This work seeks to fill an important gap in the music education literature: the significance of important music by important composers and the essence of the childhood experience. It aims to avoid being yet another teaching methodology. Instead, Ian Sharp links an analysis of childhood qua childhood with music expressly about childhood.

This study asserts that Stravinsky's Octour pour instruments a vents (1923) is pivotal within Stravinsky's progressions in regard to orchestrational practice, instrumental choices, and compositional choices, and presents it as the point in which all of these transitions came together for the first time. After an opening discussion of Stravinsky's early life and compositional career, it concentrates on setting up the Octet and Concerto through discussion of the years leading up to their composition. In addition to placing the two works within their context of their position and broader influence upon Stravinsky's surrounding production, it provides a full musical analysis of the Octet, followed by comparative analysis between it and the Concerto. The analysis is predominantly centered around compositional practices and orchestrational techniques.

Based on specific literary resouces, this book provides information on over 260 pieces of orchestral program music up to 1950. Each entry consists of: an account of relevant aspects of the author's and composer's life and about the relationship between the music and it's source.

Jonathan Harvey's Bhakti, commissioned by Pierre Boulez in association with IRCAM, has been widely recognized as one of the most influential works of the 1980s and one of the major electroacoustic compositions ever to be produced at IRCAM, Paris. It has been performed worldwide by the most influential ensembles of contemporary music. This study provides the reader with a comprehensive platform of discussion including a rigorous analytical scrutiny of the serial techniques used by the composer, an in-depth exploration of the electroacoustic techniques employed for the realisation of the tape part, a discussion about the composer's aesthetics and the correspondence between the music and its metaphysical meaning in conjunction with the Rig Veda texts that have inspired the work, an interview with the composer, and a final forum about the work including eminent musicologists, composers and conductors such as Joel Chadabe, Arnold Whittall, James Wood, Eric De Visscher and other leading personalities of the international contemporary music circuit.

This book is a valuable tool for anyone researching the bassoon or bassoon-related topics. It includes citations for nearly every book, article, dissertation, thesis, and video dealing with the bassoon. It is divided into different sections, allowing one to easily look up available information on a particular bassoon player, composer, information on bassoon reeds, or other aspects of the instrument. There is also an alphabetical section by author included along with the category listings. The set-up of the volume is similar to that of a telephone book, with headers at the top of each page, allowing one to readily browse through and find the needed information quickly.

For this vast array of information in these studies, Dr. Radice, Curator of the Karel Husa Archive and Gallery at Ithaca College School of Music, P. rofessor of Music History at Ithaca, has provided cohesion in his opening essay, in which he offers full biographical dat in addition to discussions of everything that Karel has written to date; he has also included selected, edited, and translated correspondence dating back into the 1940s with extensive annotations about personalities and compositions.

This book presents these significant scores in a modern edition that is suitable for scholars and performers. Copious critical notes and discussions of various aspects of the manuscripts, sources, will be most enlightening for musicologists interested in Haydn source materials. H. C. Robbins Landon introduced a citation of authentic parts for Symphony no. 93 in his monumental study, The Symphonies of Joseph Haydn, with the remarks: As this book goes to press, I have made the discovery that parts of all twelve London symphonies were printed by J. P. Salomon with the firm Monzani & Cimador... Textually these parts are of the utmost importance, since comparison with the autographs shows that this edition was made from Salomon's MS. orchestral material and not from the scores.1 Twenty some years after those words were written, score copies of Haydn's symphonies 97, 93, 94 and 98 came to light at the British Library2 that are likewise traceable to Salomon and clearly establish his role as one of the earliest agents for the transmission of the London symphonies in authentic guise. 1792 and 1794, most likely at his behest, using the original performing parts or Salomon's own copies of them as their model. Thus, their importance as sources for the symphonies in question can scarcely be overestimated. Michael Ruhling traces the history of these fascinating scores, examining the myriad of details that reflect their striking resemblance to Haydn's own autographs. He reveals that Salomon's scores preserve numerous details of articulation, phrasing, even of note material that are absent from the autographs; and adduces Salomon's later quintet arrangements of the symphonies, wherein the same details are duplicated, as evidence of the sound and manner that shaped the works at their earliest performances. Ruhling concludes his study with first-ever editions of Salomon's score copies. Handsomely engraved and meticulously documented, these editions present a delight to the eye as well as a provocation to thoughtful study.

John La Montaine is known primarily for his Concerto for Piano and Orchestra, Opus 9, which was awarded the Pulitzer Prize for Music in 1959. In addition, he has won countless awards for composition. However, his compositions for voice and piano are not yet an established part of the vocal solo repertoire. This work illustrates La Montaine's music for voice and piano through an analysis of musical and dramatic elements that support the text and drama. A biographical study provides details about the composer's life such as musical training, personal influences, awards and goals. In addition, the issues of philosophy, creativity, methods, musical styles, and textual considerations are discussed and are the basis for the following analysis.

This is the autobiography of American's internationally renowned African-American classical voice coach for concert, oratorio, and opera, as well as a distinguished arranger and interpretative authority on Negro spirituals. Mrs. Lee has been a pioneer in te musical fireld as the first African-American hired onto the staffs of the metropolitan Opera and the Curtis Institute of Music. She worked with world-acclaimed singers Elisabeth Schumann, Paul Robeson, Dorothy Maynor, Laurence Winters, Mattiwilda Dobbs, Jessye Norman and Kathleen Battle. Her appearnce on PBS TV with Kathleen Battle and Wynton Marsalis was a fascinating critcal interaction between artists and teacher. She has been honoured by the United Nations and the National Women's Hall of Fame.

Based upon and containing many of Holst's own personal letters, diaries and notebook entries, this study provides an intimate portrait of this larger-than-life personality. Many of Holst's innermost thoughts regarding musical composition, performance and music education are disclosed here. In addition, there is a significant amount of information concerning Holst's work ethics at all six of his places of employment. It also provides a view of the composer from this side of the Atlantic, shedding considerable light on Holst's plans and activities regarding his three American visits that is not found in the other biographies. A significant number of chapters are devoted to Holst's 1932 semester-long lectureship at Harvard University. The appendices include examples of Holst's manuscripts, thumbnail sketches of persons associated with his career, and (unique to this text) a chronological listing of his compositions.