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Jack Boss's third book on the most famous member of the 'second Viennese School', this work offers an intriguing revisionist history of Schoenberg's early music. It provides close readings of six pieces from Op. 1 to Op. 9, illustrated by detailed motivic analyses as well as Schenkerian graphs, to show how tonality and motive work together to project the 'musical idea,' and how Schoenberg's tonal style gradually became more dissonant, leading to atonality. Boss's earlier books argued that the atonal and twelve-tone works were part of a consistent development tied together by the expression of a common narrative-the conflict, elaboration, and resolution of what Schoenberg himself called the 'idea.' This book completes the circle by showing that the early, tonal works also project musical idea narratives. It justifies Schoenberg's preference for setting music to text early in his career, by showing how his chosen texts helped shape these narratives of conflict and resolution.
Sixty years after their final collaboration Rodgers and Hammerstein remain central figures in the world of musical theatre, and their global influence continues to be felt. This Companion presents their iconic work for a new generation of students, teachers and fans, giving both historical context and new perspectives on the partners, the people with whom they collaborated, and the shows they created. A chapter is devoted to each musical, from Oklahoma! to The Sound of Music, providing key information about that work in both its staged and film versions, and analysis of its distinctive features including those that present challenges for practitioners, audiences and researchers today. The volume also introduces the early careers of both creators and Rodgers's work after Hammerstein's death. The contributions represent a variety of complementary disciplinary backgrounds that can serve as models for future study not just on Rodgers and Hammerstein but also on musical theatre more generally.
The first book in the English language to take a comparative look at the various roles played by all kinds of music and musicians in the fascist regimes of the twentieth century. It provides detailed overviews of musical life in Fascist Italy and Nazi Germany and identifies and challenges some of the stereotypes that became ingrained over the latter half of the twentieth century. Alongside comparative studies drawn from the German and Italian examples, the book presents case studies from a variety of regimes and situations. It analyses and compares numerous aspects of fascism (ideology, thought, practice, policy) in their interfaces with music and musicians across the twentieth century. Its broad range of topics expands the reader's horizons beyond a debate on 'music and totalitarianism' currently too often restricted to Stalinism on the one hand and Nazism on the other.
The symphony has long stood as one of music's most prestigious and enduring genres, yet in Britain and Ireland its story since 1900 remains surprisingly underexplored. This landmark volume offers the first comprehensive account of the symphony's trajectory across the twentieth and twenty-first centuries, revealing a rich, multifaceted tradition shaped by an extraordinary diversity of voices, styles and contexts. Drawing together distinguished international scholars and composers, the book surveys both celebrated figures such as Elgar, Vaughan Williams and Tippett, and lesser-known yet vital contributors including Ruth Gipps, Ina Boyle and Alan Bush. Through historical, analytical, and critical perspectives, contributors examine commissioning networks, cultural influences, performance traditions and questions of identity, representation and reception. Contemporary reflections by leading composers extend the discussion into the present, where changing approaches and aesthetics challenge and expand definitions of the symphony itself. Accessible, authoritative and groundbreaking, this volume redefines our understanding of the British and Irish symphony – past, present and future.
Pathbreaking study that explores the piano as an instrument of globalism, colonialism and mobility and what this meant for women pianists from around the world.
This book surveys women pianists around the world. It focuses on the mid-nineteenth to the late-twentieth centuries, an era that witnessed sustained interest in piano performance against a backdrop of technological and socio-political transformation. The authors range from emerging to established scholars, from the Americas, Europe, Africa, and Asia. They take diverse approaches to the piano as an instrument of globalism, colonialism, class, and mobility, within women's lives. These include explorations of mapping, networks, and cultural transfer; feminist examinations of archival traces; the implications of distinctive geographies and socio-political conditions; and the links between gender and genre, including contemporary and experimental musics. The volume offers a bold account of global approaches to women in music and encourages innovative ways of rethinking piano culture.
This book makes an important, original scholarly contribution that will be of great interest within and indeed beyond musicology. - Alexander Stefaniak, Professor of Musicology, Washington University in St. Louis.
This impressive work [is] sure to be very impactful in the near future, and for many years to come. - Elvia Puccinelli, Professor of Collaborative Piano and Vocal Coaching, University of North Texas. Founder, International Keyboard Collaborative Arts Society.
Global Perspectives on Women Pianists [is] an exciting contribution ... to the fields of gender studies, historical musicology, and material history. - Erin Johnson-Williams, Associate Professor in Music Education and Social Justice, University of Southampton.
JOE DAVIES is a faculty member in the Arts and Humanities Division at New York University Abu Dhabi. He previously held research and teaching positions at Maynooth University, the University of California, Irvine, and the University of Oxford.
