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Book
xiii, 401 p. : ill. (some col.), music ; 26 cm + 1 sound recording (digital ; 4 3/4 in.)
Music Library
Book
193 p. : music ; 24 cm.
Music Library
Book
1 online resource.
  • Ballad Opera: Commercial Song in Enlightenment Garb / Berta Joncus
  • After 'Anger': modern Britain in the postwar musical / Elizabeth Wells
  • / Ben Francis
  • Towards a British Concept Musical: the Shows of Anthony Newley and Leslie Bricusse / David Cottis
  • The pop music industry and the British musical / Ian Sapiro
  • / Sarah Browne
  • Les Miserables: from epic novel to epic musical / Kathryn M. Grossman, Bradley Stephens
  • Billy Elliot and Its Lineage: the Politics of Class and Sexual Identity in British Musicals since 1953 / Robert Gordon
  • Humming the set': scenography and the musical from Cats to Lord of the Rings / Christine White
  • Noel Coward: sui generis / Dominic McHugh
  • Joan Littlewood: Collaboration and Vision / Ben Macpherson
  • Between Opera and Musical: Theatre Music in Early Nineteenth-Century London / Christina Fuhrmann
  • Lionel Bart: British Vernacular Musical Theatre / Millie Taylor
  • Tim Rice: the Pop Star Scenario / Olaf Jubin
  • Cameron Mackintosh: Control, Collaboration and the Creative Producer / Miranda Lundskaer-Nielsen
  • Andrew Lloyd Webber: haunted by the Phantom / David Chandler
  • The Beggar's Legacy: Playing with Music and Drama, 1920-2003 / Robert Lawson-Peebles
  • Mamma Mia! and the Aesthetics of the 21st Century Jukebox Musical / George Rodosthenous
  • Attracting the Family Market: Shows with Cross-generations Appeal / Rebecca Warner
  • Genre Counterpoints: Challenges to the Mainstream Musical / David Roesner
  • Some Yesterdays Always Remain: Black British and Anglo-Asian Musical Theatre / Ben Macpherson
  • Comic opera: English society in Gilbert and Sullivan / Carolyn Williams
  • Introduction / Robert Gordon, Olaf Jubin
  • English musical comedy, 1890-1924 / Stephen Banfield
  • English West End Revue: World War I and after / David Linton
  • Musical Comedy in the 1920s and 1930s: Mr Cinders and Me and My Girl as Class-Conscious Carnival / George Burrows
  • West End Royalty: Ivor Novello and English operetta, 1917-1951 / Stewart Nicholls
  • The American invasion: the impact of Oklahoma! and Annie Get Your Gun / Dominic Symonds
  • / John M. Snelson.
The Oxford Handbook of the British Musical provides a comprehensive academic survey of British musical theatre offering both a historical account of the musical's development from 1728 and a range of in-depth critical analyses of the unique forms and features of British musicals, which explore the aesthetic values and sociocultural meanings of a tradition that initially gave rise to the American musical and later challenged its modern pre-eminence. After a consideration of how John Gay's The Beggar's Opera (1728) created a prototype for eighteenth-century ballad opera, the book focuses on the use of song in early nineteenth century theatre, followed by a sociocultural analysis of the comic operas of Gilbert and Sullivan; it then examines Edwardian and interwar musical comedies and revues as well as the impact of Rodgers and Hammerstein on the West End, before analysing the new forms of the postwar British musical from The Boy Friend (1953) to Oliver! (1960). One section of the book examines the contributions of key twentieth century figures including Noel Coward, Ivor Novello, Tim Rice, Andrew Lloyd Webber, director Joan Littlewood and producer Cameron Macintosh, while a number of essays discuss both mainstream and alternative musicals of the 1960s and 1970s and the influence of the pop industry on the creation of concept recordings such as Jesus Christ Superstar (1970) and Les Miserables (1980). There is a consideration of "jukebox" musicals such as Mamma Mia! (1999), while essays on overtly political shows such as Billy Elliot (2005) are complemented by those on experimental musicals like Jerry Springer: the Opera (2003) and London Road (2011) and on the burgeoning of Black and Asian British musicals in both the West End and subsidized venues. The Oxford Handbook of the British Musical demonstrates not only the unique qualities of British musical theatre but also the vitality and variety of British musicals today.
(source: Nielsen Book Data)9780199988747 20170206
Book
viii, 244 p. : ill., music ; 25 cm.
