomplete pieces, and posthumous publications among the c.600 works listed. An introduction discusses the location of the sources consulted, Saint-Saens's autographs, and his publishers. Each catalogue entry includes such information as the title and opus number of the composition and the opening theme of each movement; date, place, and circumstances of composition; dedication; instrumentation; location and description of autographs; publisher, plate number, date and place of publication; title page; all existent versions, arrangements, and transcriptions, their authors, publishers, date and plate number of publication; date and place of premiere and significant performances with names of the performers involved; references to the work in the mainly unpublished correspondence of Saint-Saens; literature and unique details relevant to the particular work. This thematic catalogue (to be published ultimately in three volumes) provides a guide to Saint-Saens for musicians, scholars, and students. It aims to provide an essential foundation for any study of the composer's signficance and music.

7/2003 cover Britten's Musical Language by Philip Rupprecht
Blending insights from linguistic and social theories of speech, ritual and narrative with music-analytic and historical criticism,Britten's Musical Language offers fresh perspectives on the composer's fusion of verbal and musical utterance in opera and song. It provides close interpretative studies of the major scores (including Peter Grimes, Billy Budd, The Turn of the Screw, War Requiem, Curlew River and Death in Venice) and explores Britten's ability to fashion complex and mysterious symbolic dramas from the interplay of texted song and wordless discourse of motives and themes.

6/2003 cover Rossini: A Life by Gaia Servadio
Brilliant, dashing, the most sought-after composer of opera in the Romantic age, Gioacchino Rossini captured the ears and hearts of music lovers throughout Europe. From his native Italy to Paris to London, he mounted triumph after triumph-works like the grandly comic The Barber of Seville, La Cenerentola, and his masterpiece, William Tell. Prodigiously talented, by the age of thirty-two, in 1820, he had written thirty-nine operas and commanded universal adoration. Then he fell silent for more than forty years. The mystery that drove Rossini from the forefront of Europe's cultural stage and that curtailed an unparalleled operatic career lies at the center of Gaia Servadio's perceptive and revealing biography. With the benefit of previously unpublished letters and other new material, Servadio traces the history of Rossini-a man who exchanged ideas with Richard Wagner and in Paris salons kept company with Victor Hugo, Honore de Balzac, and Eugene Delacroix-from a difficult, impoverished childhood through his complicated relationships with his divas, to his battles with nervous illnesses. She sets Rossini's life, too, against the sweep of European history in an age defined and betrayed by Napoleon.

6/2003 cover Psychological Perspectives on Camille Saint-Saens by Kenneth Ring


6/2003 cover Piano Notes: The World of the Pianist by Charles Rosen
Charles Rosen is one of the world's most talented pianists -- and one of music's most astute commentators. Known as a performer of Bach, Beethoven, Stravinsky, and Elliott Carter, he has also written highly acclaimed criticism for sophisticated students and professionals. In Piano Notes, he writes for a broader audience about an old friend -- the piano itself. Drawing upon a lifetime of wisdom and the accumulated lore of many great performers of the past, Rosen shows why the instrument demands such a stark combination of mental and physical prowess. Readers will gather many little-known insights -- from how pianists vary their posture, to how splicings and microphone placements can ruin recordings, to how the history of composition was dominated by the piano for two centuries. Stories of many great musicians abound. Rosen reveals Nadia Boulanger's favorite way to avoid commenting on the performances of her friends ("You know what I think," spoken with utmost earnestness), why Glenn Gould's recordings suffer from "double-strike" touches, and how even Vladimir Horowitz became enamored of splicing multiple performances into a single recording. Rosen's explanation of the piano's physical pleasures, demands, and discontents will delight and instruct anyone who has ever sat at a keyboard, as well as everyone who loves to listen to the instrument. In the end, he strikes a contemplative note. Western music was built around the piano from the classical era until recently, and for a good part of that time the instrument was an essential acquisition for every middle-class household. Music making was part of the fabric of social life. Yet those days have ended. Fewer people learn the instrument today. The rise of recorded music has homogenized performance styles and greatly reduced the frequency of public concerts. Music will undoubtedly survive, but will the supremely physical experience of playing the piano ever be the same?

