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Records of English Court Music: Volume II (1685 -1714)
by Andrew AshbeePioneering work on the musical material from the archives of the English court was undertaken by Nagel (1894), Lafontaine (1909) and Stokes (in the Musical Antiquary 1903-1913). Records of English Court Music (a series of seven volumes covering the period 1485-1714) is the first attempt to compile a systematic calendar of such references. It aims to revise these earlier studies where necessary, adding significant details which researchers omitted, clarifying the context of documents and substituting current call-marks for defunct references. Volume V is primarily concerned with the post-Restoration years already partially covered in volumes I and II. The material from the Exchequer and Declared Accounts of the Treasurer of the Chamber has been revised to include references to trumpeters and drummers. Other sections are devoted to material outside the Lord Chamberlain's papers: the Signet Office Docquet Books, Secret Service accounts and more from the Exchequer; the Corporation of Musick (controlled by the Court musicians) and to the range of music material from accounts of the Receivers General. Samples from the comprehensive records of the Lord Steward's department (including those of the Cofferer of the Household) are also provided. Andrew Ashbee was the winner of the Oldman Prize in 1987 for Volume II in the series of 'Records of English Court Music', awarded by the UK branch of the International Association of Music Libraries for the year's best book on music librarianship, bibliography and reference.
Records of English Court Music: Volume IV (1603–1625)
by Andrew AshbeePioneering work on the musical material from the archives of the English court was undertaken by Nagel (1894), Lafontaine (1909) and Stokes (in the Musical Antiquary 1903-1913). Records of English Court Music (a series of seven volumes covering the period 1485-1714) is the first attempt to compile a systematic calendar of such references. It aims to revise these earlier studies where necessary, adding significant details which researchers omitted, clarifying the context of documents and substituting current call-marks for defunct references. Volume V is primarily concerned with the post-Restoration years already partially covered in volumes I and II. The material from the Exchequer and Declared Accounts of the Treasurer of the Chamber has been revised to include references to trumpeters and drummers. Other sections are devoted to material outside the Lord Chamberlain's papers: the Signet Office Docquet Books, Secret Service accounts and more from the Exchequer; the Corporation of Musick (controlled by the Court musicians) and to the range of music material from accounts of the Receivers General. Samples from the comprehensive records of the Lord Steward's department (including those of the Cofferer of the Household) are also provided. Andrew Ashbee was the winner of the Oldman Prize in 1987 for Volume II in the series of 'Records of English Court Music', awarded by the UK branch of the International Association of Music Libraries for the year's best book on music librarianship, bibliography and reference.
Treatise on Instrumentation
by Hector Berlioz Richard StraussThe most influential work of its kind ever written, appraising the musical qualities and potential of over 60 commonly used stringed, wind and percussion instruments. With 150 illustrative full-score musical examples from works by Berlioz, Mozart, Beethoven, Gluck, Weber, Wagner, and others, and numerous smaller musical examples. Complete with Berlioz' chapters on the orchestra and on conducting. Translated by Theodore Front. Foreword by Richard Strauss. Glossary.