  • Introduction: Finding Fantasy Janet K. Halfyard 1 Fantasy and the Exotic Other: The Films of Ray Harryhausen Mark Brill, University of Texas, San Antonio 2 Numinous Ambience: Spirituality, Dreamtimes and Fantastic Aboriginality Philip Hayward, Southern Cross University, Australia 3 Who Wants to Live Forever: Glam Rock, Queen and Fantasy Film J. Drew Stephen, University of Texas, San Antonio 4 Fantasy Meets Electronica: Legend and the Music of Tangerine Dream Lee Barron, Northumbria University 5 Entering the Labyrinth: How Henson and Bowie Created a Musical Fantasy Liz Giuffre, Macquarie University 6 Superman as Mythic Narrative: Music, Romanticism and the 'Oneiric Climate' Ben Winters, Christ Church, University of Oxford 7 Music and Fantasy Types in Tim Burton's Edward Scissorhands Alexander G. Binns, University of Hull 8 The Tritone Within: Interpreting Harmony in Elliot Goldenthal's Score for Final Fantasy: The Spirits Within Scott Murphy, University of Kansas 9 Scoring Fantasy Girls: Music and Female Agency in Indiana Jones and The Mummy films Janet K. Halfyard and Victoria Hancock 10 Creating Magic with Music: The Changing Dramatic Relationship between Music and Magic in Harry Potter Films Jamie L. Webster 11 Superconductors: Music, fantasy and science in The Sorcerer's Apprentice Janet K. Halfyard.
  • (source: Nielsen Book Data)9781908049933 20160609
Fantasy has had a modern resurgence in cinema due largely to the success of superhero narratives and the two major fantasy series, the Lord of the Rings and Harry Potter. Often regarded as mere escapism, this genre has been neglected as the subject of serious academic work. This volume explores the way in which music and sound articulate the fantastic in cinema and contribute to the creation of fantasy narratives. Fantasy invokes the magical within its narratives as the means by which to achieve what would be impossible in our own reality, as compared to sci-fi's as-yet unknown technologies and horror's dark and deadly supernatural forces. Fantasy remains problematic, however, because it defies many of the conventional mechanisms by which genre is defined such as setting, mood and audience. In a way quite unlike its co-genres, fantasy moves with infinite flexibility between locations - the world (almost) as we know it, historical, futuristic or mythic locations; between moods - heroic, epic, magical; and between audiences - children, teens, adults. In English-language cinema, it encompasses the grand mythic narratives of Lord of the Rings, Legend and The Seventh Voyage of Sinbad, the heroic narratives of Superman, Flash Gordon and Indiana Jones and the magical narratives of Labyrinth, Edward Scissorhands and the Harry Potter series, to name just some of films that typify the variety that the genre offers. What these films all have in common is a requirement that the audience accepts the a fundamental break with reality within the diegesis of the filmic narrative, and embraces magic in its many and various forms, sometimes benign, sometimes not. This volume examines music in fantasy cinema across a broad historical perspective, from Bernard Herrmann's scores for Ray Harryhausen, through the popular music scores of the 1980s to contemporary scores for films such as The Mummy and the Harry Potter series, allowing the reader to see not only the way that the musical strategies of fantasy scoring have changed over time but also to appreciate the inventiveness of composers such as Bernard Herrmann, John Williams, Jerry Goldsmith, Danny Elfman and Elliot Goldenthal, and popular musicians such as Queen and David Bowie in evoking the mythic, the magical and the monstrous in their music for fantasy film.
(source: Nielsen Book Data)9781908049933 20160609
Music Library
Book
xvii, 603 pages : portraits ; 26 cm
Beginning with the era of synchronized sound in the 1920s, music has been an integral part of motion pictures. Whether used to heighten the tension of a scene or evoke a subtle emotional response, scores have played a significant-if often unrealized-role in the viewer's enjoyment. In The Invisible Art of Film Music, Laurence MacDonald provides a comprehensive introduction for the general student, film historian, and aspiring cinematographer. Arranged chronologically from the silent era to the present day, this volume provides insight into the evolution of music in cinema and analyzes the vital contributions of scores to hundreds of films. MacDonald reviews key developments in film music and discusses many of the most important and influential scores of the last nine decades, including those from Modern Times, Gone with the Wind, Citizen Kane, Laura, A Streetcar Named Desire, Ben-Hur, Lawrence of Arabia, The Godfather, Jaws, Ragtime, The Mission, Titanic, Gladiator, The Lord of the Rings, Brokeback Mountain, and Slumdog Millionaire. MacDonald also provides biographical sketches of such great composers as Max Steiner, Alfred Newman, Franz Waxman, Bernard Herrmann, Elmer Bernstein, Henry Mancini, Maurice Jarre, John Barry, John Williams, Jerry Goldsmith, Dave Grusin, Ennio Morricone, Randy Newman, Hans Zimmer, and Danny Elfman. Updated and expanded to include scores produced well into the twenty-first century, this new edition of The Invisible Art of Film Music will appeal not only to scholars of cinema and musicologists but also any fan of film scores.
