In incisive portraits based on searching interviews with these legendary performers, Peter Guralnick captures the boundless passion that drove these men to music-making and that kept them determinedly, and sometimes almost desperately, on the road.

    Using the art-deco style of the period, Rachel Isadora not only captures the poignancy and yearning of a youthful talent, but in page after page of striking art seems to convey the very sound of music.

    When it was first published in 1979, it became an international bestseller. This 25th anniversary edition includes a new foreword by Vladimir Ashkenazy, as well as black-and-white photos. "Testimony changed the perception of Shostakovich's life and work dramatically, and influenced innumerable performances of his music." - New Grove Dictionary

    Two centuries have passed since Chopin's birth, yet his legacy is all around us today. The quiet revolution he wrought influenced the development of Western music profoundly, and he is still probably the most widely studied and revered composer. For many, he is the object of a cult. Yet most people know little of his life, of the man, his thoughts and his feelings; his public image is a sugary blur of sentimentality and melodrama. Adam Zamoyski cuts through the myths and legends to tell the story of Chopin's life, and to reveal all that can be discovered about him as a person. He pays particular attention to recent revelations about the composer's health, and places him within the intellectual and spiritual environment of his day.

    A truly remarkable collection including: All My Loving * And I Love Her * Come Together * Eleanor Rigby * Get Back * Help * Hey Jude * I Want to Hold Your Hand * Let It Be * Michelle * many, many more.

    . . . Not many scholars will ever be able to achieve the kind of synthesis of 'doing' and 'writing about' their subject matter that Chernoff has achieved, but he has given us an excellent illustration of what is possible."—Chet Creider, Culture"Chernoff develops a brilliant and penetrating musicological essay that is, at the same time, an intensely personal and even touching account of musical and cultural discovery that anyone with an interest in Africa can and should read. . . . No other writing comes close to approaching Chernoff's ability to convey a feeling of how African music 'works'"—James Koetting, Africana Journal"Four stars. One of the few books I know of that talks of the political, social, and spiritual meanings of music. I was moved. It was so nice I read it twice."—David Byrne of "Talking Heads"The companion cassette tape has 44 examples of the music discussed in the book. It consists of field recordings illustrating cross-rhythms, multiple meters, call and response forms, etc.

    Gift notes to flyleaf and very light shelfwear to jacket, tight and unmarked.

    But because of the work's rich complexity it is difficult to think sensibly about its text and music. Deryck Cooke, author of The Language of Music and completer of Mahler's Tenth Symphony, displays his masterly common sense in this study of how and why The Ring took the shape it did. It is only a portion of the enormous book he had planned: his untimely death prevented his writing an analysis of the music. But it covers the first two operas of the cycle ( Rheingold and The Valkyrie ) and even as it stands gives a fresh understanding and appreciation to every lover of Wagner's music.

    The popular recording star and successful songwriter--known in Nashville as the Storyteller--recounts his rise to stardom, provides inside glimpses of the country-music business, and profiles his fellow Opryland stars.

    With over 150 dazzling photographs the book reveals the reality of the movement in dances, clothes, style and scooters. The book contains ephemera gathered from the earliest days of Mod, from the seaside to Carnaby Street, as well as a glorious celebration of a lifestyle, gratifyingly accurate and visually meticulous.

    Altho his recordings were never bestsellers & there were times when he was more greatly appreciated in the UK, Canada & the 3rd World than at home, the late Philip David Ochs was one of the few American folksingers, aside from Woody Guthrie & Bob Dylan, who wrote & performed his own songs. This singing journalist's earliest ballads--championing civil rights, pacifism & revolution, attacking unemployment & US foreign policy--dealt with the romance of politics. Later ones celebrated the politics of romance. Fascinated by night, death, drowning, James Dean & Elvis Presley, Ochs was only 36 when, after surviving an attack in Africa followed by a psychotic break, he hanged himself in 1976. Eliot's sympathetic, powerful biography 1st appeared in paperback in 1979. Newer editions contain an epilog that updates information on Ochs's family & friends, discusses the FBI's 13-year surveillance of him & offers a revised discography.

    Frame traces the development and history of Eric Clapton, Led Zeppelin, The Rolling Stones, Genesis, The Police, and more with his hand-drawn rock trees.