Urban Blues
by Charles KeilCharles Keil examines the expressive role of blues bands and performers and stresses the intense interaction between performer and audience. Profiling bluesmen Bobby Bland and B. B. King, Keil argues that they are symbols for the black community, embodying important attitudes and roles—success, strong egos, and close ties to the community. While writing Urban Blues in the mid-1960s, Keil optimistically saw this cultural expression as contributing to the rising tide of raised political consciousness in Afro-America. His new Afterword examines black music in the context of capitalism and black culture in the context of worldwide trends toward diversification. "Enlightening. . . . [Keil] has given a provocative indication of the role of the blues singer as a focal point of ghetto community expression."—John S. Wilson, New York Times Book Review "A terribly valuable book and a powerful one. . . . Keil is an original thinker and . . . has offered us a major breakthrough."—Studs Terkel, Chicago Tribune "[Urban Blues] expresses authentic concern for people who are coming to realize that their past was . . . the source of meaningful cultural values."—Atlantic "An achievement of the first magnitude. . . . He opens our eyes and introduces a world of amazingly complex musical happening."—Robert Farris Thompson, Ethnomusicology "[Keil's] vigorous, aggressive scholarship, lucid style and sparkling analysis stimulate the challenge. Valuable insights come from treating urban blues as artistic communication."—James A. Bonar, Boston Herald
Urban Blues
by Charles KeilCharles Keil examines the expressive role of blues bands and performers and stresses the intense interaction between performer and audience. Profiling bluesmen Bobby Bland and B. B. King, Keil argues that they are symbols for the black community, embodying important attitudes and roles—success, strong egos, and close ties to the community. While writing Urban Blues in the mid-1960s, Keil optimistically saw this cultural expression as contributing to the rising tide of raised political consciousness in Afro-America. His new Afterword examines black music in the context of capitalism and black culture in the context of worldwide trends toward diversification. "Enlightening. . . . [Keil] has given a provocative indication of the role of the blues singer as a focal point of ghetto community expression."—John S. Wilson, New York Times Book Review "A terribly valuable book and a powerful one. . . . Keil is an original thinker and . . . has offered us a major breakthrough."—Studs Terkel, Chicago Tribune "[Urban Blues] expresses authentic concern for people who are coming to realize that their past was . . . the source of meaningful cultural values."—Atlantic "An achievement of the first magnitude. . . . He opens our eyes and introduces a world of amazingly complex musical happening."—Robert Farris Thompson, Ethnomusicology "[Keil's] vigorous, aggressive scholarship, lucid style and sparkling analysis stimulate the challenge. Valuable insights come from treating urban blues as artistic communication."—James A. Bonar, Boston Herald
Urban Blues
by Charles KeilCharles Keil examines the expressive role of blues bands and performers and stresses the intense interaction between performer and audience. Profiling bluesmen Bobby Bland and B. B. King, Keil argues that they are symbols for the black community, embodying important attitudes and roles—success, strong egos, and close ties to the community. While writing Urban Blues in the mid-1960s, Keil optimistically saw this cultural expression as contributing to the rising tide of raised political consciousness in Afro-America. His new Afterword examines black music in the context of capitalism and black culture in the context of worldwide trends toward diversification. "Enlightening. . . . [Keil] has given a provocative indication of the role of the blues singer as a focal point of ghetto community expression."—John S. Wilson, New York Times Book Review "A terribly valuable book and a powerful one. . . . Keil is an original thinker and . . . has offered us a major breakthrough."—Studs Terkel, Chicago Tribune "[Urban Blues] expresses authentic concern for people who are coming to realize that their past was . . . the source of meaningful cultural values."—Atlantic "An achievement of the first magnitude. . . . He opens our eyes and introduces a world of amazingly complex musical happening."—Robert Farris Thompson, Ethnomusicology "[Keil's] vigorous, aggressive scholarship, lucid style and sparkling analysis stimulate the challenge. Valuable insights come from treating urban blues as artistic communication."—James A. Bonar, Boston Herald
Urban Blues
by Charles KeilCharles Keil examines the expressive role of blues bands and performers and stresses the intense interaction between performer and audience. Profiling bluesmen Bobby Bland and B. B. King, Keil argues that they are symbols for the black community, embodying important attitudes and roles—success, strong egos, and close ties to the community. While writing Urban Blues in the mid-1960s, Keil optimistically saw this cultural expression as contributing to the rising tide of raised political consciousness in Afro-America. His new Afterword examines black music in the context of capitalism and black culture in the context of worldwide trends toward diversification. "Enlightening. . . . [Keil] has given a provocative indication of the role of the blues singer as a focal point of ghetto community expression."—John S. Wilson, New York Times Book Review "A terribly valuable book and a powerful one. . . . Keil is an original thinker and . . . has offered us a major breakthrough."—Studs Terkel, Chicago Tribune "[Urban Blues] expresses authentic concern for people who are coming to realize that their past was . . . the source of meaningful cultural values."—Atlantic "An achievement of the first magnitude. . . . He opens our eyes and introduces a world of amazingly complex musical happening."—Robert Farris Thompson, Ethnomusicology "[Keil's] vigorous, aggressive scholarship, lucid style and sparkling analysis stimulate the challenge. Valuable insights come from treating urban blues as artistic communication."—James A. Bonar, Boston Herald
Jazz in Its Time
by Martin WilliamsFrom record album liner notes to serious academic pieces, Martin Williams has been perceptively chronicling the development of jazz for over three decades. In this, his newest collection of jazz writings, Williams brings together many of his best pieces and covers new ground, with short columns on Teddy Wilson and George Winston and a longer article, "How Long Has This Been Going On?," examining the current state of jazz. In this last work, Williams notes that jazz is experiencing a period of "stylistic retrenchment or, if you will, a period of conservatism," and questions the fusion of jazz with rock. Williams cites the opinion of Wynton Marsalis and a number of other musicians, who "seem to see the whole fusion thing as a kind of commercial opportunism and artistic blind alley, maybe even a betrayal of the music." Arranged roughly according to the form of the writing (music reviews, profiles, etc.) the pieces included here examine the musicianship of jazz greats from Sidney Bechet to Ornette Coleman, including Lionel Hampton, Lee Konitz, Art Farmer, and others. There are also thought pieces on the development and direction of jazz and jazz scholarship. Together, these works provide an insightful overview of the development of jazz over the past twenty years.