6/2003 cover Parallels and Paradoxes: Explorations in Music and Society by Daniel Barenboim, Edward W. Said, Ara Guzelimian (Preface)
This fascinating exchange between two of the most prominent figures in contemporary culture, Daniel Barenboim, Music Director of the Chicago Symphony Orchestra and the Deutsche Staatsoper Berlin, and Edward W. Said, the eminent literary critic and scholar and a leading expert on the Middle East, grew out of the acclaimed Carnegie Hall Talks. A unique and impassioned discussion about politics and culture, it touches on many diverse subjects: the importance of a sense of place; the differences between writing prose and music; the conductors Wilhelm Fürtwangler and Arturo Toscanini; Beethoven as the greatest sonata composer; the difficulty of playing Wagner; the sound at Bayreuth; the writers Balzac, Dickens, and Adorno; the importance of great teachers; and the power of culture to transcend all national and political differences--something they both witnessed when they brought together young Arab and Israeli musicians to play at Weimar in 1999. Although Barenboim and Said have very different points of view, they act as catalysts for each other. The originality of their ideas makesthis a book that is both accessible and compelling for anyone who is interested in the culture of the twenty-first century.

6/2003 cover Essential Musical Intelligence: Using Music As Your Path to Healing, Creativity, and Radiant Wholeness by Louise Montello


6/2003 cover Crossings: Meditations for Worship by Susan Palo Cherwien
Crossings is a unique collection of meditations that were written primarily for use in hymn festivals. The meditations in Crossings are appropriate for use in worship services, hymn festivals, or for private reading. The book contains 145 meditations in categories such as: Images, Mysteries, Epiphanies, and Colors. A sample hymn festival outline is included as well as an index of possible usage.

6/2003 cover Copland Connotations: Studies and Interviews by Peter Dickinson (Editor), H. Wiley Hitchcock


6/2003 cover Charles Villiers Stanford (Music in Nineteenth-Century Britain) by Paul J. Rodmell


5/2003 cover The Virgil Thomson Reader: Selected Writings 1924-1984 by Richard Kostelanetz (Editor), Virgil Thomson
Book Description
Virgil Thompson is universally recognized as one of the dominant music critics whose unique sensibility was informed by his groundbreaking work as a composer of the mid twentieth-century. Whether writing for a daily newspaper or an academic journal, Thompson brought wit and erudition to a literary form that is often staid. Not suffering fools gladly, unwilling to kowtow to the powers that be, Thompson and his writing remain remarkably relevant and entertaining today. This essential reader includes his essays on making a living as a musician; his articles on classic composers; his relation to his contemporaries; his articles on newcomers in the music world, including John Cage and Pierre Boulez; his autobiographical writings and commentary on his own works.

5/2003 cover Slonimsky's Book of Musical Anecdotes by Nicholas Slonimsky, Robert Bonotto (Illustrator), Nicolas Slonimsky
Book Description
Quirky anecdotes and observations abound in this volume now published by Routledge. Enter a surreal and humorous world of medicinal music, musical schizophrenia, conductorless orchestras, suing seals, cat operas, musical beds and more. Let Slonimsky regale you with tales of Mozart, Beethoven, Rossini and the other expected Classical Music figures, the ugly ducking of Russian music, the Kafka of modern music and other sublime misfits. First published in 1948, this book has earned well-deserved acclaim for being insightful, witty and enthralling. Charming illustrations by Robert Bonotto complete this superb collection of musical vignettes.

5/2003 cover Schoenberg and Words : The Modernist Years (Border Crossings) by Charlotte M. Cross (Editor), Russell A. Berman (Editor)
Book Description
Schoenberg and Words disentangles significant aspects of the composer's complex relationship to fin-de-siecle modernism, especially in its Viennese variety. The eleven new essays examine the texts and contexts of works Schoenberg composed from the mid-1890s through 1916 and his writings on theoretical, aesthetic, and ethical issues.

