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Queens of Noise: The Real Story of the Runaways
by Evelyn McdonnellIn four years the teenage members of the Runaways did what no other group of female rock musicians before them could: they released four albums for a major label and toured the world. The Runaways busted down doors for every girl band that followed. Joan Jett, Sandy West, Cherrie Currie, lead guitarist Lita Ford, and bassists Jackie Fox and Vicky Blue were pre-punk bandits, fostering revolution girl style decades before that became a riot grrrl catchphrase.The story of the Runaways has never been told in its entirety. Drawing on interviews with most of this seminal rock band's former members as well as controversial manager Kim Fowley, Queens of Noise will look beyond the lurid voyeuristic appeal of a sex-drugs-rock 'n' roll saga to give the band its place in musical, feminist, and cultural history.
The Queer Composition of America's Sound: Gay Modernists, American Music, and National Identity
by Nadine HubbsNadine Hubbs shows how a gifted group of Manhattan-based gay composers were pivotal in creating a distinctive "American sound" and in the process served as architects of modern American identity. Focusing on a talented circle that included Aaron Copland, Virgil Thomson, Leonard Bernstein, Marc Blitzstein, Paul Bowles, David Diamond, and Ned Rorem, The Queer Composition of America's Sound homes in on the role of these artists' self-identification.
Queer Country (Music in American Life)
by Shana Goldin-PerschbacherThough frequently ignored by the music mainstream, queer and transgender country and Americana artists have made essential contributions as musicians, performers, songwriters, and producers. Queer Country blends ethnographic research with analysis and history to provide the first in-depth study of these artists and their work. Shana Goldin-Perschbacher delves into the careers of well-known lesbian artists like k.d. lang and Amy Ray and examines the unlikely success of singer-songwriter Patrick Haggerty, who found fame forty years after releasing the first out gay country album. She also focuses on later figures like nonbinary transgender musician Rae Spoon and renowned drag queen country artist Trixie Mattel; and on recent breakthrough artists like Orville Peck, Amythyst Kiah, and chart-topping Grammy-winning phenomenon Lil Nas X. Many of these musicians place gender and sexuality front and center even as it complicates their careers. But their ongoing efforts have widened the circle of country/Americana by cultivating new audiences eager to connect with the artists’ expansive music and personal identities. Detailed and one-of-a-kind, Queer Country reinterprets country and Americana music through the lives and work of artists forced to the margins of the genre's history.
Queer Tracks: Subversive Strategies In Rock And Pop Music (Ashgate Popular and Folk Music Series)
by Doris LeibetsederQueer Tracks describes motifs in popular music that deviate from heterosexual orientation, the binary gender system and fixed identities. This exciting cutting-edge work deals with the key concepts of current gender politics and queer theory in rock and pop music, including irony, parody, camp, mask/masquerade, mimesis/mimicry, cyborg, transsexuality, and dildo. Based on a constructivist concept of gender, Leibetseder asks: ’Which queer-feminist strategies are used in rock and pop music?’ ’How do they function?’ ’Where do they occur?’ Leibetseder's methodological process is to discover subversive strategies in queer theory, which are also used in rock and pop music, without assuming that these tactics were first invented in theory. Furthermore, this book explains where exactly the subversiveness is situated in those strategies and in popular music. With the help of a new kind of knowledge transfer the author combines sociological and cultural theories with practical examples of rock and pop music. The subversive character of these queer motifs is shown in the work of contemporary popular musicians and is at the same time related to classical discourses of the humanities. Queer Tracks is a revised translation of Queere Tracks. Subversive Strategien in Rock- und Popmusik, originally published in German.
Queer Voices
by Freya Jarman-IvensThis book argues that there are some important implications of the role the voice plays in popular music when thinking about processes of identification. The central thesis is that the voice in popular music is potentially uncanny (Freud's unheimlich), and that this may invite or guard against identification by the listener.