The Jazz Scene: An Informal History from New Orleans to 1990
by W. Royal StokesNo one can tell us more about jazz than the musicians themselves. Unfortunately, most oral histories have limited scope--focusing on a particular era or style--and fail to capture the full, rich story of jazz. Now, in this vivid oral history, W. Royal Stokes presents nearly a century of jazz--its people, places, periods, and styles--as it was seen by the artists who created America's most distinctive music. Here, along with the author's enlightening commentary, are the words of musicians famous and little-known, veterans of the early years and pathbreakers of the present, telling us about their origins and adventures, about the places and performers they have known. We read of young artists learning their skills surrounded by poverty, going on to win fame around the world. We feel the excitement of jazz before the war ("The music was all over the place," recalled Wild Bill Davison. "It's just unbelievable how many bands there were in Chicago. You could go anywhere and there'd be a band."). And we glimpse the gritty, hard life hidden beneath the beauty of the notes they played: "I remember not eating practically a month several times," said Mary Lou Williams. "During the depression we played engagements and we knew we weren't going to get any money because Andy would scatch his face when he was walking toward the band and the trumpet player would pull out his horn and play the 'Weary Blues.' And we'd laugh about it. We hadn't eaten in a couple of days and nothing was said, because the music was our survival." Stokes not only uncovers the history of jazz in the major cities and regions--New Orleans, for instance, Chicago in the '20s and '30s, Kansas City, and California from the '50s to the present--but he goes on to bring us the story of the big bands, post-bebop developments, vocalists, jazz around the globe, and the contemporary scene ("I was about eleven and my brother Mike started to bring home a lot of Miles Davis records from school and that did it for me," remembers Pat Metheny. "First time I heard Miles playing 'My Funny Valentine,' that whole record just destroyed me."). And he takes a close look at the rising place of women as instrumentalists in the last decade. Jazz is America's most original contribution to music, and--as the late Dexter Gordon lamented--America is the one country where it is little known. But W. Royal Stokes uncovers a scene that is as alive as ever, with this fascinating look at how it has been made and remade from the first decades of the century to today.