    The book presents imaginative advice and practical techniques for producing successful recitals and kindling audience excitement. Every aspect of the recital is covered, from building programs and the use of acting skills to the relationship between the singer and the accompanist. Singers of all levels and backgrounds will benefit from the authors' vast experience in the performance of song recitals as a singer/accompanist team. The comprehensive repertoire lists, now organized by voice and instrumentation as well as by composer, appeal to both students and professional musicians. Readers will agree that the authors have met their goal of providing "extensive, thoroughgoing, and definitive insights into the attributes that can render the song recital at once a great art and a magnificent entertainment." Includes new, 25-page Repertoire Lists by Voice and Instrument(s).

    Includes: Alabama Getaway * Alligator * Built to Last * Casey Jones * Cosmic Charlie * Eyes of the World * Fire on the Mountain * If I Had the World to Give * Operator * Ship of Fools * Stella Blue * Sugar Magnolia * Truckin' * Touch of Grey * Uncle John's Band * Wharf Rat and more.

    'Elvis '56' shows us the King before the curtain fell - Elvis at his most innocent, most vulnerable, most intensely charismatic - Elvis in the last moments before the man became a legend.

    The bestselling Wee Sing line is now tailored for the most modern Wee Sing fans! These eight classic Wee Sing titles are now in a great new package—a book and CD in a reusable blister!

    

    A comprehensive collection of studies for beginners to improve their reading and technical ability. Covers: positions 1 through 7 in all keys while introducing scales, arpeggios, written-out chords, and a variety of rhythms and time signatures.

    This volume conveniently brings together for the first time three of these major works, reproduced from complete and authentic first editions. Never before have these important works been available in a full-sized, inexpensive edition.Included in this volume are Don Juan, Tod und Verklärung, and Don Quixote. Also included are new English translations of programmatic texts, instrumentation, original title pages, and the composer's musical indications in the score.The beautifully engraved scores are printed with clarity and precision throughout. The music has been reproduced in a size large enough to be read easily, with large noteheads, wide margins for written notes, annotations, etc. and on opaque paper with sturdy, sewn bindings. Pages lie flat and will not fall out. The edition is practical for almost any use, whether as a study guide, a reference, or an indispensable companion for your greater musical enjoyment.

    Legendary studio guitarist Tommy Tedesco shares his personal hints and exercises for improving picking technique and sight reading abilities, while offering countless other i

    A biography of the lives and careers of the Brothers Gibb, very successful rhythm and blues artists, with numerous black and white photographs.

    Gall family beneath in red. Correct interpretation of the neums is the singer's basis for developing adequate performance of the Gregorian melodies.

    This volume conveniently brings together for the first time three of these major works, reproduced from complete and authentic first editions. Never before have these important works been available in a full-sized, inexpensive edition. Included in this volume are Till Eulenspiegels lustige Streiche (Till Eulenspiegel's Merry Pranks); Also sprach Zarathustra (Thus Spake Zarathustra); and Ein Heldenleben (A Hen's Life).Also included are new English translations of the preamble to Also sprach Zarathustra, instrumentation, original title pages, and the composer's musical indications in the score.The beautifully engraved scores are printed with clarity and precision throughout. The music has been reproduced in a size large enough to be read easily, with large noteheads, wide margins for written notes, annotations, etc. and on opaque paper with sturdy, sewn bindings. Pages lie flat and will not fall out. The edition is practical for almost any use, whether as a study guide, a reference, or an indispensable companion for your greater musical enjoyment.

    To the list of works, the author added some early pieces that have recently come to light, as well as the late compositions, including the "Requiem Canticles" and "The Owl and the Pussycat." Four more of Stravinsky's own writings appear in the Appendices, and there are several important additions to the bibliography.

    His life story has been particularly susceptible to romanticizing, marked as it was by humble origins, sudden success and fame, and an early death from tuberculosis.Nolan Porterfield's biography banishes the rumors and myths that have long shrouded the Blue Yodeler's life story. Unlike previous writings about Rodgers, Porterfield's book derives from extensive and detailed research into original sources: private letters, personal interviews, court records, and newspaper accounts. Jimmie Rodgers significantly expands and alters our knowledge of the entertainer's life and career, explaining the nature of his role in American culture of the Depression era and providing insightful background on the milieu in which he worked. Porterfield writes a preface for this edition.