5/2003 cover Music Education: Source Readings from Ancient Greece to Today by Michael L. Mark (Editor)
Book Description
This book offers students a complete overview of key writings on music education, from the ancient Greeks to contemporary American thought (with the emphasis on writings from the last 100 years). Designed to complements the standard music pedagogy course, the selections range from Plato's Republic through William Billing's writings on Colonial American Music Education through today's advocacy for music education. In five sections, each part of the book is introduced by a brief essay giving an overview of the material covered and information placing it within the critical context of its day. Individual articles are also prefaced with informative headnotes.

5/2003 cover The Language of the Modes : Studies in the History of Polyphonic Modality (Criticism and Analysis of Early Music) by Frans Wiering (Editor), Jessie Ann Owens
Book Description
The Language of the Modes provides a study of modes in early music through eight essays, each dealing with a different aspects of modality. The volume codifies all known theoretical references to mode, all modally ordered musical sources, and all modally cyclic compositions. For many music students and listeners, the "language of the modes" is a deep mystery, accustomed as we are to centuries of modern harmony. Wiering demystifies the modal world, showing how composers and performers were able to use this structure to create compelling and beautiful works. This book will be an invaluable source to scholars of early music and music theory. in early music through eight essays, each dealing with a different aspects of modality. It codifies all known theoretical references to mode, all modally ordered musical sources, and all modally cyclic compositions. This book will be an invaluable source to scholars of early music.

5/2003 cover Hollywood Songsters: Singers Who Act and Actors Who Sing: A Biographical Dictionary 2nd Edition, Three Volume Set by James Robert Parish, Michael R. Pitts
Book Description
For fans of musicals, singing, Hollywood history, and the lives of stars, no other work equals this new three-volume reference to the on- and off-camera careers of more than 100 performers who made major contributions to the American screen musical. From June Allyson to Mae West, Hollwood Songsters provides a detailed narrative-ranging from 2,000 to 5000 words each-of the lives and careers of stars forever etched in our memories. Each description is informative, engaging, and fun, yet the scrupulous attention to detail and accuracy ensures that even the most knowledgeable scholar will learn something new. Each entry includes a filmography, discography (of both albums and CDs), Broadway appearances, radio work, television appearances and series,and a full-page photo of the subject. A complete index of names of performers, films, and songs rounds out the work. This is the ideal reference work for everyone one from the mildly curious to the hard-core fan.

5/2003 cover Giovanni Pierluigi da Palestrina : A Research Guide by Clara Marvin, Guy A. Marco
Book Description
This work offers an annotated reference guide to the life and works of this important Italian Renaissance composer. The book opens with an essay placing Palestrina in his time and relating his importance to today. It includes an annotated chronology of his life and works; a complete guide to manuscript and modern editions of his works; and an annotated bibliography of secondary literature, tracing the history of Palestrina studies from his day to today. This will prove invaluable to students of Renaissance music.

5/2003 cover Gender, Sexuality, and Early Music (Criticism and Analysis of Early Music) by Todd C. Borgerding (Editor), Jessie Ann Owens
Book Description
This collection addresses questions of gender and sexuality as they relate to music from the middle ages to the early seventeenth century. These essays present a body of scholarship that considers music as part of the history of sexuality, stimulating conversation within musicology as well as bringing music studies into dialogue with feminist, gender and queer theory.

5/2003 cover Form and Method: Composing Music, the Rothschild Essays by Roger Reynolds, Stephen McAdams (Editor)


5/2003 cover Counterpoint, Composition and Musica Ficta by Margaret Bent
Book Description
Musica ficta is the practice of sharpening or flattening certain notes to avoid awkward intervals in medieval and Renaissance music. This collection gathers Margaret Bent's influential writings on this controversial subject from the past 30 years, along with an extensive author's introduction discussing the current state of scholarship and responding to critics.

5/2003 cover C. P. E. Bach: A Guide to Research by Doris Bosworth Powers
Book Description
This annotated bibliography presents a complete listing of the works of C. P. E. Bach--including works in English, German, French, Italian and Spanish--along with entries covering all aspects of this composer's work. The volume includes a biographical sketch and an overview of C. P. E. Bach research.

