A SCHOLARLY BOOK REPOSITORY
Christoph Wolff suggests the possibility that Bach's three festive works for Christmas, Easter, and Ascension Day form a coherent group linked by liturgy, chronology, and genre. Daniel R. Melamed considers the many ways in which Bach's passion music was influenced by the famous poetic passion of Barthold Heinrich Brockes. Markus Rathey examines the construction and role of oratorio movements that combine chorales and poetic texts (chorale tropes). Kerala Snyder shows the connections between Bach's Christmas Oratorio and one of its models, Buxtehude's Abendmusiken spread over many evenings. Laurence Dreyfus argues that Bach thought instrumentally in the composition of his passions at the expense of certain aspects of the text. And Eric Chafe demonstrates the contemporary theological background of Bach's Ascension Oratorio and its musical realization
Founded in Hungary in 1975 and now based in Boulder, Colorado, the Takács is one of the world’s preeminent string quartets, and performances of Beethoven have been at the center of their work together for over forty years. Using the history of both the Takács Quartet and the Beethoven quartets as a foundation, Beethoven for a Later Age provides a backstage look at the daily life of a quartet, showing the necessary creative tension between individual and group and how four people can at the same time forge a lasting artistic connection and enjoy making music together over decades. The key, Dusinberre reveals, to a quartet crafting its own sound is in balancing continuity with change and experimentation—a theme that lies at the heart of Beethoven’s remarkable compositions. In an accessible style, suitable for novices and chamber music enthusiasts alike, Dusinberre illuminates the variety and contradictions of Beethoven's quartets, which were composed against the turbulent backdrop of the Napoleonic Wars and their aftermath, and he brings the technical aspects of the music to life.
Beethoven for a Later Age vividly shows that creative engagement with Beethoven’s radical and brilliant quartets continues to be as stimulating now as it was for its first performers and audiences. Musicians and music lovers will be intrigued by Dusinberre’s exploration of the close collaboration at the heart of any great performance.
Lewis Lockwood and Mark Kroll's volume The Beethoven Violin Sonatas is the first scholarly book in English devoted exclusively to the Beethoven sonatas, and deals with them in unprecedented depth. It presents seven critical and historical essays by some of the most important American and European Beethoven specialists of our time. The authors examine the sonatas within the history of the genre, the social and cultural context in which they were written, their significance within Beethoven's life and works, and the issues they raise regarding performance practices of the period.
Unlike any other resource, it provides detailed analyses of each album, essays on their historical significance, and a chronological examination of every studio song. Discover the stories behind the recordings and gain insight into Springsteen's creative process.
Rich with contemporary reviews, insider accounts, photographs, and special sections highlighting pivotal moments and key figures, Bruce Songs is an indispensable companion for fans and scholars. It offers an immersive journey through the music of The Boss, making it an essential read for anyone captivated by Springsteen's enduring musical legacy.
Winner of the Leila Webster Memorial Music Award for the International Alliance for Women in Music of the 2022 Pauline Alderman Awards for Outstanding Scholarship on Women in Music
Chen Yi is the most prominent woman among the renowned group of new wave composers who came to the US from mainland China in the early 1980s. Known for her creative output and a distinctive merging of Chinese and Western influences, Chen built a musical language that references a breathtaking range of sources and crisscrosses geographical and musical borders without eradicating them.
Leta E. Miller and J. Michele Edwards provide an accessible guide to the composer's background and her more than 150 works. Extensive interviews with Chen complement in-depth analyses of selected pieces from Chen's solos for Western or Chinese instruments, chamber works, choral and vocal pieces, and compositions scored for wind ensemble, chamber orchestra, or full orchestra. The authors highlight Chen's compositional strategies, her artistic elaborations, and the voice that links her earliest and most recent music. A concluding discussion addresses questions related to Chen's music and issues such as gender, ethnicity and nationality, transnationalism, border crossing, diaspora, exoticism, and identity.
The University of Illinois Press has paired the volume with a special web-based companion overseen by the translator and hosted by the Illinois Open Publishing Network. This online resource includes Brokaw’s translations of all 225 of Schulze’s essays alongside digital tools for searching, sorting, and bundling the commentaries according to date of composition, position within the liturgical church year sequence, and librettist.