Queering the Pitch: The New Gay And Lesbian Musicology
by Philip Brett Elizabeth Wood Gary C. ThomasWhen the first edition of Queering the Pitch was published in early 1994, it was immediately hailed as a landmark and defining work in the new field of Gay Musicology. In light of the explosion of Gay Musicology since 1994, a new edition of Queering the Pitch is timely and needed. In this new work, the editors are including a landmark essay by Philip Brett on Gay Musicology, its history and scope. The essay itself has become a cause celebre, and this will be its first full appearance in print. Along with this new historical essay, the editors are contributing a new introduction that outlines the changes that have occurred over the last decade as Gay Musicology has grown.
Queering the Popular Pitch
by Sheila Whiteley Jennifer RycengaQueering the Popular Pitch is a new collection of 19 essays that situate queering within the discourse of sex and sexuality in relation to popular music. This investigation addresses the changing debates within gay, lesbian and queer discourse in relation to the dissemination of musical texts -performance, cultural production and sexual meaning - situating music within the broader patterns of culture that it both mirrors and actively reproduces. The collection is divided into four parts:queering borders queer spaces hidden histories queer thoughts, mixed media. Queering the Popular Pitch will appeal to students of popular music, Gay and Lesbian studies. With case studies and essays by leading popular music scholars it provides insightful discourse in a growing field of musicological research.
A Queerly Joyful Noise: Choral Musicking for Social Justice
by Julia Jules" BalénA Queerly Joyful Noise examines how choral singing can be both personally transformative and politically impactful. As they blend their different voices to create something beautiful, LGBTIQ singers stand together and make themselves heard. Comparing queer choral performances to the uses of group singing within the civil rights and labor movements, Julia “Jules” Balén maps the relationship between different forms of oppression and strategic musical forms of resistance. She also explores the potential this queer communal space creates for mobilizing progressive social action. A proud member of numerous queer choruses, Balén draws from years of firsthand observations, archival research, and extensive interviews to reveal how queer chorus members feel shared vulnerability, collective strength, and even moments of ecstasy when performing. A Queerly Joyful Noise serves as a testament to the power of music, intimately depicting how participation in a queer chorus is more than a pastime, but a meaningful form of protest through celebration.
Queerness in Heavy Metal Music: Metal Bent (Routledge Studies in Popular Music)
by Amber R. Clifford-NapoleoneWhile the growing field of scholarship on heavy metal music and its subcultures has produced excellent work on the sounds, scenes, and histories of heavy metal around the world, few works have included a study of gender and sexuality. This cutting-edge volume focuses on queer fans, performers, and spaces within the heavy metal sphere, and demonstrates the importance, pervasiveness, and subcultural significance of queerness to the heavy metal ethos. Heavy metal scholarship has until recently focused almost solely on the roles of heterosexual hypermasculinity and hyperfemininity in fans and performers. The dependence on that narrow dichotomy has limited heavy metal scholarship, resulting in poorly critiqued discussions of gender and sexuality that serve only to underpin the popular imagining of heavy metal as violent, homophobic and inherently masculine. This book queers heavy metal studies, bringing discussions of gender and sexuality in heavy metal out of that poorly theorized dichotomy. In this interdisciplinary work, the author connects new and existing scholarship with a strong ethnographic study of heavy metal’s self-identified queer performers and fans in their own words, thus giving them a voice and offering an original and ground-breaking addition to scholarship on popular music, rock, and queer studies.