(source: Nielsen Book Data)9780810890589 20160612
Green Library
Book
1 online resource (352 pages) : digital, PDF file(s).
  • 1. Introduction: the leitmotif problem-- Part I. Musical Themes: 2. Motive, phrase, melody, and theme-- 3. Thematic development, thematic identity: musical themes and the prototype model-- Part II. Musical Association: 4. The phenomenon of musical association-- 5. Piece specifics, cultural generics, and associative layering-- 6. From 'Nibelheim' to Hollywood: the associativity of harmonic progression-- Part III. Leitmotifs in Context: 7. The paradigm of Wagner's Ring-- 8. Leitmotif in Western art music outside the Ring-- 9. The modern-day leitmotif: associative themes in contemporary film music.
  • (source: Nielsen Book Data)9781107098398 20160618
The musical leitmotif, having reached a point of particular forcefulness in the music of Richard Wagner, has remained a popular compositional device up to the present day. In this book, Matthew Bribitzer-Stull explores the background and development of the leitmotif, from Wagner to the Hollywood adaptations of The Lord of The Rings and the Harry Potter series. Analyzing both concert music and film music, Bribitzer-Stull explains what the leitmotif is and establishes it as the union of two aspects: the thematic and the associative. He goes on to show that Wagner's Ring cycle provides a leitmotivic paradigm, a model from which we can learn to better understand the leitmotif across style periods. Arguing for a renewed interest in the artistic merit of the leitmotif, Bribitzer-Stull reveals how uniting meaning, memory, and emotion in music can lead to a richer listening experience and a better understanding of dramatic music's enduring appeal.
(source: Nielsen Book Data)9781107098398 20160618
Book
xvi, 320 p. : ill. ; 24 cm.
  • List of Illustrations Preface Acknowledgments Introduction Part I. The Proverbial Trees: Patterns of Change in African American Music Making 1. "Blest Be the Tie That Binds": Part I: Congregational Singing as a Worship Ethos for Dr. Watts Hymns 2. "Blest Be the Tie That Binds": Part II: Regional Style Traditions of Dr. Watts Hymn Singing 3. "Our God, Our Help in Ages Past": The Tradition of Dr. Watts in English Historical Perspective 4. "Father, I Stretch My Hands to Thee": The Tradition of Dr. Watts in African Historical Perspective 5. "I Love the Lord, He Heard My Cries": The Role of Dr. Watts Hymns in the Musical Acculturation of African Americans 6. "Go Preach My Gospel, Saith the Lord": Words as Movers and Shakers in African American Music Part II. The Proverbial Forest: Webs of Significance in African American Music Making 7. "I Heard the Voice of Jesus Say": The Singing Life of the Reverend Doctor C.{ths}J. Johnson (1913-90) 8. "Come Ye That Love the Lord": The Lining Out-Ring Shout Continuum and the Five-Key Sequence 9. "God Moves in a Mysterious Way": The Lining Out-Ring Shout Continuum beyond Church Walls Conclusion Appendix A. Selection of Transcribed and Discussed Performances Appendix B. Partial Annotated List of Recorded Lining-Out Performances Held in the Archive of Folk Culture, Library of Congress Notes Bibliography Discography Index.
  • (source: Nielsen Book Data)9780520234482 20160528
This book, a milestone in American music scholarship, is the first to take a close look at an important and little-studied component of African American music, one that has roots in Europe, but was adapted by African American congregations and went on to have a profound influence on music of all kinds - from gospel to soul to jazz. 'Lining out', also called Dr. Watts hymn singing, refers to hymns sung to a limited selection of familiar tunes, intoned a line at a time by a leader and taken up in turn by the congregation. From its origins in seventeenth-century England to the current practice of lining out among some Baptist congregations in the American South today, William Dargan's study illuminates a unique American music genre in a richly textured narrative that stretches from Isaac Watts to Aretha Franklin and Ornette Coleman. "Lining Out the Word" traces the history of lining out from the time of slavery, when African American slaves adapted the practice for their own uses, blending it with other music, such as work songs. Dargan explores the role of lining out in worship and pursues the cultural implications of this practice far beyond the limits of the church, showing how African Americans wove African and European elements together to produce a powerful and unique cultural idiom. Drawing from an extraordinary range of sources - including his own fieldwork and oral sources - Dargan offers a compelling new perspective on the emergence of African American music in the United States.
