Book URL: https://www.areditions.com/rr/rra/a073.html This edition consists of musical transcriptions of all eight recordings of Sam Morgan¿s Jazz Band, made in New Orleans in 1927. These are among the first recordings of black New Orleans jazz bands made in their home city and, as the band consisted of musicians who stayed on in New Orleans after the Great Exodus to Chicago and New York in the early 1920s, the recordings preserve a purer form of the collectively improvised ensemble of the earliest black jazz bands. It is a loosely integrated, purely linear ensemble mass, a collective projecting of melodic lines close to the unassimilated heterophonic singing of the Black Primitive Baptist and Sanctified Churches. This proto jazz style was being rapidly eclipsed in the 1920s by more flamboyant and technically brilliant forms of New Orleans jazz being recorded by Louis Armstrong, Sidney Bechet, and Jelly Roll Morton. The scores contained herein are the first complete transcriptions of this rare and distinctive music to appear in print.

Since 1998 when FRBR (Functional Requirements for Bibliographic Records) was first published by IFLA, the effort to develop and apply FRBR has been extended in many innovative and experimental directions. Papers in this volume explain and expand upon the extended family of FRBR models including Functional Requirements for Authority Data (FRAD), Functional Requirements for Subject Authority Data (FRSAD), and the object-oriented version of FRBR known as FRBRoo. Readers will learn about dialogues between the FRBR Family and other modeling technologies, specific implementations and extensions of FRBR in retrieval systems, catalog codes employing FRBR, a wide variety of research that uses the FRBR model, and approaches to using FRBR for the Semantic Web. Librarians of all stripes as well as library and information science students and researchers can use this volume to bring their knowledge of the FRBR model and its implementation up to date. This book was published as a special issue of Cataloging & Classification Quarterly.

“When I think of music, I think of you and vice-versa,” John Cage told David Tudor in the summer of 1951. Looking back years later, Cage said that every work he composed in the ensuing two decades was composed for Tudor—even if it was not written for the piano, Tudor’s nominal instrument. The collaboration of Cage and Tudor reached an apex in the Solo for Piano from Cage’s Concert for Piano and Orchestra (1957–58). None of Cage’s previous works had employed more than a single type of notation. In contrast, the Solo for Piano consists of eighty-four notational types, ranging from standard line-and-staff notation to extravagant musical graphics. The notational complexity of the Solo for Piano led Tudor to write out—or realize—a performance score, from which he played at the premiere of the Concert for Piano and Orchestra in May 1958. The next spring, when Cage requested music to complement his ninety-minute lecture “Indeterminacy,” Tudor created a second realization, for which he devised a new temporal structure to implement Cage’s notations. This edition of Tudor’s second realization of the Solo for Piano presents Tudor’s performance score in the spatial-temporal layout of its proportional notation. An introductory essay discusses the early collaborations of Cage and Tudor, as well as the genesis, creative process, and performance history of the Solo for Piano. The critical commentary examines each of Tudor’s methods of realization; which notations from Cage’s score Tudor selected and why; how Tudor interpreted Cage’s often ambiguous performance instructions; how Tudor distributed the resulting sounds temporally; and the ways in which Tudor’s realization fulfills, transcends, and sometimes contravenes the instructions of Cage’s score.

George Whitefield Chadwick (1854–1931), a Massachusetts native identified with the so-called second “New England School” of composers, is among the most important and creative American composers in the generation that bridged the nineteenth and twentieth centuries. Trained in part in Germany, he spent much of his working life educating other musicians at the New England Conservatory of Music, which he led from 1897 until his death. Chadwick fashioned a compelling individual musical voice rooted in a Euro-American musical idiom; his orchestral and chamber music was performed with some frequency in his own day and has been revived in ours. His opera The Padrone, set to a libretto by David K. Stevens (based on an idea from Chadwick himself), was composed in 1912; it was strongly influenced by the “verismo” operas of the time (such as Leoncavallo’s Pagliacci and Puccini’s Tosca), which attempted to bring to opera the naturalism of such late nineteenth-century writers as Zola and Ibsen. The Padrone is set in an American city (presumably the North End of Boston) in the “present.” The story, a tragic tale in two acts with an orchestral interlude, revolves around a ruthless member of the Italian community (“the padrone”) and his exploitation of more recently arrived immigrants. Chadwick composed The Padrone for submission to the Metropolitan Opera Company in New York, but the opera was rejected, probably because of its gritty realism, and was never staged during Chadwick’s lifetime. (The Padrone exists only in manuscript form and has never been published; its only public performance so far took place in 1997.) In contrast to American operas of its generation that dramatize myths and legends from the ancient past, The Padrone brings a modern story to the stage, set to music of dramatic power and superb craftsmanship.