5/2003 cover Aspects of Teaching Secondary Music: Perspectives on Practice by Gary Spruce (Editor)
Book Description
Aspects of Teaching Secondary Music provides a practical illustration of the skills, knowledge and understanding required to teach music in the secondary classroom. Musical concepts and ideas are discussed and a critical examination of key issues is given. This encourages the reader to engage with these thoughts and consider their views and beliefs in terms of how they will influence their potential to teach music in an inspired and effective manner. Gary Spruce draws on his long experience as a practitioner for the good of this book, with can be used along side the reader: Teaching Music in the Secondary School to form a comprehensive resource for those studying for the PGCE. These combinations of practical and theoretical books are available in a range of subjects to accommodate all on the course.

5/2003 cover Art and the Performance of Memory: Sounds and Gestures of Recollection (Memory and Narrative) by Richard Candida-Smith (Editor)
Book Description
Expanding upon longstanding concerns in cultural history about the relation of text and image, this book explores how ideas move across and between expressive forms. The contributions draw from art and architectural history, film, theatre, performance studies, and social and cultural history to identify and dissect the role that the visual and performing arts can play in the experience and understanding of the past.

4/2003 cover Organ-Stops and Their Artistic Registration by George Ashdown Audsley, Rollin Smith


4/2003 cover An American Musical Dynasty: A Biography of the Wolle Family of Bethlehem, Pennsylvania by Paul S. Larson


4/2003 cover Portrait of Percy Grainger (Eastman Studies in Music) by Malcolm Gillies (Editor), David Pear (Editor)
Book Description
Percy Grainger (1882-1961) was a pianist, composer, ethnographer, essayist, and much more. The Australian-American musician aspired to the condition of a polymath, with strong interests in language, culture, ecology and technology. In an age of increasing specialisation Grainger held to a breathless all-roundedness. This book looks at the scrabbling diversity of Grainger's life through the eyes of others. Family and friends, pupils, musical associates andchance acquaintances recall their experiences of Percy Grainger from his boyhood in colonial Australia, through his conservatorium years in Germany, on to his early professional years in London, and further to the zenith of his career and then years of decline in the United States. In the final chapter, Grainger himself explains the driving passions of his life. Fifty illustrations, including architectural drawings, scores and machine plans, vividly depictthe enthusiasms described in over ninety recollections of Grainger. A composer of over four hundred compositions and virtuoso performer in some three thousand concerts, Grainger left a large legacy. He was an important influenceupon the folk-song movement in Britain, and, through such masterworks as Lincolnshire Posy, he was enduringly popular with the band movement in America. On a personal level, his development of the language of 'blue-eyed English' was stillborn, and his muscular style of pianism found few adherents among the next generation of performers. His frankly expressed views on sexual licence were also many decades ahead of their time. Today, however, Graingerthe musician is again in the ascendant. His more innovative works are gaining a belated hearing, while his standards, such as Country Gardens, remain firm favorites.

4/2003 cover Marian Anderson: A Singer's Journey (Music in American Life) by Allan Keiler
Book Description
Marian Anderson was a woman with two disparate voices. The firstÐ-a powerful, majestic contralto spanning four octaves--catapulted her from Philadelphia poverty to international fame. A second, softer voice emanated from her mere presence: an unwavering refrain of opportunity and accomplishment in the face of racial prejudice. From meetings with Anderson before her death in 1993, as well as interviews, reviews, and early coverage in the black press, and personal diaries and letters, Allan Keiler has assembled a massive and magnificent study of Anderson's life. Now in paperback for the first time, this edition features separate appendices for Anderson's repertory and discography, and thirty-two photographs of the singer's incredible life and career.

4/2003 cover Lalo: My Life and Music by Lalo Guerrero, Sherilyn Meece Mentes
Book Description
Often called "the father of Chicano music," Lalo Guerrero is an American original whose music has jubilantly reflected his people's culture for more than sixty years. Lalo's autobiography recalls the nightclubs where he was a headliner and the one-night stands he performed all over the Southwest in an often funny, sometimes sentimental story that traces his musical genius.