Returning the songs to their original keys, Kramer reveals linkages among songs which were often obscured as Schubert readied his compositions for publication. His analysis thus conveys even familiar songs in fresh contexts that will affect performance, interpretation, and criticism. After addressing problems of multiple settings and revisions, Kramer presents a series of briefs for the reconfiguring of sets of songs to poems by Goethe, Rellstab, and Heine. He deconstructs Winterreise, using its convoluted origins to illuminate its textual contradictions. Finally, Kramer scrutinizes settings from the Abendrote cycle (on poems by Friedrich Schlegel) for signs of cyclic process. Probing the farthest reaches of Schubert's engagement with the poetics of lieder, Distant Cycles exposes tensions between Schubert the composer and Schubert the merchant-entrepreneur.
Expansive and essential, Elliott Carter Speaks opens up the artist's teaching and introspection to new contemporary perspectives on his thought and art.
Please note that the order and arrangement of materials in this book differs from that of Elliott Carter’s original lectures.
An iconic symbol of Spain, flamenco has become a global phenomenon. Peter Manuel offers English-language readers a rare portrait of the music’s history, styles, and cultural impact. Beginning with flamenco’s Moorish and Roma influences, Manuel follows the music’s evolution through its consolidation in the mid-1800s and on to the vibrant contemporary scene. An investigation of flamenco’s major song-types looks at rhythm and compás, guitar technique, and many other aspects of the music while Manuel’s description and analysis of the repertoire range from soleares and bulerías to tangos. His overview of contemporary flamenco culture provides insight into issues that surround the music, including globalization, gender dynamics, notions of ownership, and the ongoing debates on purity versus innovation and the relative roles played by Gitanos and non-Gitanos.
Multifaceted and entertaining, Flamenco Music is an in-depth study of the indelible art form that inspires enthusiasts and practitioners around the world.
Combining the tools of the anthropologist, composer, music theorist, and performer, Tenzer moves fluidly between ethnography and technical discussions of musical composition and structure. In an approach as intricate as one might expect in studies of Western classical music, Tenzer's rigorous application of music theory and analysis to a non-Western orchestral genre is wholly original. Illustrated throughout, the book also includes nearly 100 pages of musical transcription (in Western notation) that correlate with 55 separate tracks compiled on two accompanying compact discs.
The most ambitious work on gamelan since Colin McPhee's classic Music in Bali, this book will interest musicians of all kinds and anyone interested in the art and culture of Southeast Asia, Indonesia, and Bali.
In this first full-scale examination of the theme-and-variations form in the Classical era, Elaine Sisman demonstrates persuasively that it was Haydn's prophetic innovationsplacing the variation in every position of a multi-movement cycle, broadening its array of theme types, and transforming its larger shapethat truly created the Classical variation. She elucidates the concept and technique of variation, traces Haydn's development and use of the form in symphonies, chamber music, and keyboard works, and then shows how Mozart and Beethoven in their individual ways built on his contributions.
Throughout, Sisman's analysis reflects both musical thinking of the Classical period and today's critical interests. She discusses ornamentation and musical figures, explores the pervasive eighteenth-century notion of music as rhetoric, and relates the style of the variation to that of the other dominant form in this period: sonata form. Her book offers a revaluation of the nature of the variation form and a new approach to the music of Haydn. Haydn and the Classical Variation is addressed to students and scholars of music, but the author's unaffected style makes it accessible to nonprofessional music lovers as well.
Based on Verdi’s autograph score and an examination of important secondary sources, including contemporary manuscript copies and performing parts, this edition of Il trovatore identifies and resolves numerous ambiguities of harmony, melodic detail, text, and phrasing that have marred previous scores. Scholars and performers alike will find a wealth of information in the critical apparatus to inform their research and interpretations. The introduction to the score outlines the work’s genesis, sources, and performance history, while the critical commentary discusses all editorial decisions.
The University of Chicago Press, in collaboration with Casa Ricordi, has undertaken to publish the first critical edition of the complete works of Giuseppe Verdi. The series, based exclusively on original sources, is the only one to present authentic versions of all of the composer’s works; together with his operas, the critical edition presents his songs, his choral music and sacred pieces, and his string quartet and other instrumental works.
The Works of Giuseppe Verdi will be an invaluable standard reference work—a necessary acquisition for all music libraries and a joy to own for all lovers of opera. The new series of study scores presents an adaptation of each critical edition that provides scholars with an affordable and portable option for exploring Verdi’s oeuvre. The study scores have been designed to distinguish editors’ marks from Verdi’s own notations while remaining clear enough for use in performance. The introduction to each score discusses the work’s sources, composition, and performance history, as well as performance practices, instrumentation, and problems of notation. The newest editions of the study scores examine two of Verdi’s three-act operas: La traviata and Rigoletto.
