Pirkko Moisala approaches the unique characteristics of Saariaho's music through composition sketches, scores, critical reviews, and interviews with the composer and her trusted musicians. Drawing extensively from this material, Moisala describes the development of Saariaho's career and international reception, the characteristics of her musical expression, and the progression of her compositional process.
This anthology of 55 keyboard works provides an instructive picture of the music of the young J. S. Bach within the context of a spectrum of works by his elder contemporaries.
The Andreas Bach Book and the so-called Möller Manuscript, the most important sources for the young Bach’s keyboard music, were compiled in the early eighteenth century by Bach’s eldest brother and only keyboard teacher, Johann Christoph Bach of Ohrdruf, himself a pupil of Johann Pachelbel. The significance of the two manuscripts lies not only in their close connection to J. S. Bach (as evidenced by Bach autographs in both books), but equally in the fact that they contain some of the most outstanding keyboard music by Bach’s North German colleagues: Georg Böhm, Dietrich Buxtehude, and Johann Adam Reincken. While some of these compositions have been published in modern editions, others have been entirely overlooked.
This anthology presents keyboard works by the young J. S. Bach which are either little known or are earlier versions of better known works (for example, the Passacaglia in C Minor, BWV 582). Also included are all the unpublished keyboard works in the two manuscripts, as well as works by lesser known composers for which modern editions are not easily accessible. Rounding out the picture are works by well-known contemporaries for which the transmission in the young Bach’s circle proves particularly significant.
Intended for both player and scholar, this edition offers the texts of the two manuscripts in an easy to read layout that emphasizes the clarity of the counterpoint. Of particular interest to organists is the presentation of the organ works in the appropriate notion of the time, on two staves with the pedal voice integrated in the bass staff.
Born 130 years ago in the heart of Mississippi, Charlie Patton (c. 1891–1934) is considered by many to be a father of the Delta blues. With his bullish baritone voice and his fluid slide guitar touch, Patton established songs like “Pony Blues,” “A Spoonful Blues,” and “High Water Everywhere” in the blues lexicon and, through his imitators, in American music. But over the decades, his contributions to blues music have been overshadowed in popularity by those of Robert Johnson, Muddy Waters, and other mid-century bluesmen and women who’ve experienced a resurgence in their music. King of the Delta Blues Singers, originally published in 1988, began a small renaissance in blues and Patton research and set a new scholarly precedent touching even the spelling his name—which, to Patton himself, was "Charlie," not the "Charley" of the early records. And now, with the wide availability of Patton’s complete discography in multiple formats, this revised second edition brings the legend of Charlie Patton into a clarity of detail that was previously impossible.
Gayle Dean Wardlow and the late Stephen Calt (1946–2010) originally probed Patton’s career in the Mississippi Delta, his early performances and recordings, and his musical legacy that continues to influence today’s guitarists and performers, including such musicians as Jack White and Larkin Poe. For this second edition, Wardlow and Edward Komara refined the text and rewrote major sections, updating them with new scholarship on Patton and Delta blues. And finally, Komara has added a new afterword bringing Patton into the contemporary blues conversation and introducing numerous musical examples for the modern researcher and musician.
The second edition of King of the Delta Blues Singers will further cement Patton’s legacy among important blues musicians, and it will be of interest to anyone absorbed in the beginnings of the Delta blues and music biographies.
King of the Queen City is the first comprehensive history of King Records, one of the most influential independent record companies in the history of American music. Founded by businessman Sydney Nathan in the mid-1940s, this small outsider record company in Cincinnati, Ohio, attracted a diverse roster of artists, including James Brown, the Stanley Brothers, Grandpa Jones, Redd Foxx, Earl Bostic, Bill Doggett, Ike Turner, Roy Brown, Freddie King, Eddie Vinson, and Johnny "Guitar" Watson. While other record companies concentrated on one style of music, King was active in virtually all genres of vernacular American music, from blues and R & B to rockabilly, bluegrass, western swing, and country.
A progressive company in a reactionary time, King was led by an interracial creative and executive staff that redefined the face and voice of American music as well as the way it was recorded and sold. Drawing on personal interviews, research in newspapers and periodicals, and deep access to the King archives, Jon Hartley Fox weaves together the elements of King's success, focusing on the dynamic personalities of the artists, producers, and key executives such as Syd Nathan, Henry Glover, and Ralph Bass. The book also includes a foreword by legendary guitarist, singer, and songwriter Dave Alvin.
Kinyras, in Greco-Roman sources, is the central culture-hero of early Cyprus: legendary king, metallurge, Agamemnon’s (faithless) ally, Aphrodite’s priest, father of Myrrha and Adonis, rival of Apollo, ancestor of the Paphian priest-kings, and much more. Kinyras increased in depth and complexity with the demonstration in 1968 that Kinnaru—the divinized temple-lyre—was venerated at Ugarit, an important Late Bronze Age city just opposite Cyprus on the Syrian coast. John Curtis Franklin seeks to harmonize Kinyras as a mythological symbol of pre-Greek Cyprus with what is known of ritual music and deified instruments in the Bronze Age Near East, using evidence going back to early Mesopotamia. Franklin addresses issues of ethnicity and identity; migration and colonization, especially the Aegean diaspora to Cyprus, Cilicia, and Philistia in the Early Iron Age; cultural interface of Hellenic, Eteocypriot, and Levantine groups on Cyprus; early Greek poetics, epic memory, and myth-making; performance traditions and music archaeology; royal ideology and ritual poetics; and a host of specific philological and historical issues arising from the collation of classical and Near Eastern sources.
Kinyras includes a vital background study of divinized balang-harps in Mesopotamia by Wolfgang Heimpel. This paperback edition contains minor corrections, while retaining the foldout maps of the original hardback edition as spreads, alongside illustrations and artwork by Glynnis Fawkes.
Comprehensive and vivid with eyewitness detail, Kusamira Music in Uganda offers insight into important healing traditions and the overlaps between expressive culture and healing practices, the human and other-than-human, and Uganda's past and future.
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