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Musico-Poetic Associations in Schubert's Song Cycle
Lauri Suurpää brings together two rigorous methodologies, Greimassian semiotics and Schenkerian analysis, to provide a unique perspective on the expressive power of Franz Schubert's song cycle. Focusing on the final songs, Suurpää deftly combines textual and tonal analysis to reveal death as a symbolic presence if not actual character in the musical narrative. Suurpää demonstrates the incongruities between semantic content and musical representation as it surfaces throughout the final songs. This close reading of the winter songs, coupled with creative applications of theory and a thorough history of the poetic and musical genesis of this work, brings new insights to the study of text-music relationships and the song cycle.
The Life and Music of Townes Van Zandt
This is the first serious biography of a man widely considered one of Texas’—and America’s—greatest songwriters. Like Jimmie Rodgers, Woody Guthrie, Robert Johnson, and Hank Williams, Townes Van Zandt was the embodiment of that mythic American figure, the troubled troubadour. A Deeper Blue traces Van Zandt’s background as the scion of a prominent Texas family; his troubled early years and his transformation from promising pre-law student to wandering folk singer; his life on the road and the demons that pursued and were pursued by him; the women who loved and inspired him; and the brilliance and enduring beauty of his songs, which are explored in depth. The author draws on eight years’ extensive research and interviews with Townes’ family and closest friends and colleagues. He looks beyond the legend and paints a colorful portrait of a complex man who embraced the darkness of demons and myth as well as the light of deep compassion and humanity, all “for the sake of the song.”
A Life in Music
The British horn player Dennis Brain (1921–1957) is commonly described by such statements as “the greatest horn player of the 20th Century,” “a genius,” and “a legend.” He was both a prodigy and popularizer, famously performing a concerto on a garden hose in perfect pitch. On his usual concert instrument his tone was of unsurpassed beauty and clarity, complemented by a flawless technique. The recordings he made with Herbert von Karajan of Mozart’s horn concerti are considered the definitive interpretations. Brain enlisted in the English armed forces during World War II for seven years, joining the National Symphony Orchestra in wartime in 1942. After the war he filled the principal horn positions in both the Philharmonia and Royal Philharmonic Orchestras. He later formed his own wind quintet and began conducting. Composers including Benjamin Britten and Paul Hindemith lined up to write music for him. Even fifty years after his tragic death at the age of 36 in an auto accident in 1957, Peter Maxwell Davies was commissioned to write a piece in his honor. Stephen Gamble and William Lynch have conducted numerous interviews with family, friends, and colleagues and uncovered information in the BBC archives and other lesser known sources about recordings that were previously unknown. This volume describes Brain’s life and analyzes in depth his musical career. Its appendices of information on performances will appeal to music historians, and its details on Brain’s instruments and equipment will be useful to horn players. “A pleasure to read: serious but personable, unaffected, unpretentious—conversational in tone. The character of the prose can be said to reflect the character of the book’s subject. Eminently satisfying.”—Robert Marshall, author of Dennis Brain on Record
The Story of a Birmingham Jazz Man
Selected Correspondence of Istvan Anhalt and George Rochberg (1961-2005)
Eagle Minds—a selection from the correspondence between the Canadian composer and scholar Istvan Anhalt and his American counterpart George Rochberg—is a splendid chronicle and a penetrating analysis of the swerving socio-cultural movements of a volatile half-century as observed by two highly gifted individuals.
Beginning in 1961 and spanning forty-four years, their conversation embraces not only music but other forms of contemporary art, as well as politics, philosophy, religion, and mysticism. The letters chronicle the deepening of their friendship over the years, and the openness, honesty, and genuine warmth between them provide the reader with an intimate look at their personalities. A fascinating intellectual tension emerges between the two men as they record their individual responses to musical modernism, to changing political and social realities, and to their Jewish heritage and sense of place, one as a son of Ukrainian immigrants to the United States, the other as a refugee from war-torn Hungary.
Allowing us a privileged glimpse into the private lives and thoughts of these fascinating men, Eagle Minds is a valuable tool for scholars interested in North American composers in the late twentieth century and essential reading for anyone interested in the cultural and social history of that era.
<p class="red">The life and early death of a South Side guitar genius, the greatest unheralded Chicago blues-maker
Jimi Hendrix called Earl Hooker "the master of the wah-wah pedal." Buddy Guy slept with one of Hooker's slides beneath his pillow hoping to tap some of the elder bluesman's power. And B. B. King has said repeatedly that, for his money, Hooker was the best guitar player he ever met.
Tragically, Earl Hooker died of tuberculosis in 1970 when he was on the verge of international success just as the Blues Revival of the late sixties and early seventies was reaching full volume.
Second cousin to now-famous bluesman John Lee Hooker, Earl Hooker was born in Mississippi in 1929, and reared in black South Side Chicago where his parents settled in 1930. From the late 1940s on, he was recognized as the most creative electric blues guitarist of his generation. He was a "musician's musician," defining the art of blues slide guitar and playing in sessions and shows with blues greats Muddy Waters, Junior Wells, and B. B. King.