    Latino rap has brought a musical revolution, while Latin and Brazilian jazz are ever more significant on the jazz scene. With the first edition of The Latin Tinge, John Storm Roberts offered revolutionary insight into the enormous importance of Latin influences in U.S. popular music of all kinds. Now, in this revised second edition, Roberts updates the history of Latin American influences on the American music scene over the last twenty years. From the merengue wave to the great traditions of salsa and norte�a music to the fusion styles of Cubop and Latin rock, Roberts provides a comprehensive review. With an update on the jazz scene and the careers of legendary musicians as well as newer bands on the circuit, the second edition of The Latin Tinge sheds new light on a rich and complex subject: the crucial contribution that Latin rhythms are making to our uniquely American idiom.

    Players and students, music historians, and Haydn lovers will have inexpensive access to a uniform, strongly bound, and clearly printed modern edition of Haydn's finest pieces in complete score. Musicians, music students, and music publishers have a difficult time keeping up with Haydn, whose ceaseless production of original, first-rate work was legendary. He essayed most of the recognized genres, confessing upon several a legacy of expanded possibilities and clearly defined, characteristic form. Among these may be mentioned the symphony, the sonata, and perhaps most notably, the quartet. In a period of 50 years, Haydn (1732–1809) composed over 80 string quartets. Scholars are still debating questions of attribution and even completeness (unknown works by Haydn still turn up) and music lovers have had to make do with scattered, out-of-date, out-of-print editions of a few of the more familiar quartets. Haydn's affinity to the quartet began with his earliest works, when he perhaps more than anyone established the 4-movement structure of chamber music. In common with truly great and complete artists, who surpass early innovation to achieve their greatest work at the end, Haydn's last quarters are his best. This work contains the full scores of Op. 74, Nos. 1–3 (including The Horseman); Op. 76, Nos. 1–6 (including The Bell, The Donkey, Emperor, and Sunrise); and Op. 77, Nos. 1, 2 (including Wait till the clouds roll by). Large, readable noteheads, ample margins for fingerings, etc., opaque paper and permanent binding make this a fundamental addition to music libraries and musicians' repertories.

    It spans forms in use before 1600 through forms and techniques in use today. Anthology of Musical Forms provides musical examples of forms treated in Structure and Style. Some examples are analyzed throughout. Most are left for the student to analyze. These books reflect Leon Stein's impressive background as student, musician, and composer. Stein studied composition with Leo Sowerby, Frederick Stock (conductor of the Chicago Symphony), and orchestration with Eric DeLamarter, his assistant. He earned M. Mus and Ph.D degrees at DePaul University and was associated with its School of Music as director of the Graduate Division and chairman of the Department of Theory and Composition until his retirement in 1976. He has composed a wide variety of works, including compositions for orchestra, chamber combinations, two operas, and a violin concerto.

    

    

    5, No. 1; Four Fleeting Pieces, Op. 15; Three Preludes and Fugues, Op. 16; Variations on a Theme by Robert Schumann, Op. 20; Romance, Op. 11, No. 2; and Three Romances, Op. 21. Selected and with an Introduction by Dr. Nancy B. Reich.

    Covering all eras and styles, it features detailed biographies of 571 blues artists, 450 photographs and many pages of facts. Features of the book include various indices (of radio, TV, film, and theatre appearances; song titles; artist and place names), an extensive list of record company names and addresses, and various bibliographies (of out-of-print books and periodicals, and magazines currently available). The account of each artist includes a biographical history as well as a critical evaluation and list of principal influences.

    Profiles the life and career of one of the leaders of contemporary rock and roll music, noting the character of his stage performances and the inspirations for his songs.

    The book tells the story of the folk music community in Cambridge, Massachusetts, from its beginnings in living rooms and Harvard Square coffeehouses in the late 1950s to the heyday of the folk music revival in the early 1960s. Hundreds of historical photographs, rescreened for this edition, and dozens of interviews combine to re-create the years when Joan Baez, Bob Dylan, and a lively band of Cambridge folksingers led a generation in the rediscovery of American folk music.Compiled by two musicians who were active participants in the Cambridge folk scene, the volume documents a special time in United States culture when the honesty and vitality of traditional folk music were combined with the raw power of urban blues and the high energy of electric rock and roll to create a new American popular music.