4/2003 cover Gregorian and Old Roman Eighth-Mode Tracts: A Case Study in the Transmission of Western Chant by Emma Hornby


4/2003 cover Grand Passions and Broken Hearts: Lives and Lusts of the Great Composers by Basil Howitt


4/2003 cover Exploring Music as Worship and Theology: An Interdisciplinary Method for Studying Liturgical Practice by Mary E. McGann
Book Description
Exploring Music as Worship and Theology addresses a central challenge to liturgical scholars and pastoral leaders-how to understand the diverse, culturally shaped worship patterns that exist in our multi-cultural church. It situates music as a central lens through which to explore a community's liturgical practice, and offers a practical method for studying and interpreting the lived experience of a musical-liturgical assembly. Exploring Music as Worship and Theology invites greater attention to the diverse cultural music emerging in our various Christian assemblies, and underscores the need for greater dialogue between our theories of liturgy, music, and the actual practice of local communities. Chapters are "Interdisciplinary Orientations to Musical-Liturgical Practice," "The Research Process," and "Creative Dialogue with Liturgical Studies."

4/2003 cover Essential Elements for Choir Teacher Resource Kit by Janice Killian, Debbie Daniel, Linda Rann
Book Description
Includes lesson plans, activities and reproducible student pages for music theory, history, listening, assessment, cross-cultural activities and more and is compatible with any volume or level of EE for Choir. The professional Listening CD included is the kit is designed for use with many of the lessons.

4/2003 cover The Ernest Bloch Companion by David Z. Kushner
Book Description
The evolution of Ernest Bloch's music is traced throughout his travels in Europe and America. A complete picture of Bloch emerges from this integrated study of his life and his music. The opening biographical chapter provides a brief, personal history from which Bloch's career and many interests follow, including his pursuits in photography. The biographical information provides the framework for addressing the "Jewish Question," a common focus of Bloch's work. Bloch emerges, from this multifaceted study, as a composer whose music must be examined within both its Jewish heritage and in a larger, universal context.

4/2003 cover Concise History of Western Music, Second Edition by Barbara Russano Hanning
Book Description
Thoroughly revised and updated with outstanding new pedagogy, Concise History of Western Music, Second Edition, provides an authoritative yet succinct survey of Western music history. Based on Grout and Palisca’s classic A History of Western Music, Sixth Edition, Professor Hanning's text retains the uncompromising reliability and scope of its parent volume while presenting material in readable prose, with more pedagogy and fewer details. Lavishly illustrated with maps, timelines, color plates, and musical examples, Concise History of Western Music, Second Edition, delivers authoritative scholarship in an accessible and engaging format.

4/2003 cover Brahms (Master Musicians Series) by Malcolm MacDonald


3/2003 cover Pathways: A Guide for Energizing & Enriching Band, Orchestra, & Choral Programs by Joseph Alsobrook, Tim Lautzenheiser
Book Description
Here are solid and exciting solutions to the challenges of running an effective school music program, suggestions on how to motivate students to grow as musicians, and ways to retain students. Musician and teacher Joseph Alsobrook explains how to meet the needs of music students while simultaneously enjoying a rewarding and meaningful career as a music educator. Offering his wisdom with hands-on suggestions for practical and creative teaching methods, Alsobrook shows teachers how to build a music program filled with dedicated students and backed by a loyal community.

3/2003 cover Emma Lou Diemer : A Bio-Bibliography by Ellen Grolman Schlegel
Book Description
Emma Lou Diemer--a composer who successfully combines a classicist's interest in form with a fresh, contemporary, harmonic vocabulary--has produced a diverse, sophisticated, and largely unheralded opus, including 350 works composed for orchestra, symphonic band, chamber ensemble, keyboard, chorus, voices, and solo and electronic instruments. This complete guide to her extensive work examines her influences and her unique musical style, reveals her philosophy of composing, and offers the reader access to detailed information about her work. Though her organ psalm settings and hymn preludes are considered standard repertoire, as are a number of her choral compositions, Diemer has not received her due attention or acclaim--an oversight fully corrected by this valuable addition to music scholarship.