The Art of Adaptation: Turning Fact and Fiction into Film (PDF)
by Linda SegerAdaptations have long been a mainstay of Hollywood and the television networks. Indeed, most Academy Award- and Emmy Award-winning films have been adaptations of novels, plays, or true-life stories. Linda Seger, author of two acclaimed books on scriptwriting, now offers a comprehensive handbook for screenwriters, producers, and directors who want to successfully transform fictional or factual material into film. Seger tells how to analyze source material to understand why some of it resists adaptation. She then gives practical methods for translating story, characters, themes, and style into film. A final section details essential information on how to adapt material and how to protect oneself legally
Disciplining Music: Musicology and Its Canons
by Katherine Bergeron Philip V. BohlmanProvocative and timely, Disciplining Music confronts a topic that has sparked considerable debate in recent years: how do musicians and music scholars "discipline" music in their efforts to confer order and meaning on it? This collection of essays addresses this issue by formulating questions about music's canons—rules that measure and order, negotiate cultural constraints, reconstruct the past, and shape the future. Written by scholars representing the fields of historical musicology, ethnomusicology, and music theory, many of the essays tug and push at the very boundaries of these traditional division within the study of music. "Fortunately, in a blaze of good-humored . . . scholarship, [this] book helps brains unaccustomed to thinking about the future without jeopardizing the past imagine the wonder classical-music life might become if it embraced all people and all musics."—Laurence Vittes, Los Angeles Reader "These essays will force us to rethink our position on many issues. . . [and] advance musicology into the twenty-first century."—Giulio Ongaro, American Music Teacher With essays by Katherine Bergeron, Philip V. Bohlman, Richard Cohn and Douglas Dempster, Philip Gossett, Robert P. Morgan, Bruno Nettl, Don Michael Randel, Ruth A. Solie, and Gary Tomlinson.
Enrique Granados: A Bio-Bibliography (Bio-Bibliographies in Music)
by Carol A. HessEnrique Granados (1867-1916) was one of the first modern Spanish composers to achieve international recognition. During a 1916 visit to the United States his opera Goyescas was premiered by the Metropolitan Opera and his symphonic poem, Dante, by the Chicago Symphony. Granados was also especially admired in Paris, where he knew Saint-Saens, d'Indy, and Faure. He had composed a remarkable body of work and was also at the height of his career as a concert pianist at his untimely death while a passenger on a torpedoed British ship.The biographical study, the first in English, draws on primary sources in English, Spanish, French, Catalan, and other languages. This material is carefully documented in the extensive annotated bibliography along with contemporaneous and recent analytical studies and other sources. Granados's oeuvre presents cataloging problems due to his habit of reworking pieces, long-delayed publication, and arbitrary opus numbers. In the Works and Performances section, however, every effort has been made to offer publication dates, manuscript locations, and information on premieres. Representative arrangements of his works by other composers are also given. An appendix classifies the works by scoring. A selective discography is also provided, and all parts of the volume are fully cross-referenced and indexed. Granados is placed in the context of the international artistic scene at the turn of the century, and a chronology notes related events.
Ethnomusicology: History, Definitions, and Scope: A Core Collection of Scholarly Articles
by Kay Kaufman ShelemayFirst Published in 1992. Routledge is an imprint of Taylor & Francis, an informa company.
Ethnomusicology: History, Definitions, and Scope: A Core Collection of Scholarly Articles
by Kay Kaufman ShelemayFirst Published in 1992. Routledge is an imprint of Taylor & Francis, an informa company.
Film Music: Music And The Classical Hollywood Film (Wisconsin Studies In Film Ser.)
by Kathryn KalinakFilm Music: Music And The Classical Hollywood Film (Very Short Int)
by Kathryn KalinakFilm music is as old as cinema itself. Years before synchronized sound became the norm, projected moving images were shown to musical accompaniment, whether performed by a lone piano player or a hundred-piece orchestra. Today film music has become its own industry, indispensable to the marketability of movies around the world. Film Music: A Very Short Introduction is a compact, lucid, and thoroughly engaging overview written by one of the leading authorities on the subject. After opening with a fascinating analysis of the music from a key sequence in Quentin Tarantino's Reservoir Dogs, Kathryn Kalinak introduces readers not only to important composers and musical styles but also to modern theoretical concepts about how and why film music works. Throughout the book she embraces a global perspective, examining film music in Asia and the Middle East as well as in Europe and the United States. Key collaborations between directors and composers--Alfred Hitchcock and Bernard Herrmann, Akira Kurosawa and Fumio Hayasaka, Federico Fellini and Nino Rota, to name only a few--come under scrutiny, as do the oft-neglected practices of the silent film era. She also explores differences between original film scores and compilation soundtracks that cull music from pre-existing sources. As Kalinak points out, film music can do many things, from establishing mood and setting to clarifying plot points and creating emotions that are only dimly realized in the images. This book illuminates the many ways it accomplishes those tasks and will have its readers thinking a bit more deeply and critically the next time they sit in a darkened movie theater and music suddenly swells as the action unfolds onscreen. About the Series: Combining authority with wit, accessibility, and style, Very Short Introductions offer an introduction to some of life's most interesting topics. Written by experts for the newcomer, they demonstrate the finest contemporary thinking about the central problems and issues in hundreds of key topics, from philosophy to Freud, quantum theory to Islam.