    75 songs collected, adapted, written and sung by the Clancy Brothers and Tommy Makem. Piano/vocal plus chords. Illustrated.

    All songs written by Strummer-Jones except 'I Fought The Law' (Sonny Curtis) and 'Pressure Drop' (Toots Hibbert).

    But it is rare to find one that seeks an alternative between the fragmentation found in most specialized studies and the superficial overview typical of popular biography. In this volume, Carl Dahlhaus, one of the century's leading musicologists, combines interpretations of individual works that focus on issues of composition and musical history, with excursions into the musical aesthetics of the period around 1800; an age that was not only a classical period in the history of the arts but also one in that aesthetics carved itself a place in the center of philosophical attention. The theme of the book is the reconstruction of Beethoven's musical thinking from the evidence in the works themselves and their context in the history of ideas.

    The book rests in part upon Arnold Schoenberg's concept of Grundgestalt, or Basic Shape, as the singular germinal source from which all aspects of a musical work arise. Though Schoeberg based his philosophy of composition upon this idea, he discussed it explicitly in his writings only minimally. Beyond Orpheus clarifies and illuminates the concept, drawing from the writings of Stoenberg and those of his circle. It traces the development of the concept from the music of Mozart, Haydn, Beethoven, Brahms, and others, through the ultimate extension of certain of its systematic principles in twelve-tone music and total serialism. In the light of this continuous line of thought from the Viennese classics through the present, the question is asked whether aspects of total serialism are themselves found in classical music. In other words, do works of the eighteenth and nineteenth centuries arise from basic shapes that influence their structure not only with regard to thematic unities of pitch and rhythm, but also with regard to harmonies, tonal plans, and secondary qualities of phrasing, inflection, articulations, dynamics, timbres--in short, in their total compositional and structural character? The author concludes that they do, to a much greater degree than is generally recognized. He marshals extensive examples and analyses literature to demonstrate the point. The question of norms arises in this discussion, particularly those standard norms of harmony, tonal plan, metric and rhythmic placement, and conventional formal procedures that largely mold classic-romantic music. The author shows that shapes intrinsic to individual works provide a structural rationale for the seeming anomalies at times found in the musical behavior of these works, for their departure, that is, from the norms of convention, create their own norms and extend them to many parameters: it is these intrinsic norms that provide the unique character of the works, and special bases for their coherence and unity. The author's conclusions are illustrated and illuminated by the numerous excerpts from scores by Haydn, Mozart, Beethoven, Schubert, Schumann, Brahms, Schoenberg, and other composers.

    Modal counterpoint is the style of composition that was employed until the tonal revolution pioneered by Bach; it is the basis for most Early Music. Benjamin, a composer and pedagogue, offers a complete analysis of this important musical style. He begins by covering general aspects of the style, then covers in detail two, three, and four-part counterpoint. The Motet, an important form of vocal composition in this period, is studied separately. The book concludes with a brief anthology of key scores, 15 in all, for the student to study further. Also includes 132 musical examples.

    

    Professor Dahlhaus dissociated himself from all such ventures. His aim is to reveal, by careful analysis of the works from Der fliegende Hollander to Parsifal, the dominant features of 'music drama' and how Wagner achieves such profound, unified effects. Professor Dahlhaus cites music examples only when they are germane to his argument and requires from his readers no more than a limited amount of technical musical knowledge. This is not, therefore, an exclusively specialist study. Rather it will help the enthusiastic beginner to come to terms with these great works of art as well as offering many valuable insights to the experienced Wagnerian. The book will be of interest to students and scholars of music history, theory, opera and philosophy.

    Eight of the 14 chapters lay the foundation for understanding Suzuki's Mother Tongue Approach, its procedures, and its benefits. The authors have given their ideas of what it takes to be a Suzuki teacher, how to structure an effective lesson, what to cover in those first lessons, and how to do it. Using more than 400 musical examples, the teaching points and the interpretation of the seven volumes of music are presented. In addition, some alternate fingerings are suggested and places where the Suzuki edition departs from the original edition are noted.