Queerness in Pop Music: Aesthetics, Gender Norms, and Temporality (Routledge Studies in Popular Music #10)
by Stan HawkinsThis book investigates the phenomenon of queering in popular music and video, interpreting the music of numerous pop artists, styles, and idioms. The focus falls on artists, such as Lady Gaga, Madonna, Boy George, Diana Ross, Rufus Wainwright, David Bowie, Azealia Banks, Zebra Katz, Freddie Mercury, the Pet Shop Boys, George Michael, and many others. Hawkins builds his concept of queerness upon existing theories of opacity and temporality, which involves a creative interdisciplinary approach to musical interpretation. He advocates a model of analysis that involves both temporal-specific listening and biographic-oriented viewing. Music analysis is woven into this, illuminating aspects of parody, nostalgia, camp, naivety, masquerade, irony, and mimesis in pop music. One of the principal aims is to uncover the subversive strategies of pop artists through a wide range of audiovisual texts that situate the debates on gender and sexuality within an aesthetic context that is highly stylized and ritualized. Queerness in Pop Music also addresses the playfulness of much pop music, offering insights into how discourses of resistance are mediated through pleasure. Given that pop artists, songwriters, producers, directors, choreographers, and engineers all contribute to the final composite of the pop recording, it is argued that the staging of any pop act is a collective project. The implications of this are addressed through structures of gender, ethnicity, nationality, class, and sexuality. Ultimately, Hawkins contends that queerness is a performative force that connotes futurity and utopian promise.
The Queerness of Video Game Music (Elements in Music since 1945)
by Tim SummersVideo game music is a significant site of queerness where normative demands are questioned, suspended or loosened. Games resist hegemonic musical logics, challenge musical value systems and use music to complicate essentialist notions of identity. This Element proposes three areas of queerness, each representing different relationships between 'queer design' and 'queer engagement', ranging fromunintentionally resistive to explicit engagement with identity. First, this Element examines musical structures that provide queer temporal alternatives to normative linear development, and interactive systems that reframe the power relationship between musical material and listener. Second, it considers 'retro' or 'chiptune' timbres that queer notions of technological progress to be improvements, rejecting chrononormativity. Finally, the Element discusses music that queers the self/other binary of identity. Games present ways of listening to, engaging with and understanding music that provide opportunities to challenge inherited assumptions and reductive or monolithic values, practices and identities.
The Quest for the Melodic Electric Bass: From Jamerson to Spenner (Ashgate Popular and Folk Music Series)
by Per Elias DrabløsThe double bass - the preferred bass instrument in popular music during the 1960s - was challenged and subsequently superseded by the advent of a new electric bass instrument. From the mid-1960s and throughout the 1970s, a melismatic and inconsistent approach towards the bass role ensued, which contributed to a major change in how the electric bass was used in performance and perceived in the sonic landscape of mainstream popular music. Investigating the performance practice of the new, melodic role of the electric bass as it appeared (and disappeared) in the 1960s and 1970s, the book turns to the number one songs of the American Billboard Hot 100 charts between 1951 and 1982 as a prime source. Through interviews with players from this era, numerous transcriptions - elaborations of twenty bass related features - are presented. These are juxtaposed with a critical study of four key players, who provide the case-studies for examining the performance practice of the melodic electric bass. This highly original book will be of interest not only to bass players, but also to popular musicologists looking for a way to instigate methodological and theoretical discussions on how to develop popular music analysis.
A Question of Balance: Charles Seeger's Philosophy of Music
by Taylor Aitken GreerOne of this century's most influential musical intellects takes center stage in Taylor Greer's meticulously wrought study of Charles Seeger (1886-1979). Seeger left an indelible mark in the fields of musicology, music criticism, ethnomusicology, and avant-garde musical composition, but until now there has been no extended appreciation and critique of Seeger's work as a whole, nor has an accessible guide to his texts been available.Exploring the entire corpus of Charles Seeger's writing, A Question of Balance highlights the work of those persons who most influenced him, especially Henri Bergson, Bertrand Russell, and Ralph Perry. Invited to inaugurate the music department at the University of California's Berkeley campus in 1912, Seeger became keenly aware of his deficiencies in general education and put himself on a rigorous regimen of intellectual development that included studying history, anthropology, political theory, and philosophy. For the remainder of his life his ideas about music heavily influenced the development of ethnomusicology and systematic musicology.Charles Seeger is perhaps best known as the father of the folk singers Pete, Mike, and Peggy Seeger and as the husband of the innovative American composer Ruth Crawford. This book makes clear that Seeger was an extremely important thinker and educator in his own right. Seeger's intellectual curiosity was as eclectic as it was enthusiastic, and Greer skillfully weaves together the connections Seeger made between music, the humanities, and the sciences. The result is a luminous tapestry depicting Seeger's ideal schemes of musicology. At the same time it reflects the turbulence and vitality in American musical life during the early decades of the century.