NATASHA LOGES is Professor of Musicology at the Hochschule für Musik Freiburg. She was previously Head of Postgraduate Programmes at the Royal College of Music, London.
Contributors: Thomas Betzweiser, Anja Bunzel, Joe Davies, Ellen de Vries, Marina Frolova-Walker, Apolline Gouzi, Nuppu Koivisto-Kaasik, Amanda Lalonde, Ji Liu, Natasha Loges, Margaret Lucia, Arthur Macé, Joao Martins, Nahla Mattar, Gülçin Özkişi, Li-Ming Pan, Zixi Ren, Danielle Roman, Valentina Sandu-Dediu, Reeves Shulstad, Gabriele Slizyte, Susanna Välimäki, Chanda VanderHart.
A definitive study of Janáček's Sinfonietta, tracing its creation, reception, and rise to international prominence.
This book provides a musical 'biography' of Leoš Janáček's (1854-1928) most famous orchestral piece - his Sinfonietta - by analysing its sources, composition, reception history, recordings and musical component parts. The most up-to-date research on the genesis and performance history of the work, it considers in detail Janáček's orchestral writing, the inspiration and genesis of the Sinfonietta, a documentation of all the surviving sources for the work, the work's performance history during Janáček's lifetime and following his death until the end of the Second World War, including press reviews and relevant correspondence.
The book also examines the growth in the worldwide popularity of the Sinfonietta. This evolved from cautious and hostile critical responses to the premiere recording in 1946 to its gradual acceptance as one of the key works of the 1920s, largely thanks to the advocacy of conductors whose work is considered in detail, alongside other significant recordings. Questions of performance, rehearsal, interpretation and the musical text are considered in a wide-ranging interview with the conductor Jakub Hrůša, and a concluding chapter provides a detailed commentary on the music itself. The book includes a valuable appendix describing the annotated scores used by conductors such as Otto Klemperer, František Neumann and Henry Wood, as well as a comprehensive discography.
Using John Ireland's fascination with Arthur Machen as case study, this book challenges our perception of the correspondence between music and literature in twentieth-century Britain.
The composer John Ireland (1879-1962) declared repeatedly that no one could understand his music until they had first read the work of his favourite writer, Arthur Machen (1863-1947). This book is the first study to take Ireland at his word. Revolving around Machen's classification as a founding figure of 'weird fiction', it uses weird aesthetics as an interpretative lens with which to understand Ireland's notoriously cryptic life and music. Its four chapters deal respectively with Machen's and Ireland's parallel experience of fin-de-siècle London; with their engagement with the English pastoral tradition; with their explorations of weird art's relationship with eroticism; and with unsettling implications of alternative historiography.
The resulting portrait reveals Ireland to be one of Britain's pre-eminent 'weird artists', placing Ireland in the aesthetic context with which he wished to be associated. It therefore fills a significant gap in British musicology, while at the same time contributing to a growing appreciation of Machen as a major figure in British culture, one whose influence exceeds far beyond the literary sphere to which he is traditionally confined. Using Ireland's fascination with Machen as its case study, this book makes a timely and necessary connection between the literary weird and its musical doppelgänger, enriching and challenging our perception of the correspondence between music and literature in twentieth-century Britain.
Investigates the dialogue and tensions between Percy Grainger's public biography and his self-conscious autobiographical construction via his own writings and autobiographical museum.
The Australian-American composer Percy Grainger (1882-1961) described himself as an 'all round man': composer, pianist, artist, inventor, linguist, ethnographer, essayist, and more. He also went to great lengths to shape his own biographical narrative, developing an eccentric public persona in the press, writing extensive autobiographical texts and establishing a vast autobiographical museum. But what happens when this self-fashioned narrative meets writers, scholars, and creatives in the decades since his death? This book traces the construction and negotiation of Grainger's biography on page, stage and screen through the twentieth and twenty-first centuries, exploring the tensions and dialogue between these and Grainger's autobiographical self.
Through a series of case studies, with a focus on works created in Australia, the book explores how Grainger's public persona and received biographical narrative were developed then transformed by other writers, playwrights, filmmakers, and performance artists to suit the changing needs of their own time and place. Examining a variety of texts, from celebrity profiles, obituaries, and traditional academic studies, to film, theatre, opera and poetry, the book offers a biography of an afterlife: a study of how Grainger set up a series of mechanisms to control how his life would be remembered, then tests these against a succession of works that engage directly with those sources.