Reader-friendly and revealing, Listening to Bob Dylan encourages hardcore fans and Dylan-curious seekers alike to rediscover the music legend.
Mbira’s Restless Dance is written to be played. This two-volume, spiral-bound set features musical transcriptions of thirty-nine compositions and variations, annotated with the master player’s advice on technique and performance, his notes and observations, and commentary by Berliner. Enhanced with extensive website audiovisuals, Mbira’s Restless Dance is in effect a series of masterclasses with Magaya, suitable for experienced mbira players and those learning the fundamentals.
Together with Berliner's The Art of Mbira, in which he provides an indispensable historical and cultural guide to mbira in a changing world, Mbira's Restless Dance breaks new ground in the depth and specificity of its exploration of an African musical tradition, and in the entwining of the authors’ collaborative voices. It is a testament to the powerful relationship between music and social life—and the rewards of lifelong musical study, performance, and friendship.
This edition of Messa da Requiem is based on Verdi’s autograph score and other original sources. The appendices include two pieces from the compositional history of the Requiem: an early version of the Libera me, composed in 1869 as part of a collaborative work planned as a memorial to Rossini; and the Liber scriptus, which in the original score of the Manzoni memorial Requiem was composed as a fugue for chorus. The introduction to the score traces the complex compositional and performance histories of the Requiem and discusses the work’s problems of instrumentation and notation, while the critical commentary gives a full description of the sources and an account of all editorial decisions.
Guitarist and composer Pat Metheny, among the most acclaimed, visionary musicians of our time, has for five decades toured with his many creative musical projects, most prominently the Pat Metheny Group, while collaborating with celebrated artists, including Charlie Haden, Ron Carter, Herbie Hancock, Ornette Coleman, and Steve Reich.
Bob Gluck, whose perspective as pianist, composer, and educator has illuminated the music of Herbie Hancock and Miles Davis in his two previous books, now focuses his lens on the music of Metheny. Neither a biography nor chronological record of Metheny’s musical output, Pat Metheny: Stories beyond Words instead captures Metheny’s self-conception as a musician and the threads that unite and distinguish his creative process. Drawing upon a wealth of new interviews and close readings of musical examples, Gluck offers a bird’s-eye view of Metheny’s musical ideas. Among these are the metaphor of storytelling, the complementarity of simplicity and complexity, and the integrated roles of composer, performer, and band leader. Much like Metheny’s signature style, this book is accessible to a wide range of readers, presenting new clarity, musical insight, and historical perspective about the legacy of Metheny’s groundbreaking music.
Krin Gabbard has gathered essays by distinguished writers from a variety of fields. They provide engaging analyses of films such as Round Midnight, Bird, Mo’ Better Blues, Cabin in the Sky, and Jammin’ the Blues; the writings of Eudora Welty and Dorothy Baker; the careers of the great lindy hoppers of the 1930s and 1940s; Mura Dehn’s extraordinary documentary on jazz dance; the jazz photography of William Claxton; painters of the New York School; the traditions of jazz autobiography; and the art of "vocalese." The contributors to this volume assess the influence of extramusical sources on our knowledge of jazz and suggest that the living contexts of the music must be considered if a more sophisticated jazz scholarship is ever to evolve. Transcending the familiar patterns of jazz history and criticism, Representing Jazz looks at how the music actually has been heard and felt at different levels of American culture.
With its companion anthology, Jazz Among the Discourses, this volume will enrich and transform the literature of jazz studies. Its provocative essays will interest both aficionados and potential jazz fans.
Contributors. Karen Backstein, Leland H. Chambers, Robert P. Crease, Krin Gabbard, Frederick Garber, Barry K. Grant, Mona Hadler, Christopher Harlos, Michael Jarrett, Adam Knee, Arthur Knight, James Naremore
The University of Chicago Press, in collaboration with Casa Ricordi, has undertaken to publish the first critical edition of the complete works of Giuseppe Verdi. The series, based exclusively on original sources, is the only one to present authentic versions of all of the composer’s works; together with his operas, the critical edition presents his songs, his choral music and sacred pieces, and his string quartet and other instrumental works.