Qui toca aquesta nit?: Una història del rock en 64 concerts
by Ricky Gil GinerViure la música en directe és una experiència brutal. Sortir de casa, travessar la ciutat, arribar al local i saludar els amics. Barrejar-se entre la gent, els llums que s'apaguen, esperar la primera nota, compartir l'excitació. Aquell moment indescriptible en què toquen la teva cançó. Ricky Gil ha viscut molts concerts en primera persona, a dalt de l'escenari amb les seves bandes o com a espectador d'algunes de les figures més monumentals del rock, del blues, del soul, del punk i d'altres gèneres. I a Qui toca aquesta nit? ens convida a reviure'ls amb un gran talent narratiu. Sisa i Melodrama, Ramones, Bob Dylan, Bruce Springsteen, Curtis Mayfield, Gato Pérez, Elvis Costello, PJ Harvey, Toots and the Maytals, Sex Pistols, Els Surfing Sirles, Neil Young o The Pretenders són alguns dels grans noms que protagonitzen aquestes pàgines. Seixanta-quatre concerts des del 1977 fins avui, a sales mítiques barcelonines (del Zeleste a l'Apolo, de la Monumental al Palau d'Esports, del Bikini a l'Studio 54) i també a Londres o a Nova York.«La música que vam estimar s'esvaneix a cada moment, escriu Ricky Gil, però queden per sempre a la memòria aquells instants en què "després de sortir de casa i just abans d'arrancar la Lambretta, tornàvem a preguntar: Qui toca aquesta nit?».
¿Quién fue Celia Cruz? (¿Quién fue?)
by Pam Pollack Meg Belviso Who HQHow did a working-class girl from Cuba become a symbol of artistic freedom for Cuban Americans and the "Queen of Salsa"? Find out in this addition to the Who HQ library!¿Cómo una niña de clase trabajadora de Cuba se convirtió en un símbolo de libertad artística para los cubanoamericanos y en la "Reina de la Salsa"? ¡Descúbrelo en este nuevo libro para la bibliotheca de Who HQ!Although her family and friends know her as Úrsula Hilaria Celia de la Caridad Cruz Alfonso, the world refers to her simply as Celia Cruz. Starting her career in 1950, Celia grew increasingly popular as the new lead singer of the Cuban band Sonora Matancera. Her exceptional vocal range and flashy costumes made fans fall in love with her.Celia's talent took her all around the world, including the United States. After Fidel Castro came to power in Cuba, she wasn't allowed to return to her native country. She and other Cubans who were exiled used their music to express their love for their homeland.Celia rose to the top of the charts in a genre that was dominated by men. She become an award-winning singer and the most popular Latin artist of the twentieth century. Azucar! indeed!Auntie su familia y amigos la conocen como Úrsula Hilaria Celia de la Caridad Cruz Alfonso, el mundo se refiere a ella simplemente como Celia Cruz. Trap comenzar su carrera en 1950, Celia se hizo cada vez más popular como la nueva cantante principal de la banda cubana Sonora Matancera. Su exceptional rango vocal y sus llamativos vestuarios hicieron que los fanáticos se enamoraran de ella.El talento de Celia la llevó por todo el mundo, incluido Estados Unidos. Después de que Fidel Castro llegó al poder en Cuba, no se le permitió regresar a su país natal. Ella y otros cubanos exiliados usaron su música para expresar su amor por la patria.Celia subió a lo más alto de las listas musicales en un género dominado por hombres. Se convirtió en una cantante galardonada y en la artista latina más popular del siglo XX. ¡Azúcar! ¡Por supuesto!
