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Making Jazz in Postwar France
How did French musicians and critics interpret jazz—that quintessentially American music—in the mid-twentieth century? How far did players reshape what they learned from records and visitors into more local jazz forms, and how did the music figure in those angry debates that so often suffused French cultural and political life? After Django begins with the famous interwar triumphs of Josephine Baker and Django Reinhardt, but, for the first time, the focus here falls on the French jazz practices of the postwar era. The work of important but neglected French musicians such as André Hodeir and Barney Wilen is examined in depth, as are native responses to Americans such as Miles Davis and Thelonious Monk. The book provides an original intertwining of musical and historical narrative, supported by extensive archival work; in clear and compelling prose, Perchard describes the problematic efforts towards aesthetic assimilation and transformation made by those concerned with jazz in fact and in idea, listening to the music as it sounded in discourses around local identity, art, 1968 radicalism, social democracy, and post colonial politics.
WSM and the Making of Music City
Started by the National Life and Accident Insurance Company in 1925, WSM became one of the most influential and exceptional radio stations in the history of broadcasting and country music. WSM gave Nashville the moniker "Music City USA" as well as a rich tradition of music, news, and broad-based entertainment. With the rise of country music broadcasting and recording between the 1920s and '50s, WSM, Nashville, and country music became inseparable, stemming from WSM's launch of the Grand Ole Opry, popular daily shows like Noontime Neighbors, and early morning artist-driven shows such as Hank Williams on Mother's Best Flour. _x000B__x000B_Sparked by public outcry following a proposal to pull country music and the Opry from WSM-AM in 2002, Craig Havighurst scoured new and existing sources to document the station's profound effect on the character and self-image of Nashville. Introducing the reader to colorful artists and businessmen from the station's history, including Owen Bradley, Minnie Pearl, Jim Denny, Edwin Craig, and Dinah Shore, the volume invites the reader to reflect on the status of Nashville, radio, and country music in American culture._x000B_
The 126 bilingual alabados are organized by theme, including the Christ child and holy family, passion narratives, sacraments, and prayers, etc. Steele includes complete texts and extensive commentaries. He has devoted decades to collecting and studying New Mexico's alabados and his annotations are enriched by his access to many versions of each hymn.
Ballads, Folksongs, and Spirituals Collected by Byron Arnold
The Library of Congress Letters, 1935-1945
Alan Lomax (1915-2002) began working for the Archive of American Folk Song at the Library of Congress in 1936, first as a special and temporary assistant, then as the permanent Assistant in Charge, starting in June 1937, until he left in late 1942. He recorded such important musicians as Woody Guthrie, Muddy Waters, Aunt Molly Jackson, and Jelly Roll Morton. A reading and examination of his letters from 1935 to 1945 reveal someone who led an extremely complex, fascinating, and creative life, mostly as a public employee.While Lomax is noted for his field recordings, these collected letters, many signed "Alan Lomax, Assistant in Charge," are a trove of information until now available only at the Library of Congress. They make it clear that Lomax was very interested in the commercial hillbilly, race, and even popular recordings of the 1920s and after. These letters serve as a way of understanding Lomax's public and private life during some of his most productive and significant years. Lomax was one of the most stimulating and influential cultural workers of the twentieth century. Here he speaks for himself through his voluminous correspondence.
Alban Berg and His World is a collection of essays and source material that repositions Berg as the pivotal figure of Viennese musical modernism. His allegiance to the austere rigor of Arnold Schoenberg's musical revolution was balanced by a lifelong devotion to the warm sensuousness of Viennese musical tradition and a love of lyric utterance, the emotional intensity of opera, and the expressive nuance of late-Romantic tonal practice.
The essays in this collection explore the specific qualities of Berg's brand of musical modernism, and present newly translated letters and documents that illuminate his relationship to the politics and culture of his era. Of particular significance are the first translations of Berg's newly discovered stage work Night (Nocturne), Hermann Watznauer's intimate account of Berg's early years, and the famous memorial issue of the music periodical 23. Contributors consider Berg's fascination with palindromes and mirror images and their relationship to notions of time and identity; the Viennese roots of his distinctive orchestral style; his links to such Viennese contemporaries as Alexander Zemlinsky, Franz Schreker, and Erich Wolfgang Korngold; and his attempts to maneuver through the perilous shoals of gender, race, and fascist politics.
The contributors are Antony Beaumont, Leon Botstein, Regina Busch, Nicholas Chadwick, Mark DeVoto, Douglas Jarman, Sherry Lee, and Margaret Notley.
Bard Music Festival:
Berg and His World Bard CollegeAnnandale-on-Hudson, New YorkAugust 13-15, 2010 and August 20-22, 2010
The music of Alec Wilder (1907-1980) blends several American musical traditions, such as jazz and the American popular song, with classical European forms and techniques. Stylish and accessible, Wilder's musical oeuvre ranged from sonatas, suites, concertos, operas, ballets, and art songs to woodwind quintets, brass quintets, jazz suites, and hundreds of popular songs. In this biography and critical investigation of Wilder's music, Philip Lambert chronicles Wilder's early work as a part-time student at the Eastman School of Music, his ascent through the ranks of the commercial recording industry in New York City in the 1930s and 1940s, his turn toward concert music from the 1950s onward, and his devotion late in his life to the study of American popular songs of the first half of the twentieth century. The book discusses some of his best-known music, such as the revolutionary octets and songs such as "I'll Be Around," "While We're Young," and "Blackberry Winter," and explains the unique blend of cultivated and vernacular traditions in his singular musical language.
A Guide to Composing Music with Nyquist
Composers have used formalized procedures to create music throughout history. With the advent of the computer, algorithmic composition allows composers not only to create and experiment with different formalisms, but to hear and evaluate results quickly. Often in algorithmic composition, the composer has only a vague idea how the output will sound, but because the input is highly automated, the composer can make adjustments to take advantage of happy accidents, program bugs, and other creative sources of sound. Algorithmic Composition: A Guide to Composing Music with Nyquist provides an overview of procedural approaches to music generation. It introduces programming concepts through many examples written using the Nyquist system for music composition and sound synthesis. Nyquist is freely available software, and over 100 program examples from this book are available in electronic form. Readers will be well equipped to develop their own algorithms for composition. Music students who are learning about computer music and electronic music will all be interested in this innovative book, as generative music becomes an important part of the future of the discipline. Students and scholars in computer science will also find much to interest them, in a straightforward and fun way.
Immigrant Musician in Ireland
This book outlines the career of one of the most distinguished figures in Irish musical life in the first half of the twentieth century — a Bavarian organist, Aloys Fleischmann senior, whose son would later become Professor of Music in UCC. Fleischmann senior came to international attention through his work with the North Cathedral Choir in Cork, which was regarded as one of the finest of its kind. He was a prolific composer who wrote nearly 400 works, and he was a highly respected teacher whose students included Séan Ó Riada.
This small, striking book commemorates the career of experimental music composer Alvin Lucier, and features an interview with Lucier and curator Andrea Miller-Keller, essays by Nicolas Collins, Ronald Kuivila, Michael Roth and Pamela Tatge, and details of a symposium, exhibit and special performances of Lucier's work held at Wesleyan University, November 4-6, 2011. Lucier has pioneered in many areas of music composition and performance, including the notation of performers' physical gestures, the use of brain waves in live performance, the generation of visual imagery by sound in vibrating media, and the evocation of room acoustics for musical purposes. From 1970 to 2011 he taught at Wesleyan University where he was John Spencer Camp Professor of Music. Lucier performs, lectures and exhibits his sound installations extensively in the United States, Europe and Asia.