A favorite of black club and neighborhood bar audiences in the Midwest, and a seasoned entertainer in the rural states of the Deep South, Hooker spent over twenty-five years of his short existence burning up U.S. highways, making brilliant appearances wherever he played.
Until the last year of his life, Hooker had only a few singles on obscure labels to show for all the hard work. The situation changed in his last few months when his following expanded dramatically. Droves of young whites were seeking American blues tunes and causing a blues album boom. When he died, his star's rise was extinguished. Known primarily as a guitarist rather than a vocalist, Hooker did not leave a songbook for his biographer to mine. Only his peers remained to praise his talent and pass on his legend.
"Earl Hooker's life may tell us a lot about the blues," biographer Sebastian Danchin says, "but it also tells us a great deal about his milieu. This book documents the culture of the ghetto through the example of a central character, someone who is to be regarded as a catalyst of the characteristic traits of his community."
Like the tales of so many other unheralded talents among bluesmen, Earl Hooker, Blues Master, Hooker's life story, has all the elements of a great blues song -- late nights, long roads, poverty, trouble, and a soul-felt pining for what could have been.
Sebastian Danchin is a freelance writer and record producer. He also creates programs for France's leading radio network, Radio-France, and is the blues editor for France's leading jazz magazine, Jazzman. His previous books, among others, include Les Dieux du Blues (Paris: Editions Atlas, 1995) and Blues Boy: The Life and Music of B. B. King (University Press of Mississippi, 1998).
Edward Elgar (1857-1934) is undoubtedly one of the most fascinating, important, and influential figures in the history of British music. He rose from humble beginnings and achieved fame with music that to this day is beloved by audiences in England, and his work has secured an enduring legacy worldwide. Leading scholars examine the composer's life in Edward Elgar and His World, presenting a comprehensive portrait of both the man and the age in which he lived.
Elgar's achievement is remarkably varied and wide-ranging, from immensely popular works like the famous Pomp and Circumstance March no. 1--a standard feature of American graduations--to sweeping masterpieces like his great oratorio The Dream of Gerontius. The contributors explore Elgar's Catholicism, which put him at odds with the prejudices of Protestant Britain; his glorification of British colonialism; his populist tendencies; his inner life as an inspired autodidact; the aristocratic London drawing rooms where his reputation was made; the class prejudice with which he contended throughout his career; and his anguished reaction to World War I. Published in conjunction with the 2007 Bard Music Festival and the 150th anniversary of Elgar's birth, this elegant and thought-provoking volume illuminates the greatness of this accomplished English composer and brings vividly to life the rich panorama of Victorian and Edwardian Britain.
The contributors are Byron Adams, Leon Botstein, Rachel Cowgill, Sophie Fuller, Daniel M. Grimley, Nalini Ghuman Gwynne, Deborah Heckert, Charles Edward McGuire, Matthew Riley, Alison I. Shiel, and Aidan J. Thomson.
Some images inside the book are unavailable due to digital copyright restrictions.
This compact study provides a fresh perspective on one of the most significant American composers of the twentieth and twenty-first centuries. A leading voice of the American classical music tradition and a two-time winner of the Pulitzer Prize for Music, Elliott Carter was initially encouraged to become a composer by Charles Ives, and he went on to learn from Walter Piston at Harvard University and Nadia Boulanger in Paris. Drawing on Carter's voluminous writings and compositions, James Wierzbicki provides a clear discussion of Carter's evolving understanding of musical time and the influence of film on his work. Celebrating his 100th birthday in 2008 by premiering a number of new compositions, Carter has been a powerful presence on the American new music scene, an important connection to American music's foundational figures, and a dynamic force in its continuing evolution.
A Song of Life
"... a rare kind of biography and autobiography: a clear and elegant exposition of fact, as well as a humane portrait of a great piano virtuoso, composer, teacher, and democratic soul, as told to and seen through the eyes of one close to him." -- Mark Mitchell
Ernst von Dohnányi (1877--1960) was one of the most highly respected musicians of his time. The young Dohnányi enjoyed an international prestige that brought him into contact with such 19th-century masters as Johannes Brahms and Eugène d'Albert. He is remembered for his technique and interpretive skills as a pianist and conductor, as well as for the masterpieces he composed for piano, chamber ensembles, and orchestra. As a teacher and administrator, Dohnányi 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, his career foundered when he was falsely accused of being a Nazi sympathizer. In 1953, at the age of 76, Dohnányi returned to international prominence with a triumphant "re-debut" at Carnegie Hall. Ernst von Dohnányi: A Song of Life, written from a firsthand perspective by Dohnányi's widow, is the first full English-language biography of the artist.
Essays in Analysis and Meaning
Contributors to this exciting new volume examine the intersection of structure and meaning in Brahms's music, utilizing a wide range of approaches, from the theories of Schenker to the most recent analytical techniques. They combine various viewpoints with the semiotic-based approaches of Robert Hatten, and address many of the most important genres in which Brahms composed. The essays reveal the expressive power of a work through the comparison of specific passages in one piece to similar works and through other artistic realms such as literature and painting. The result of this intertextual re-framing is a new awareness of the meaningfulness of even Brahms's most "absolute" works.