¿Quién fue Celia Cruz?: ¿Quién fue? Un libro de cartón (Who Was? Board Books)
by Lisbeth Kaiser Who HQThe first Spanish addition to the Who HQ board book series: a biography of Celia Cruz, created specifically for the preschool audience! ¡La primera adición en español de la serie de libros de cartón Who HQ: una biografía de Celia Cruz, creada específicamente para los niños de preescolar!The #1 New York Times Bestselling Who Was? series expands into the Spanish market, bringing age-appropriate biographies of influential figures to readers ages 2-4.The chronology and themes of Celia Cruz's meaningful life are presented in a masterfully succinct text, with just a few sentences per page. The fresh, stylized illustrations are sure to captivate young readers and adults alike. With a read-aloud biographical summary in the back, this age-appropriate introduction honors and shares the life and songs of one of the most influential performers of our time.WHO WAS? BOARD BOOKS bring inspiring biographies to the youngest readers in an accessible and memorable way. La serie "¿Quién fue?", la más vendida del New York Times, se expande al mercado de habla hispana, llevando biografías de personajes influyentes a lectores de 2 a 4 años. La cronología de la significativa vida de Celia Cruz y los temas de sus canciones, se presentan en un texto magistralmente sucinto, con solo unas pocas frases por página. Las frescas y estilizadas ilustraciones seguramente cautivarán a los jóvenes lectores y a los adultos por igual. Con un resumen biográfico para leer en voz alta en la parte posterior, esta introducción adecuada a la edad, honra y comparte la vida y las canciones de una de las intérpretes más influyentes de nuestro tiempo. ¿QUIÉN FUE? LIBROS DE CARTÓN trae las biografías más inspiradoras a los lectores más jóvenes de una manera accesible y memorable.
¿Quién fue Selena? (¿Quién fue?)
by Max Bisantz Kate Bisantz Who HQDescubra por qué Selena, la reina de la música tejana, ¡se convirtió en una de las artistas méxico-americanas más célebres del siglo XX! Discover why Selena, the Queen of Tejano music, became one of the most celebrated Mexican-American entertainers of the twentieth century in this Spanish edition of the WHO HQ series!De joven, Selena Quintanilla cantaba en un grupo llamado Selena y Los Dinos con su hermano y su hermana. La familia actuaba en ferias, bodas, fiestas de quince años y en las esquinas de su Texas natal. Selena aprendió a cantar en español y pronto se hizo muy popular entre la comunidad latina, hasta el punto de convertirse en la artista latina más vendida de la década de 1990. Selena estaba lista para llegar a la cumbre del éxito, pero su vida se vio truncada tras ser herida de muerte por la presidenta de su club de fans. Las contribuciones de Selena a la música y a la moda durante su vida la convirtieron en una de las principales estrellas latinas de la década de 1990, y los lectores querrán saber más sobre la mujer que introdujo en el mundo la música tejana. As a young girl, Selena Quintanilla sang in a band called Selena y Los Dinos with her brother and sister. The family performed at fairs, weddings, quinceañeras, and on street corners in their native Texas. Selena learned how to sing in Spanish and soon became hugely popular within the Latino community--so much so that she became the best-selling Latin artist of the 1990s. Selena was poised to be a great success, but her life was cut short after being fatally wounded by the president of her fan club. Selena's contributions to music and fashion during her life made her one of the top Latin musicians in the 1990s, and readers will want to know more about the woman who introduced the world to Tejano music.
The Quilting Points of Musical Modernism: Revolution, Reaction, and William Walton
by J. P. E. Harper-ScottModernism is both a contested aesthetic category and a powerful political statement. Modernist music was condemned as degenerate by the Nazis and forcibly replaced by socialist realism under the Soviets. Sympathetic philosophers and critics have interpreted it as a vital intellectual defence against totalitarianism, yet some American critics consider it elitist, undemocratic and even unnatural. Drawing extensively on the philosophy of Heidegger and Badiou, The Quilting Points of Musical Modernism proposes a new dialectical theory of faithful, reactive and obscure subjective responses to musical modernism, which embraces all the music of Western modernity. This systematic definition of musical modernism introduces readers to theory by Badiou, Žižek and Agamben. Basing his analyses on the music of William Walton, Harper-Scott explores connections between the revolutionary politics of the nineteenth and twentieth centuries and responses to the event of modernism in order to challenge accepted narratives of music history in the twentieth century.