(source: Nielsen Book Data)9780520234482 20160528
hdl.handle.net ACLS Humanities E-Book
SAL3 (off-campus storage)
Book
535 p. ; 24 cm
  • Just like another intro
  • Some further notes on method
  • Song information
  • 1974
  • 301: Lily, Rosemary, and the Jack of Hearts
  • 302: Tangled up in blue
  • 303: You're a big girl now
  • 304: Shelter from the storm
  • 305: Bell tower blues
  • 306: If you see her, say hello
  • 307: Call letter blues
  • 308: There ain't gonna be a next time
  • 309: Where do you turn (turning point)?
  • 310: It's breakin' me up
  • 311: Simple twist of fate
  • 312: Idiot wind
  • 313: Don't want no married woman
  • 314: You're gonna make me lonesome when you go
  • 315: Up to me
  • 316: Ain't it funny
  • 317: Little bit of rain
  • 318: Buckets of rain
  • 319: Meet me in the morning
  • 1975-6
  • 320: Money blues
  • 321: Footprints in the sand
  • 322: One more cup of coffee (valley below)
  • 323: Golden loom
  • 324: Oh sister
  • 325: Abandoned love
  • 326: Isis
  • 327: Joey
  • 328: Rita May
  • 329: Hurricane
  • 330: Black diamond bay
  • 331: Catfish
  • 332: Mozambique
  • 333: Romance in Durango
  • 334: Sara
  • 335: Sign language
  • 336: Wiretappin'
  • 337: Patty's gone to Laredo
  • 338: What will you do when Jesus comes?
  • 339: Seven days
  • 1977-8
  • 340: I'm cold
  • 341: Changing of the guards
  • 342: Is your love in vain?
  • 343: Senor (tales of Yankee power)
  • 344: No time to think
  • 345: True love tends to forget
  • 346: We better talk this over
  • 347: Where are you tonight? (journey through dark heat)
  • 348: First to say goodbye
  • 349: Her version of jealousy
  • 350: If I don't be there by morning
  • 351: Walk out in the rain
  • 352: Coming from the heart (the road is long)
  • 353: New pony
  • 354: Baby stop crying
  • 355: Stop now
  • 356: Afternoon
  • 357: Romance blues
  • 358: Satisfy me
  • 359: Baby give it up
  • 360: Someone else's arms
  • 361: Tell me the truth one time
  • 362: Responsibility
  • 363: Wandering kind
  • 364: What's the matter?
  • 365: Brown skin girl
  • 366: Her memory
  • 367: Without you
  • 368: Miss tea and sympathy
  • 369: More than flesh and blood
  • 370: I must love you too much
  • 371: Stepchild
  • 372: You don't love me no more
  • 373: This a-way, that a-way
  • 374: Take it or leave it
  • 375: Daddy's gonna take one more ride
  • 376: Legionnaire's disease
  • 377: Slow train
  • 378: Do right to me baby (do unto others)
  • 1979-80
  • 379: Gotta serve somebody
  • 380: I believe in you
  • 381: Ye shall be changed
  • 382: Trouble in mind
  • 383: Man gave names to all the animals
  • 384: No man righteous (no not one)
  • 385: Gonna change my way of thinking
  • 386: Precious angel
  • 387: When you gonna wake up?
  • 388: When he returns
  • 389: Saving grace
  • 390: Stand by faith
  • 391: Blessed is the name
  • 392: Covenant woman
  • 393: In the garden
  • 394: Pressing on
  • 395: Saved
  • 396: Solid rock
  • 397: What can I do for you?
  • 398: Are you ready?
  • 399: Be that way
  • 400: I will love him
  • 401: Cover down break through
  • 402: Ain't gonna go to hell for anybody
  • 1980-1
  • 403: Property of Jesus
  • 404: Every grain of sand
  • 405: Caribbean wind
  • 406: Groom's still waiting at the altar
  • 407: Yonder comes sin
  • 408: Let's keep it between us
  • 409: Makin' a liar
  • 410: City of gold
  • 411: Shot of love
  • 412: You changed my life
  • 413: Angelina
  • 414: Heart of mine
  • 415: Is it worth it?
