Tatjana Goldberg reveals the extent to which gender and socially constructed identity influenced female violinists’ ‘separate but unequal’ status in a great male-dominated virtuoso lineage by focussing on the few that stood out: the American Maud Powell (1867–1920), Australian-born Alma Moodie (1898–1943), and the British Marie Hall (1884–1956). Despite breaking down traditional gender-based patriarchal social and cultural norms, becoming celebrated soloists, and greatly contributing towards violin works and the early recording industry (Powell and Hall), they received little historical recognition. Goldberg provides a more complete picture of their artistic achievements and the impact they had on audiences.

The current volume traces the ways in which women composers from the early 20th century onwards incorporate and reinterpret musical elements of past music in their compositions. It investigates their unique musical writings in which they fuse traditional idioms into their musical contexts. The book reveals the composers’ perspectives toward their compositional techniques and structural constructions, and the influences that lead us to better understand their music. It provides in-depth analyses, with musical examples, of the composers’ mature compositions, and several aspects of their compositional perspectives. It also discusses their personal experiences as they developed in their music careers; for example, organizations, patrons, groups and people in various countries that helped support their music are discussed. It offers an insight into the growth and development of women’s associations, organizations and musical activity that have developed since the 20th century. Valuable information is afforded to young musicians wanting to understand contemporary music, and to listener-readers seeking a wider knowledge of contemporary music by women composers.

Volumes 4-14 include 55th-65th Annual report of the Detroit library commission. 1919/20-1929/30.

The Chelsea Hotel, since its founding by a visionary French architect in 1884, has been an icon of American invention: a cultural dynamo and haven for the counterculture, all in one astonishing building. Sherill Tippins, author of the acclaimed February House,delivers a masterful and endlessly entertaining history of the Chelsea and of the successive generations of artists who have cohabited and created there, among them Thomas Wolfe, Dylan Thomas, Arthur Miller, Allen Ginsberg, Bob Dylan, Janis Joplin, Leonard Cohen, Patti Smith, Robert Mapplethorpe, Andy Warhol, Sam Shepard, Sid Vicious, and Dee Dee Ramone. Now as legendary as the artists it has housed and the countless creative collaborations it has sparked, the Chelsea has always stood as a mystery as well: why and how did this hotel become the largest and longest-lived artists' community in the known world? Inside the Dream Palaceis the intimate and definitive story.

Notoriously reticent about his early years, violinist Jascha Heifetz famously reduced the story of his childhood to "Born in Russia. First lessons at 3. Debut in Russia at 7. Debut in Carnegie Hall at 17. That's all there is to say." Tracing his little-known upbringing, Jascha Heifetz: Early Years in Russia uncovers the events and experiences that shaped one of the modern era's most unique talents and enigmatic personalities. Using previously unstudied archival materials and interviews with family and friends, this biography explores Heifetz's meteoric rise in the Russian music world—from his first violin lessons with his father, to his studies at the St. Petersburg Conservatory with the well-known pedagogue Leopold Auer, to his tours throughout Russia and Europe. Spotlighting Auer's close-knit circle of musicians, Galina Kopytova underscores the lives of artists in Russia's "Silver Age"—an explosion of artistic activity amid the rapid social and political changes of the early 20th century.

The 20th century heard a rich sound coming from America: women making music. Other works may be strictly biographical or cover only one type of musician. This two volume, A-to-Z encyclopedia represents the first major effort to describe the role of women in all forms of music in the United States since 1900.

When Ruth Gipps died in 1999, her legacy was as one of Britain's most prolific female composers. Her creative output spanned some seventy years and includes symphonies, tone poems, concertos, string quartets and various large-scale choral and chamber works. Not content with her creative activities, her boundless energy fuelled her other roles as conductor, concert pianist, orchestral musician and pedagogue. Her many talents were acknowledged but not always respected and she was a figure often dogged by controversy. She gained a reputation for being uncompromising both personally and musically, a reputation that was ultimately to leave her isolated. In the first major review of her life and work the importance of Ruth Gipps is established in two ways: first, as a pioneering woman composer and conductor whose work challenged prevailing attitudes in the era directly after the war and second, as a composer whose musical philosophy was often at odds with mainstream thinking. Although she was branded a reactionary, her position reveals a number of important counter currents in English musical life in the twentieth century. The first section of the book documents her formative years, her life as child prodigy, the disruption and opportunities offered by war, the dramatic end of her career as a concert pianist and her subsequent entry into the world of conducting. The influence of key figures such as Vaughan Williams, Arthur Bliss, Malcolm Arnold and George Weldon is explored, as is Gipps's habitually thorny relationship with a range of musical institutions including the BBC and the City of Birmingham Symphony Orchestra. In the second part of the book her compositional output is reviewed. Works are explored via the guiding themes of her creative agenda; namely anti-modernism and Englishness. The book closes with an analysis of a group of works which all have gendered narratives or readings. As Gipps regularly used personal experience as the basis for such musical narr