3/2003 cover The Musical Genesis of Felix Mendelssohn's Paulus by Siegwart Reichwald
Book Description
Felix Mendelssohn is one of the most celebrated figures of the early Romantic period. As a composer of sacred texts, he is chiefly remembered today for the oratorios "Paulus" (1836) and "Elijah" (1846). In this groundbreaking study, Siegwart Reichwald offers a meticulous analysis of Paulus, beginning with a general overview of the oratorio traditions of the early nineteenth century. He details the phases of the compositional process of "Paulus" as well as principles governing its development. Numerous musical examples, figures, and tables accompany the text. Reichwald's study will captivate anyone hungering for a thorough treatment of "Paulus", while shedding light on Mendelssohn's approach to the oratorio and to sacred music in general.

3/2003 cover Tim Page on Music: Views and Reviews by Tim Page
Book Description
In 65 perceptive pieces, including some of the work that earned him the Pulitzer Prize for Criticism in 1997, Page offers what he calls "a collection of illumined moments," now gathered in a single volume for the wider audience who will treasure their insight, wit, and wisdom. Page is tremendously versatile, a musical polymath in his interests and understanding. This collection includes both short pieces and longer articles, some about unique souls whom Page knew well and admired, including Glenn Gould and Otto Luening, and others about whom he feels strongly in other ways, among them Vladimir Horowitz. He takes readers along for closeup glimpses at Midori, Nadja Salerno-Sonnenberg, Dawn Upshaw, and Bobby McFerrin, as well as Frank Sinatra and Captain Beefheart, to name just a few. Tim Page on Music is a book about resilience and high spirit, from the boom-box parade in a Connecticut town after it lost arts funding to the delicious outrage Page allows himself over Paul McCartney’s Liverpool Oratorio. His literate, creative mind draws parallels among all the arts, from novels and romantic poetry to classical music, opera, avant garde, pop, and rock. He talks about opera and Grand Prix racing with Plácido Domingo, draws out Robert Shaw in the great choral conductor’s last long interview, shares his passions for certain avant-garde rock composers, and stays by the side of a courageous young composer and pianist determined to play his last concert as he is dying of AIDS.

3/2003 cover Serial Music, Serial Aesthetics: Compositional Theory in Post-War Europe by M. J. Grant
Book Description
Composers of serial music in post-war Europe wrote almost as much about music as the music itself, but the relationship between theory and practice in the work of key figures like Stockhausen, Eimert, Pousseur and Schnebel has often been misrepresented. Focusing on the controversial journal Die Reihe, this book traces serialism's cultural history, its debt to the artistic theories of Klee and Mondrian, and its relationship to contemporary developments in concrete art, poetry and information aesthetics. It sketches a aesthetic theory of serialism as an experimental music.

3/2003 cover My Lord, What a Morning: An Autobiography (Music in American Life) by Marian Anderson
Book Description
My Lord, What a Morning is a gentle and engrossing memoir, abounding with the tender and inspiring stories of Marian Anderson's life in her own modest words. From her humble but proud beginnings in south Philadelphia to international vocal renown, the legendary contralto writes of triumph and adversity, of being grounded in faith and surrounded by family, and of the music that shaped her career. Anderson published My Lord, What a Morning in 1956 on the heels of her groundbreaking role as the first African American to perform at the Metropolitan Opera. In it are bittersweet reminiscences of a working-class childhood, from her first job scrubbing the neighbors' steps to the sorrow and upheaval of her father's untimely death. Here are the stories of a young girl with prodigious talent, and her warm remembrances of the teachers, managers, friends, accompanists, and fans who worked to foster it. Here is a veritable travelogue of her concerts across the globe and rare glimpses at the personal life of a woman more concerned with family than celebrity. An entire chapter devoted to the Easter concert at the Lincoln Memorial in 1939 reveals Anderson's immense respect for Eleanor Roosevelt, who resigned from the Daughters of the American Revolution when they refused to let Anderson perform at Constitution Hall. Supplanting sorrow and regret for anger and violence, Anderson demurely imparts her views on discrimination and on becoming an icon in the struggle for civil rights. With eleven photographs and a touching new foreword by Anderson's nephew, famed conductor and poet James DePreist, this new paperback edition of My Lord, What a Morning revives the classic portrait of a musical legend who was resilient in the bullying face of bigotry and gracious in the unfaltering glow of fame.