Quina nit: El disc que va canviar les nostres vides
by Pep Sala Joan CapdevilaEn motiu del 30è aniversari de la publicació del mític disc «Quina nit», els Sau ens expliquen totes les anècdotes, curiositats de concerts inoblidables i moments irrepetibles. Un dels grups pioners del rock català i de més èxit dels anys 90, deu discos i un munt de cançons que han aconseguit arribar fins els nostres dies. Quina nit és el disc que catapulta Sau a l'èxit al 1990. ha venut més de 100.000 còpies i te un himne, El Boig per tu, la cançó més radiada de la història del nostre país. En el 30è aniversari de la seva publicació, la banda SAU30 ho celebra amb el seu públic amb un concert "Quina nit, Quina lluna, que s'emetrà a TV3 al desembre, una gira que comença al gener i un llibre on Pep Sala i en Joan Capdevila, ens expliquen què va passar durant la creació, enregistrament, promoció i gira d'aquest disc únic. Un munt d'anècdotes i curiositats, que ens transportaran als 90, a concerts inoblidables i moments irrepetibles. Un llibre per recordar Sau, les seves cançons i recordar-nos a nosaltres. Pep Sala és un dels músics més influents de la música catalana. Pianista, guitarrista, compositor, arranjador, lletrista i productor, a Sau, Pep Sala & La Banda del Bar i en solitari. Ha col·laborat amb artistes d'arreu del món com Robbie Robertson, Jackson Browne, Steve Hogarth, Kathy Chiavolla, Joan Manel Serrat, Luz Casal, Josep Carreras, Sergio Dalma, Shakira, Dyango. Joan Capdevila, considerat el tercer Sau, va ser colletrista, manager i cofundador de la banda.
Quina relació hi ha entre els macarrons amb formatge i Beethoven?: Les millors receptes per gaudir amb la música de tots els temps
by Jaume BiarnésUn llibre de cuina que ens fa viatjar a través de la música de tots els temps. 30 receptes senzilles i saboroses que dialoguen amb les melodies més exquisides. Quina relació hi ha entre els macarrons amb formatge i Beethoven, el consomé i Verdi o les últimes creacions del Celler de Can Roca i la música d'Erik Satie? <P><P>La història de la cuina i la de la música ha seguit camins paral·lels. En cada moment històric i en cada indret del món, compositors i cuiners han compartit una mateixa manera de veure el món i han desenvolupat les seves creacions amb un esperit comú. En aquest llibre, Jaume Biarnés explora la relació entre la gastronomia i la música a partir de trenta receptes que estableixen un diàleg entre aquests dos mons. Algunes oblidades durant anys en vells llibres de cuina, d'altres, creacions dels xefs més actuals. <P>Des dels primers receptaris de l'antiguitat fins a les més agosarades partitures dels nostres temps, l'autor ens convida a degustar i a escoltar d'una manera fàcil i deliciosa.
Quincy Jones: A Research and Information Guide (Routledge Music Bibliographies)
by Clarence Bernard HenryQuincy Jones: A Research and Information Guide is an annotated bibliography and discography on one of the most prolific composers, arrangers, and conductors in American music. This reference work will appeal to wide range of musicologists, ethnomusicologists and cultural studies scholars.