Film Music: Music And The Classical Hollywood Film (VERY SHORT INTRODUCTIONS)
by Kathryn KalinakThe rich and deeply moving sounds of film music are as old as cinema. The first projected moving images were accompanied by music through a variety of performers--from single piano players to small orchestras--that brought images to life. Film music has since become its own industry, an aesthetic platform for expressing creative visions, and a commercial vehicle for growing musical stars of all varieties. In this Very Short Introduction, Kathryn Kalinak takes readers behind the scenes to understand both the practical aspects of film music--what it is and how it is composed--and the theories that have been developed to explain why film music works. This accessible book not only entertains with the fascinating stories of the composers and performers who have shaped film music across the globe but also gives readers a broad sense of the key questions in film music studies today. The updated second edition includes the music from film industries in Africa, Asia and South Asia, and Latin America, and focuses on previously under-represented film musicians, in particular women and minority composers.
From Birdland to Broadway: Scenes from a Jazz Life
by Bill CrowIn the 1950s, New York City's Birdland was the center of the world of modern jazz--and a revelation to Bill Crow, a wet-behind-the-ears twenty-two-year-old from Washington State. Located on Broadway between 52nd and 53rd streets, the club named for the incomparable Charlie "Bird" Parker boasted lifesize photo murals of modern jazzmen like Dizzy Gillespie, Lennie Tristano, and, of course, Bird himself, looming large against jet black walls. Exotic live birds perched in cages behind the bar. The midget master of ceremonies, 3'9" Pee Wee Marquette, dressed in a zoot suit and loud tie, smoked huge cigars and screeched mispronounced introductions into the microphone. And the jazz-struck young Crow would park in the bleachers till 4 am, blissfully enveloped by the heady music of Bird, Bud Powell, Max Roach, and a host of other jazz giants. From Birdland to Broadway is an enthralling insider's account of four decades of a life in jazz. Bill Crow, journeyman bass player, superb storyteller, and author of the successful Jazz Anecdotes, here narrates many moving and delightful tales of the pioneers of modern jazz he played with and was befriended by. We find Dizzy Gillespie, with whom Crow, because of prior commitments, regretfully declined steady work, dancing at the Royal Roost, Stan Getz sadly teetering on the brink of losing himself to drugs, and Harry Belafonte (known then as "the Cinderella Gentleman") running a lunch counter in New York's Sheridan Square between music dates. And we also witness many of the highlights of Crow's career, such as in 1955 when the Marian McPartland Trio (with Crow on bass) was named "Small Group of the Year" by Metronome; Crow playing with the Gerry Mulligan Quartet at venues like Storyville in Boston and Harlem's Apollo Theater (where they appeared with Dinah Washington); and the tour of the Soviet Union with Benny Goodman, a journey that might have been a high point of Crow's travels abroad but was marred by Goodman's legendary mistreatment of his band. Moving beyond jazz clubs to the Broadway concert pit and a variety of studio gigs in the '60s, Crow encounters actors such as Yul Brynner and pop-rock acts like Simon and Garfunkel. From the great to the near-great, from Billie Holiday to Judy Holliday, Bill Crow's wealth of personal anecdotes takes the reader from Birdland, to the Half Note, to the Playboy Club, to the footlights of Broadway. This revealing book is a marvelous portrait of the jazz world, told by someone who's been there.
Handbook of Recording Engineering
by John M. EargleJohn Eargle's 4th edition of The Handbook of Recording Engineering is the latest version of his long-time classic hands-on book for aspiring recording engineers. It follows the broad outline of its predecessors, but has been completely recast for the benefit of today's training in recording and its allied arts and sciences. Digital recording and signal processing are covered in detail, as are actual studio miking and production techniques -- including the developing field of surround sound. As always, the traditional topics of basic stereo, studio acoustics, analog tape recording, and the stereo LP are covered in greater detail than you are likely to find anywhere except in archival references.This book has been completely updated with numerous new topics added and outdated material removed. Many technical descriptions are now presented in Sidebars, leaving the primary text for more general descriptions.Handbook of Recording Engineering, Fourth Edition is for students preparing for careers in audio, recording, broadcast, and motion picture sound work. It will also be useful as a handbook for professionals already in the audio workplace.