  • 416: Yes sir, no sir (halleluiah)
  • 417: In the summertime
  • 418: Need a woman
  • 419: Almost persuaded
  • 420: Borrowed time
  • 421: Rockin' boat
  • 422: I want you to know I love you
  • 423: Gonna love you anyway
  • 424: Movin' (wait & see)
  • 425: Fur slippers
  • 426: Singing this song for you
  • 427: Reach out
  • 428: Ah ah ah
  • 429: All the way down
  • 430: Wind blowin' on the water
  • 431: Child to me
  • 432: King is on the throne
  • 433: Be careful
  • 434: Magic
  • 435: Dead man, dead man
  • 436: Trouble
  • 437: Don't ever take yourself away
  • 438: Watered-down love
  • 439: Lenny Bruce
  • 440: Jesus is the one
  • 441: Thief on the cross
  • 442: Let me begin to love
  • 1982-3
  • 443: It's right
  • 444: Jokerman
  • 445: I and I
  • 446: Clean cut kid
  • 447: Union sundown
  • 448: Blind Willie McTell
  • 449: Don't fall apart on me tonight
  • 450: License to kill
  • 451: Man of peace
  • 452: Sweetheart like you
  • 453: Back to the wall
  • 454: How many days?
  • 455: Half-finished song
  • 456: Prison station blues
  • 457: Someone's got a hold of my heart (=tight connection)
  • 458: Neighborhood bully
  • 459: Tell me
  • 460: Foot of pride
  • 461: Julius and Ethel
  • 462: Lord protect my child
  • 463: Death is not the end
  • 1984-6
  • 464: I once knew a man
  • 465: Who loves you?
  • 466: Almost done (angel of rain)
  • 467: I see you round and round
  • 468: Dirty lie
  • 469: Enough is enough
  • 470: Go 'way little boy
  • 471: Honey, wait for me
  • 472: Driftin' too far from shore
  • 473: New Danville girl (=Brownsville girl)
  • 474: Something's burning, baby
  • 475: Look yonder
  • 476: Gravity song
  • 477: Prince of plunder (=maybe someday)
  • 478: Seeing the real you at last
  • 479: I'll remember you
  • 480: Queen of rock and roll
  • 481: Trust yourself
  • 482: Emotionally yours
  • 483: Straight as in love
  • 484: Very thought of you
  • 485: Waiting to get beat
  • 486: When the night comes falling from the sky
  • 487: When the line forms
  • 488: Never gonna be the same again
  • 489: Dark eyes
  • 490: As time passes by
  • 491: Too hot to drive
  • 492: Shake
  • 493: Under your spell
  • 494: Band of the hand (it's hell time man!)
  • 495: Rock em' dead
  • 496: You wanna ramble
  • 497: Got my mind made up
  • 498: Jammin' me
  • 499: Had a dream about you, baby
  • 500: Ride this train
  • 501: To fall in love with you
  • 502: Night after night
  • 503: Fear, hate, envy, and jealousy
  • 1987-9
  • 504: Love rescue me
  • 505: Congratulations
  • 506: Political world
  • 507: What good am I?
  • 508: Dignity
  • 509: Handle with care
  • 510: Dirty world
  • 511: End of the line
  • 512: Heading for the light
  • 513: Last night
  • 514: Margarita
  • 515: Not alone anymore
  • 516: Rattled
  • 517: Tweeter and the monkey man
  • 518: Born in time
  • 519: God knows
  • 520: Disease of conceit
  • 521: What was it you wanted
  • 522: Broken days (=everything is broken)
  • 523: Ring them bells
  • 524: Series of dreams
  • 525: Most of the time
  • 526: Three of us
  • 527: TV talkin' song
  • 528: Where teardrops fall
  • 529: Shooting star
  • 530: Man in the long black coat
  • 1990-5
  • 531: Handy dandy
  • 532: Cat's in the well
  • 533: 10,000 men
  • 534: Night of the living dead
  • 535: Unbelievable
  • 536: Under the red sky
  • 537: Heartland
  • 538: Wiggle wiggle
  • 539: 2 x 2
  • 540: Shirley Temple don't live here anymore
  • 541: Devil's been busy
  • 542: If you belonged to me
  • 543: Inside out
  • 544: Like a ship
  • 545: Seven deadly sins
  • 546: She's my baby
  • 547: Where were you last night?