The Works of Giuseppe Verdi will be an invaluable standard reference work—a necessary acquisition for all music libraries and a joy to own for all lovers of opera. The new series of study scores presents an adaptation of each critical edition that provides scholars with an affordable and portable option for exploring Verdi’s oeuvre. The study scores have been designed to distinguish editors’ marks from Verdi’s own notations while remaining clear enough for use in performance. The introduction to each score discusses the work’s sources, composition, and performance history, as well as performance practices, instrumentation, and problems of notation. The newest editions of the study scores examine two of Verdi’s three-act operas: La traviata and Rigoletto.
Arguably no other nineteenth-century German composer was as literate or as finely attuned to setting verse as Robert Schumann. Jon W. Finson challenges long-standing assumptions about Schumann's Lieder, engaging traditionally held interpretations. He argues against the belief that the "Year of Song" simply reflects Schumann's personal life. Finson also devotes attention to the form and metric structure of German poetry that is almost entirely new to the discussion of Schumann's songs.
Arranged in part thematically, rather than merely by strict compositional chronology, this book speaks to the heart of Schumann's music. Finson's sustained attention to performance, such as questions of whether two singers might divide performance of cycles or whether miscellanies form coherent entities, allows the reader to engage Schumann's songs in novel ways.
Finson brings original research and the most recent scholarship to the musically literate public and the expert alike. This represents the definitive work on Schumann's songs and the standard reference for any Schumann enthusiast.
"A variety of approaches are brought to bear on fascinating repertoire, but with the underlying aim of better understanding some brilliant music. There’s nothing more exciting in music writing than something which entices you to listen to what’s familiar to you in a new way, and this collection brings such excitement in abundance."
---Allan Moore, author of Jethro Tull: Aqualung and Rock: The Primary Text
"These essays bring together a remarkable range of tools and perspectives to such diverse topics and contexts as the behind-the-scenes collaborations of composers, performers, arrangers, producers and engineers; pop culture; narratology; and race, politics and gender. The reader continuously benefits from a complementary lineup of sensitive ears that discover novelty in the familiar, exposing the heart of many rock and pop classics through imaginative and authoritative prose."
---Walter Everett, author of The Foundations of Rock and The Beatles as Musicians
The nine essays in Sounding Out Pop work together to map the myriad styles and genres of the pop-rock universe through detailed case studies that confront the music from a variety of engaging, thought-provoking perspectives---from historical to music-analytic, aesthetic to ethnographic, with several authors drawing liberally from ideas in other disciplines. The range of bands and artists covered is as vast and varied as the more than fifty-year history of pop and rock music, from the Coasters and Roy Orbison to Marvin Gaye, Bob Dylan, Radiohead, Beck, Genesis, Tori Amos, and the Police. Together these diverse essays cover a broad spectrum of studies ideally suited for classroom use and for other readers interested in gaining a deeper knowledge of the way popular music works.
Mark Spicer is Associate Professor and Director of Undergraduate Studies in Music at Hunter College and the Graduate Center, City University of New York. His writings have appeared in Contemporary Music Review, Gamut, Music Theory Online, twentieth-century music, and other scholarly journals and essay collections.
John Covach is Professor of Music at the University of Rochester and Professor of Theory at the Eastman School of Music. He is the author of the college textbook What's That Sound? An Introduction to Rock and Its History and the coeditor of Understanding Rock, American Rock and the Classical Music Tradition, and Traditions, Institutions, and American Popular Music.
Cover art credit: © iStockphoto.com/Aleksandar Dickov
The folksongs of Texas's Mexican population pulsate with the lives of folk heroes, gringos, smugglers, generals, jailbirds, and beautiful women. In his cancionero, or songbook, Américo Paredes presents sixty-six of these songs in bilingual text—along with their music, notes on tempo and performance, and discography. Manuel Peña's new foreword situates these songs within the main currents of Mexican American music.
With The Virtual Haydn, Tom Beghin—himself a professional keyboard player—delves deeply into eighteenth-century history and musicology to help us hear a properly complex Haydn. Unusually for a scholarly work, the book is presented in the first person, as Beghin takes us on what is clearly a very personal journey into the past. When a discussion of a group of Viennese sonatas, for example, leads him into an analysis of the contemporary interest in physiognomy, Beghin applies what he learns about the role of facial expressions during his own performance of the music. Elsewhere, he analyzes gesture and gender, changes in keyboard technology, and the role of amateurs in eighteenth-century musical culture.
The resulting book is itself a fascinating, bravura performance, one that partakes of eighteenth-century idiosyncrasy while drawing on a panoply of twenty-first-century knowledge.
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