This edition brings together representative transcriptions of folk songs and ballads in the British-Irish-American oral tradition that have enjoyed widespread familiarity throughout twentieth-century America. Within are the one hundred folk songs that most frequently occurred in a methodical survey of Roud’s Folk Song Index, catalogues of commercial early country (or "hillbilly") recordings, and relevant archival collections. The editors selected sources for transcriptions in a broad range of singing styles and representing many regions of the United States. The selections attempt to avoid the biases of previous collections and provide a fresh group of examples, many heretofore unseen in print. The sources for the transcriptions are recordings of traditional musicians from the 1920s through the early 1940s drawn from (1) commercial recordings of "hillbilly" musicians, and (2) field recordings in the collection of the Library of Congress’s Archive of American Folk Song, now part of the Archive of Folk Culture. Each transcription is accompanied by a brief contextualizing essay discussing the song’s history and influence, recording and performance information (whenever available), and an examination of the tune. The edition begins with a substantive essay about the history of folk song recordings and folk song scholarship, and the nature of traditional vocal music in the United States.

“When I think of music, I think of you and vice-versa,” John Cage told David Tudor in the summer of 1951. Looking back years later, Cage said that every work he composed in the ensuing two decades was composed for Tudor—even if it was not written for the piano, Tudor’s nominal instrument. The collaboration of Cage and Tudor reached an apex in the Solo for Piano from Cage’s Concert for Piano and Orchestra (1957–58). None of Cage’s previous works had employed more than a single type of notation. In contrast, the Solo for Piano consists of eighty-four notational types, ranging from standard line-and-staff notation to extravagant musical graphics. The notational complexity of the Solo for Piano led Tudor to write out—or realize—a performance score, from which he played at the premiere of the Concert for Piano and Orchestra in May 1958. The next spring, when Cage requested music to complement his ninety-minute lecture “Indeterminacy,” Tudor created a second realization, for which he devised a new temporal structure to implement Cage’s notations. This edition of Tudor’s second realization of the Solo for Piano presents Tudor’s performance score in the spatial-temporal layout of its proportional notation. An introductory essay discusses the early collaborations of Cage and Tudor, as well as the genesis, creative process, and performance history of the Solo for Piano. The critical commentary examines each of Tudor’s methods of realization; which notations from Cage’s score Tudor selected and why; how Tudor interpreted Cage’s often ambiguous performance instructions; how Tudor distributed the resulting sounds temporally; and the ways in which Tudor’s realization fulfills, transcends, and sometimes contravenes the instructions of Cage’s score.

Appalachian Spring is perhaps the most popular work by Aaron Copland (1900–1990). Composed as a ballet for the renowned choreographer Martha Graham (1894–1991), it was the result of a close collaboration between Copland and Graham, and the music quickly took on a life of its own. However, the best known versions of the score, those most frequently recorded and heard in concert, differ in form and musical content from the original ballet, which was scored for a chamber ensemble of thirteen instruments and premiered by the Martha Graham Dance Company at the Library of Congress on 30 October 1944. This edition presents the first completed engraving of the original version of Appalachian Spring, providing musicians and scholars access to the score as it has been performed for more than 75 years by the Graham Company. On each page of the score, the editors have included stills from the 1958 film of the ballet, with Graham dancing the lead role, in order to highlight the connection between music and dance. An introductory essay explores the creation of the work, the musical structure, the origins of and differences among multiple versions of the score, and the continued significance and influence of Copland’s music. The critical commentary draws on manuscript and published sources, as well as Graham Company performance practice, to illuminate editorial decisions. The edition also includes appendices that present a comparison of historical tempi, markings from the Graham tradition for augmenting the orchestration, and a selected discography of different versions of the score.

This volume is a critical edition of early blues-related sheet music, including forty-three known blues songs and instrumental compositions from the first four years of the blues industry, 1912–15, and twenty-four pre-1912 proto-blues; that is, published works stylistically related to the emerging blues style (for instance, using a twelve-bar blues sequence) from 1850–1912. The purpose of the edition is to present in systematic form, and for the first time, the rise of popular blues culture. Up until 1920, sheet music was the dominant medium of blues dissemination. The first blues recordings did not appear until 1914, two years after the appearance of sheet music; furthermore, almost all the recordings of blues that did appear before 1920 were of pre-existent published compositions. This situation only changed with the rise of the race record industry in the 1920s when the identity of blues became increasingly linked to recordings. For this earliest period of blues history, the documentation offered by sheet music is crucial. A majority of this music has not been reissued since its original publication, while some has never been published at all, and exists only as copyright deposits in the Library of Congress. As a body of work, it is little known to historians and musicians despite its importance to the understanding of the evolution of blues and popular music.