  • 548: New blue moon
  • 549: Wilbury twist
  • 550: Poor house
  • 551: Cool, dry place
  • 552: You took my breath away
  • 553: Steel bars
  • 554: Well, well, well
  • 555: Howlin' at your window
  • 556: Tragedy of the trade
  • 557: Time to end this masquerade
  • 1996-9
  • 558: Dirt road blues
  • 559: Can't wait
  • 560: Mississippi
  • 561: Highlands
  • 562: All I ever loved is you
  • 563: Dreamin' of you
  • 564: Marchin' to the city (=doing alright)
  • 565: Million miles
  • 566: Not dark yet
  • 567: Red river shore
  • 568: Standing in the doorway
  • 569: Cold irons bound
  • 570: Tryin' to get to heaven
  • 571: Make you feel my love
  • 572: Til I fell in love with you
  • 573: Love sick
  • 574: Things have changed
  • 2000-1
  • 575: Summer days
  • 576: Tweedle Dee & Tweedle Dum
  • 577: Honest with me
  • 578: Lonesome day blues
  • 579: Bye and bye
  • 580: Floater (too much to ask)
  • 581: Moonlight
  • 582: Po' boy
  • 583: High water (for Charlie Patton)
  • 584: Cry a while
  • 585: Sugar baby
  • 586: Waitin' for you
  • 2002-6
  • 587: Cross the green mountain
  • 588: Tell Ol' Bill
  • 589: Can't escape from you
  • 590: Thunder on the mountain
  • 591: Spirit on the water
  • 592: Rollin' and tumblin'
  • 593: When the deal goes down
  • 594: Someday baby
  • 595: Workingman's blues #2
  • 596: Beyond the horizon
  • 597: Nettie Moore
  • 598: Levee's gonna break
  • 599: Ain't talkin'
  • 600: Huck's tune
  • Endnotes
  • Acknowledgments
  • Select bibliography
  • Copyright information
  • Song index
  • General index.
From the Dust Jacket: The second of two volumes, this companion to every song that Bob Dylan ever wrote is the most comprehensive book on the words of America's greatest songwriter. Here you'll find not just opinionated commentary or literary interpretation, but facts, first and foremost. Clinton Heylin is the world's leading Dylan biographer and expert, and he has arranged the songs-including a number that have never been performed-in a continually surprising chronology of when they were actually written rather than when they appeared on albums. Using newly discovered manuscripts, anecdotal evidence, and a seemingly limitless knowledge of every Bob Dylan live performance, he has uncovered a wealth of information about the songs, leaving no stone unturned in his research. Here we learn the details of the various women who inspired the songs on Blood on the Tracks and Desire, Dylan's contributions to the Traveling Wilburys, why he left "Blind Willie McTell" off of Infidels and "Series of Dreams" off of Oh Mercy, what broke the long dry spell he had in the 1990s, what material he appropriated from other sources for Love and Theft and Modern Times, and much more. Reading this volume will fundamentally change how you hear Dylan's songs and will make you want to revisit his lesser-known masterpieces. This is an essential purchase for every true Bob Dylan fan-as a guide to the man's work, it will never be surpassed.
Music Library
Book
xii, 315 p., [16] p. of plates : ill. ; 25 cm.
This book is a major source of information about one of the most influential British composers of the mid-twentieth century and the musicians he knew. It also provides details of the musical relationship between Paris and London before, during and after World War II. Berkeley had a ring-side seat when he lived in Paris, studied with Nadia Boulanger and wrote reviews about musical life there from 1929 to 1934. His little known letters to her reveal the mesmeric power of this extraordinary woman. Berkeley was an elegant writer, and it is fascinating to read his first-hand memories of composers such as Ravel, Poulenc, Stravinsky and Britten. The book also contains interviews with Berkeley's colleagues, friends and family. These include performers such as Julian Bream and Norman Del Mar; composers Nicholas Maw and Malcolm Williamson; the composer's eldest son Michael, the composer and broadcaster; and Lady Berkeley. Lennox Berkeley knew Britten well, and there are many references to him in this eminently readable collection. Peter Dickinson, British composer and pianist, has written and edited numerous books about twentieth-century music, including Cage Talk: Dialogues with and about John Cage as well as Samuel Barber Remembered (both with University of Rochester Press) and three books published by Boydell Press: The Music of Lennox Berkeley/I>; Copland Connotations; and Lord Berners: Composer, Writer, Painter. Peter Dickinson's music is widely performed and recorded. Dickinson knew Berkeley from 1956 until the composer's death in 1989; performed many of the songs with his sister, the mezzo Meriel Dickinson; and has written and broadcast regularly about his music.
(source: Nielsen Book Data)9781843837855 20160610
Music Library

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