Böcker i Music in American Life-serien

A ground-breaking history of the American folk music revival

Most famous for his military marches, John Philip Sousa led a group of devoted musicians around the world and shaped a new cultural landscape. This book documents almost every aspect of the "March King's" band: its history, its star performers, its appearances on recordings, and the problems the group faced on their 1911 trip around the world.

For nearly a century, Juilliard has trained the artists who compose the elite corps of the performing arts community in the United States. This title affirms the school's artistic legacy of great performances as the one constant amid decades of upheaval and change. It takes us behind the scenes and into its practice rooms, studios, and offices.

A musical genre forever outside the lines With a claim on artists from Jimmie Rodgers to Jason Isbell, Americana can be hard to define, but you know it when you hear it. John Milward¿s Americanaland is filled with the enduring performers and vivid stories that are at the heart of Americana. At base a hybrid of rock and country, Americana is also infused with folk, blues, R&B, bluegrass, and other types of roots music. Performers like Bob Dylan, Johnny Cash, Ray Charles, and Gram Parsons used these ingredients to create influential music that took well-established genres down exciting new roads. The name Americana was coined in the 1990s to describe similarly inclined artists like Emmylou Harris, Steve Earle, and Wilco. Today, Brandi Carlile and I¿m With Her are among the musicians carrying the genre into the twenty-first century. Essential and engaging, Americanaland chronicles the evolution and resonance of this ever-changing amalgam of American music. Margie Greve¿s hand-embroidered color portraits offer a portfolio of the pioneers and contemporary practitioners of Americana.

Composers like Charles Ives, Duke Ellington, Aaron Copland, and Ellen Taaffe Zwilich created works that indelibly commemorated American places. Denise Von Glahn analyzes the soundscapes of fourteen figures whose "place pieces" tell us much about the nation's search for its own voice and about its ever-changing sense of self. She connects each composer's feelings about the United States and their reasons for creating a piece to the music, while analyzing their compositional techniques, tunes, and styles. Approaching the compositions in chronological order, Von Glahn reveals how works that celebrated the wilderness gave way to music engaged with humanity's influence--benign and otherwise--on the landscape, before environmentalism inspired a return to nature themes in the late twentieth century. Wide-ranging and astute, The Sounds of Place explores high art music's role in the making of national myth and memory.

These previously unpublished lectures by Elliott Carter date to the summer of 1967, when the acclaimed composer taught at the Contemporary Music Workshop held by the University of Minnesota. Leading an introductory course on orchestra repertoire, Carter gave nine hours of lectures covering principal topics like how to live with the musical present and whether the symphony orchestra was a relic of the past or a possible active force for new music. But Carter's observations and prompts by audience questions broadened the discussion into areas ranging from electronic music to analyses of works by other artists and himself. Laura Emmery presents the complete text from each session alongside introductions, commentary, and annotated examples that provide valuable context for readers. Expansive and essential, Elliott Carter Speaks opens up the artist's teaching and introspection to new contemporary perspectives on his thought and art. Please note that the order and arrangement of materials in this book differs from that of Elliott Carter's original lectures.

The collected writings of composer Ben Johnston

The accordion in the new world

"As a member of Poster Children, Rose Marshack took part in entwined revolutions. Marshack and other women seized a much-elevated profile in music during the indie rock breakthrough while the advent of new digital technologies transformed the recording and marketing of music. Touring in a van, meeting your idols, juggling a programming job with music, keeping control and credibility, the perils of an independent record label (and the greater perils of a major)-Marshack chronicles the band's day-to-day life and punctuates her account with excerpts from her tour reports and hard-learned lessons on how to rock, program, and teach while female. She also details the ways Poster Children applied punk's DIY ethos to digital tech as a way to connect with fans via then-new media like pkids listservs, internet radio, and enhanced CDs. An inside look at a scene and a career, Play Like a Man is the evocative and humorous tale of one woman's life in the trenches and online"--

"A pivotal twentieth-century composer, Samuel Barber earned a long list of honors and accolades that included two Pulitzer Prizes for Music and the public support of figures like Serge Koussevitzky and Marian Anderson. Barber's works have since became standard in concert repertoire and continue to flourish across high art and popular culture. Acclaimed biographer Howard Pollack (George Gershwin, Aaron Copland) offers a multifaceted account of Barber's life and music while placing the artist in his social and cultural milieu. Born into a musical extended family, Barber pursued his ambitions from childhood. Pollack follows Barber's path from his precocious youth and training through a career where, from the start, the composer consistently received prizes, fellowships, and other recognition. Stylistic analyses of works like Adagio for Strings, the Second Symphony, the opera Vanessa, and Piano Concerto No. 1 stand alongside revealing accounts of the music's commissioning, performance, reception, and legacy. Throughout, Pollack weaves in accounts of Barber's encounters with musical contemporaries like Leonard Bernstein and Dmitri Mitropoulos, performers from Eleanor Steber and Leontyne Price to Vladimir Horowitz, patrons, admirers, and a wide circle of friends and acquaintances in and out of the arts. He also provides an eloquent portrait of the composer's decades-long relationship with, and break from, Gian Carlo Menotti. Informed by new interviews and immense archival research, Samuel Barber is the long-awaited critical and personal biography of a monumental figure in twentieth-century American music"--