Quincy Jones: His Life in Music (American Made Music Series)
by Clarence Bernard HenryQuincy Jones (b. 1933) is one of the most prolific composers, arrangers, bandleaders, producers, and humanitarians in American music history and the recording and film industries. Among pop music fans he is perhaps most famous for producing Michael Jackson's album, Thriller. Clarence Bernard Henry focuses on the life, music, career, and legacy of Jones within the social, cultural, historical, and artistic context of American, African American, popular, and world music traditions. Jones's career has spanned over sixty years, generating a substantial body of work with over five hundred compositions and arrangements. The author focuses on this material as well as many of Jones's accomplishments: performing as a young trumpeter in the bands of Lionel Hampton and Dizzy Gillespie, becoming the first African American to hold an executive position in the competitive white-owned recording industry, breaking racial barriers as a composer in the Hollywood film and television industries, producing the best-selling album of all time, and receiving numerous Grammy Awards. The author also discusses many of Jones's compositions, arrangements, and recordings and his compositional study in France with legendary teacher Nadia Boulanger. In addition, details are provided about Jones's distinct ability as one of the most innovative composers and arrangers who incorporates many different styles of music, techniques, and creative ideas in his compositions, arrangements, and film scores. He collaborated with an array of musicians and groups such as Louis Armstrong, Duke Ellington, Miles Davis, Ella Fitzgerald, Sarah Vaughan, Frank Sinatra, Clifford Brown, Ray Charles, Michael Jackson, USA for Africa, and many others. Clarence Bernard Henry shows how Jones has, throughout his career, wholeheartedly embraced philosophies of globalization and cultural diversity in his body of work, collaborations, humanitarian projects, and musical creativity.
Quintet
by David BlumQuintet presents compelling portraits of five artists known and loved by aficionados of classical music: the cellist Yo-Yo Ma, the conductor Jeffrey Tate, the violinist Josef Gingold, the pianist Richard Goode, and the opera singer Birgit Nilsson. This gracefully written book offers a deeply personal look at the lives of these immensely talented and hard-working performers. The essays grew out of conversations the musicians had with the late David Blum, who was himself distinguished both as a conductor and as an author of books and articles on musical subjects.Certain to delight music enthusiasts, Quintet is a perfect holiday gift.
Quintet and Quartets for Piano and Strings (Dover Chamber Music Scores)
by Johannes BrahmsBy 1853 Brahms had emerged as a force in music and would afterward be acknowledged as the greatest master of the symphonic form of the last half of the century. In that generation of composers, only Dvořák (for whom he had a special regard and to whom he gave invaluable aid) produced as much chamber music as the prolific Brahms. This prodigious outpouring, perhaps more than any other aspect of Brahms's oeuvre, provides a clear and uninterrupted view of his artistic development.Here reproduced in this handsome, inexpensive volume is a superb selection of chamber works -- masterful compositions by Brahms, written for violin, viola, cello, and piano. Reprinted from the reliable Breitkopf & Härtel edition, they include Quintet in F Minor, Op. 34; the Quartet in C Minor, Op. 25; and Quartet in A Major, Op. 26, distinguished by their variety of moods, gypsy coloring, and richness of ideas; and the Quartet in C Minor, Op. 60, with its somber and foreboding atmosphere.Standards of the repertoire, these four compositions are strongly dramatic, richly inventive, and filled with ingenious thematic transformations. Musicians, music lovers, and any admirer of Brahms will welcome their appearance in this convenient, affordable edition. Large, readable noteheads and ample margins for notations make this excellent volume an important addition to the library of every serious student of chamber music.
The Quotable Musician: From Bach to Tupac
by Sheila E. AndersonFor those looking for a little more from musicians and composers than music here are quotations of wit and wisdom, anger and admission. Material is divided into 30 topics such as identity, humor, conducting, other musicians, wisdom, and society. Also featured are short interviews with Ron Carter, a discussion about Thelonious Sphere Monk with his son, and Benny Golson. Musicians and composers run the genre gamut, with jazz, classical, and popular musics featured most predominantly. Anderson is the host of Sunday Morning Harmony on WBGO in Newark. The book is geared to a popular readership. Annotation (c)2003 Book News, Inc. , Portland, OR (booknews. com)