Informed by fascinating interviews, photographs, and previously unexamined archival materials, this book reveals a compelling story of Yugoslav avant-garde and experimental music from 1945 until 1991, ending with the year when all artistic activities came to a sudden halt with the start of the Yugoslav wars. It examines the political, social, and cultural events that gave rise to the flourishing avant-garde scene in the country and follows the emergence and development of Yugoslav cultural programs in the postwar period that made the republic a magnet for cultural exchange, through to the sudden and violent dissolution of those programs with the collapse of the political state. The book is the first full-length book in English on the subject, and provides an indispensable, interdisciplinary resource that will contribute to the preservation of this legacy. This title is also available as Open Access on Cambridge Core.
'No Feelings', 'No Fun', 'No Future'. The years 1976 to 1984 saw punk emerge and evolve as a fashion, a musical form, an attitude and an aesthetic. Against a backdrop of social fragmentation, violence, high unemployment and socio-economic change, punk rejuvenated and re-energised British youth culture, inserting marginal voices and political ideas into pop. Rejecting both tired clichés and nostalgic myths, Matthew Worley provides the definitive account of how punk was constructed and utilised from the ground up. He takes youth culture seriously as a way of understanding history, demonstrating how punk not only reflected but directly impacted social and political history through its unique ability to provoke, disrupt and subvert. This revised and updated edition marks fifty years since the birth of punk and includes a new foreword from acclaimed music journalist, Paul Morley. It remains the foremost history of British punk.
Elizabeth Maconchy was one of the most prominent and successful composers of the twentieth century, a champion of contemporary music who composed chamber operas, choral music, orchestral works, a range of compositions and operas for children, and a highly-regarded series of string quartets. This collection explores her life and work, her Irishness and her formative years at the Royal College of Music. It examines her intersections with musical and cultural movements, and the persistent and insidious presence of sexism against which she presented a forceful, often humorous stance. There are chapters devoted to her important friendships with composers and teachers, interactions with broadcasters and festival organisers along with a focused section dedicated to the breadth and depth of Maconchy's compositions. The Irish-English composer is revealed a force to be reckoned with who frequently demonstrated a powerful instinct to thrive and survive, often against the odds.
Active in Chicago during the first half of the twentieth century, Florence B. Price was an African American composer, pianist, organist and music teacher, and a central figure in the first generation of Black composers of art music in the US. Price's aesthetic engaged with Black music of the enslavement period, and her gendered racial identity deserves careful consideration, while her geography and era distinguish her trajectory from those of her European and Anglo-American counterparts. This Companion introduces readers to archives and sources on Price, the style and genre of her music, and her artistic communities, and reception. It contextualizes Price's music and life in relation to the sociocultural climate of her time, the Black classical scene to which she belonged, and the compositional aesthetics that informed her craft. It offers an alternative view of music's capacity to uplift and amplify underrepresented voices.
This book argues that punk and post-punk, whatever their respective internal stylistic heterogeneity, enjoyed 'sociological reality' in Samuel Gilmore's and Howard Becker's sense. It elaborates the concept of 'music worlds', contrasting it with alternatives from the sociological literature. In particular it contrasts it with the concepts 'subculture', 'scene' and 'field'. The book then outlines a number of concepts which allow us to explore the localised process in which punk took shape in a sociologically rigorous manner. In particular it discusses the concepts of 'critical mass' and 'social networks'. The book also applies these concepts to the London punk world of 1976. It considers how talk about punk migrated from face-to-face networks to mass media networks and the effects of that shift. Continuing the discussion of punk's diffusion and growth, the book considers how punk worlds took shape in Liverpool, Manchester and Sheffield. In addition, however, the book offers a more technical analysis of the network structures of the post-punk worlds of the three cities. Furthermore, extending this analysis, and combining qualitative and quantitative forms of analysis, the book considers how activities in different local post-punk worlds were themselves linked in a network, constituting a national post-punk world.
This book reveals the ideas behind the Beat vision that influenced the Beat sound of the songwriters who followed on from them. Having explored the thinking of Alan Watts, who coined the term ‘Beat Zen’, and who influenced the counterculture that emerged out of the Beat movement, it celebrates Jack Kerouac as a writer in pursuit of a ‘beatific’ vision. On this basis, the book goes on to explain the relevance of Kerouac and his friends Allen Ginsberg and Gary Snyder to songwriters who emerged in the 1960s. Not only are detailed readings of the lyrics of the Beatles and of Dylan given, but the range and depth of the Beat legacy within popular song is indicated by way of an overview of some important innovators: Jim Morrison, Joni Mitchell, Leonard Cohen, Donovan, the Incredible String Band, Van Morrison and Nick Drake.