3/2003 cover The Memoirs of Hector Berlioz by Hector Berlioz, David Cairns (Editor)
Book Description
The Memoirs of Hector Berlioz has long been considered to be among the best of musical autobiographies. Like his massive compositions, Berlioz (1803-69) was colorful, eloquent, larger than life. His book is both an account of his important place in the rise of the Romantic movement and a personal testament. He tells the story of his liaison with Harriet Smithson, and his even more passionate affairs of the mind with Shakespeare, Scott, and Byron. Familiar with all the great figures of the age, Berlioz paints brilliant portraits of Liszt, Wagner, Balzac, Weber, and Rossini, among others. And through Berlioz's intimate and detailed self-revelation, there emerges a profoundly sympathetic and attractive man, driven, finally, by his overwhelming creative urges to a position of lonely eminence. For this new Everyman's edition of The Memoirs, the translator--the composer's most admired biographer--has completely revised the text and the extensive notes to take into account the latest research.

3/2003 cover Manuel De Falla and Modernism in Spain, 1898-1936 by Carol A. Hess


3/2003 cover Kick-Start Your Choir: Confidence-Boosting Strategies by Mike Brewer


3/2003 cover Heitor Villa-Lobos: A Life (1887-1959) by David P. Appleby


3/2003 cover The Harlequin Years: Music in Paris 1917-1929 by Roger Nichols
Book Description
Few decades in the life of any European city have been as rich in musical personalities and achievements as the 1920s in Paris. It was, as Stravinsky said, the hub of the musical world, popular for travelers because it was cheap. Composers working in or near the city included Ravel, Fauré, Satie, Stravinsky, and Prokofiev as well as the up-and-coming members of Les Six, most notably Poulenc, Milhaud, and Auric. Among their collaborators were the painters Picasso, Braque, Dufy, and Juan Gris, while Jean Cocteau kept a watchful eye on new trends. Horowitz, Robert Casadesus, and Vlado Perlemuter all made their Paris debuts in this decade, as did the young violin prodigies Ginette Neveu and Yehudi Menuhin. Women musicians were coming into their own: the composers Germaine Tailleferre and Lili Boulanger, salon hostesses like the Princesse de Polignac and Mae Clemenceau. The Harlequin Years charts a nimble course through this remarkable era, noting currents as well as personalities, telling stories as well as pondering the occasional philosophical problem. Through the whole book runs the double thread spun by Jean Cocteau in his little volume Le coq et l'harlequin: the warp of the traditional French cock being pulled by the weft of the foreign, multicolored harlequinade. Roger Nichols's spirited narrative shows that this was also an uncertain time, as the war had cast doubt on old assumptions. Did wisdom necessarily come with age? Were hierarchies necessary? Irreverence was in, the circus was aesthetically at least as valuable as the finest symphony orchestra. Against all this some composers, like Fauré and Roussel, continued with traditional forms, though each brought to them his own highly personal language and syntax. 60 b/w photographs

3/2003 cover Berlioz's Orchestration Treatise : A Translation and Commentary by Berlioz (Author), Hugh Macdonald (Editor)
Book Description
Berlioz's Orchestration Treatise (1843) is a classic textbook by a master of the orchestra, which has not been available in English translation for over a century. This is a book by and about Berlioz, since it provides not only a new translation but also an extensive commentary on his text, dealing with the instruments of Berlioz's time and comparing his instruction with his practice. It is thus a study of the high craft of the most distinctive orchestrator of the nineteenth century.

3/2003 cover Benjamin Britten : A Bio-Bibliography by Stewart R. Craggs
Book Description
Benjamin Britten was arguably the greatest English composer of his time. His music crossed boundaries of genre and form to include opera, ballet, orchestral and chamber music, and film and incidental music. The result of twenty years of research, Benjamin Britten provides up-to-date and comprehensive details about Britten's life and music, including works, performances, and recordings--an effort never before undertaken. Certain to be of use to any scholar of British music or 20th century composition, this reference work is an invaluable addition to the literature on this important artist.

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