Hard Bop: Jazz and Black Music 1955-1965
by the late David H. RosenthalIt's nineteen fifty-something, in a dark, cramped, smoke-filled room. Everyone's wearing black. And on-stage a tenor is blowing his heart out, a searching, jagged saxophone journey played out against a moody, walking bass and the swish of a drummer's brushes. To a great many listeners--from African American aficionados of the period to a whole new group of fans today--this is the very embodiment of jazz. It is also quintessential hard bop. In this, the first thorough study of the subject, jazz expert and enthusiast David H. Rosenthal vividly examines the roots, traditions, explorations and permutations, personalities and recordings of a climactic period in jazz history. Beginning with hard bop's origins as an amalgam of bebop and R&B, Rosenthal narrates the growth of a movement that embraced the heavy beat and bluesy phrasing of such popular artists as Horace Silver and Cannonball Adderley; the stark, astringent, tormented music of saxophonists Jackie McLean and Tina Brooks; the gentler, more lyrical contributions of trumpeter Art Farmer, pianists Hank Jones and Tommy Flanagan, composers Benny Golson and Gigi Gryce; and such consciously experimental and truly one-of-a-kind players and composers as Andrew Hill, Sonny Rollins, John Coltrane, Thelonious Monk, and Charles Mingus. Hard bop welcomed all influences--whether Gospel, the blues, Latin rhythms, or Debussy and Ravel--into its astonishingly creative, hard-swinging orbit. Although its emphasis on expression and downright "badness" over technical virtuosity was unappreciated by critics, hard bop was the music of black neighborhoods and the last jazz movement to attract the most talented young black musicians. Fortunately, records were there to catch it all. The years between 1955 and 1965 are unrivaled in jazz history for the number of milestones on vinyl. Miles Davis's Kind of Blue, Charles Mingus's Mingus Ah Um, Thelonious Monk's Brilliant Corners, Horace Silver's Further Explorations--Rosenthal gives a perceptive cut-by-cut analysis of these and other jazz masterpieces, supplying an essential discography as well. For knowledgeable jazz-lovers and novices alike, Hard Bop is a lively, multi-dimensional, much-needed examination of the artists, the milieus, and above all the sounds of one of America's great musical epochs.
I’m Not a Film Star: David Bowie as Actor
by Ian Dixon and Brendan BlackThe first collection dedicated to David Bowie's acting career shows that his film characterisations and performance styles shift and reform as decoratively as his musical personas. Though he was described as the most influential pop artis of the 20th century, whose work became synonymous with mask, mystery, sexual excess and ch-ch-ch-changing genres, Bowie also applied his genius to the craft of acting.Bowie's considerable filmography is systematically examined in 12 scholarly essays that include tributes to Bowie's performance craft in other media forms. Classic films such as The Prestige and Merry Christmas, Mr. Lawrence, cult hits Labyrinth and The Man Who Fell To Earth, as well as lesser-known roles in The Image, Christiane F. and Broadway hit The Elephant Man are viewed, not simply through the lens of Bowie's mega-stardom, but as the work of a serious actor with inimitable talent. This compelling analysis celebrates the risk-taking intelligence and bravura of David Bowie: actor, mime, mimic and icon.
Johann Joseph Fux and the Music of the Austro-Italian Baroque
by Harry WhiteJohann Joseph Fux's reputation as a theorist and the long-term influence of his theoretical and pedagogical work have ensured that his name is widely known in music circles in the West. His pre-eminence as the foremost native-born composer of the Austrian Baroque has resulted in attention being focused on his work as an exemplum of virtually every genre, sacred or secular of Austro-Italian early eighteenth-century music. The publication of the Fux Gesamtausgabe has greatly enhanced the reputation of his music and the essays in this volume will develop our understanding of Fux, his music, and his place in musical history.