Rewinding through five decades, this book listens closely to the bars, samples, and stories that have made hip-hop the true sound of America. Bringing together nineteen essays from leading figures in hip-hop studies, it traces lines of influence from Atlanta and Detroit all the way back to the Bronx and the Caribbean. The book's first half digs into the instrumental layers that continue to underpin hip-hop, while taking a close look at the poetic effects that lurk within key verses. For its second half, the focus turns to the larger culture, assessing the cluster of social tensions that are coming to define the US – and which can be heard in the nation's most powerful and controversial music. Accompanying the book is a 42-song playlist, including both iconic tracks and underground tapes, making it easy to follow the relevant beats and rhymes while reading each chapter.
Ripped, torn and cut offers a collection of original essays exploring the motivations behind – and the politics within – the multitude of fanzines that emerged in the wake of British punk from 1976. Sniffin’ Glue (1976–77), Mark Perry’s iconic punk fanzine, was but the first of many, paving the way for hundreds of home-made magazines to be cut and pasted in bedrooms across the UK. From these, glimpses into provincial cultures, teenage style wars and formative political ideas may be gleaned. An alternative history, away from the often-condescending glare of London’s media and music industry, can be formulated, drawn from such titles as Ripped ;amp; Torn, Brass Lip, City Fun, Vague, Kill Your Pet Puppy, Toxic Grafity, Hungry Beat and Hard as Nails. Here, in a pre-internet world, we see the development of networks and the dissemination of punk’s cultural impact as it fractured into myriad sub-scenes: industrial, post-punk, anarcho, Oi!, indie, goth. Ripped, torn and cut brings together academic analysis with practitioner accounts to forge a collaborative history ‘from below’. The first book of its kind, this collection reveals the contested nature of punk’s cultural politics by turning the pages of a vibrant underground press.
The twenty-first century has witnessed a surge of scholarly interest in the French art song, or mélodie, with a flood of new books, articles, and editions. This Companion draws on the best of this new research, with chapters by world-renowned scholars and performers examining French art song through the practicality of performance, both pianistic and vocal. The book surveys the repertory chronologically from the 1820s into the 1950s, covering all the central composers (Berlioz, Gounod, Fauré, Debussy, Duparc, Chausson, Ravel, Poulenc, Messiaen, and many more). It includes chapters on the role of women in the creation, performance, and diffusion of French song; the analysis of French prosody and poetic forms; the position of the mélodie in French literary history; and the interpretation of mélodie in performance. Scholars, students, performers, and music lovers will find thorough and up-to-date resources to enable them to explore this crucial yet understudied song repertory.
Punk rocker, Joe Strummer, was the most influential left-wing musician since the 1970s. Through The Clash especially, he was said to have changed countless people’s lives. But what were his politics and what was the nature of this influence on people’s lives?The punk rock politics of Joe Strummer: Radicalism, resistance and rebellion finds he was a self-proclaimed socialist in his Clash years before this gave way to humanism. Despite that shift, he still desired social change and still used his lyrics and public platform to push for this progress.Strummer provided political inspiration and sustenance to many through the cultural medium of music. He helped many find and maintain socialist and progressive world views, and this legacy lives on through his lyrics. This becomes evident when the testimonies gathered for this study speak of the influence of the lyrics from the likes of the Sandinista! album or the song, ‘Spanish Bombs’. They encouraged listeners not only to find out more about the issues and events covered but then to go out and try to do something about them too.
This is the first comprehensive history of goth music and culture. Across more than 500 pages, John Robb explores the origins and legacy of this enduring scene, which has its roots in the post-punk era. Drawing on his own experience as a musician and journalist, Robb covers the style, the music and the clubs that spawned the culture, alongside political and social conditions. He also reaches back further to key historic events and movements that frame the ideas of goth, from the fall of Rome to Lord Byron and the romantic poets, European folk tales, Gothic art and the occult. Finally, he considers the current mainstream goth of Instagram influencers, film, literature and music. The Art of Darkness features interviews with Siouxsie and the Banshees, The Cure, The Damned, Nick Cave, Southern Death Cult, Einstürzende Neubauten, Bauhaus, Killing Joke, Throbbing Gristle, Danielle Dax, Lydia Lunch and many more. It offers a first-hand account of being there at the gigs and clubs that made the scene happen.
Electronic dance music is increasingly the focus of a multitude of academic research projects around the world but has been drastically under-represented in accessible core published material. This innovative scholarly collection provides an important 'first stop' for researchers and students wishing to work in this area. It examines the key features of numerous electronic dance music scenes and (sub)genres alongside discussions of the musical, social and aesthetic experiences of participants to consider how these musical practices create purpose and cultural significance for millions around the world. At the same time, it introduces diverse theoretical approaches to the understanding of electronic dance music cultures and addresses the issues and debates in electronic dance music culture studies. Adopting an interdisciplinary approach drawn from both music and cultural studies – including music aesthetics, technologies, venues, and performativity – from a broad geographical perspective, the volume sheds fresh light on electronic dance music cultures.
