The dean of Broadway musical directors examines the dynamics of how the book, music and lyrics work together to create such hits as My Fair Lady, Fiddler on the Roof, Guys and Dolls, Hair, Pal Joey, West Side Story, Company, South Pacific, Threepenny Opera and Porgy and Bess. Howard Kissel, chief theater critic for the New York Daily News, extends the reach of Engel's subjects by bringing them up to date with commentary on such shows as A Chorus Line, Nine, Sunday in the Park with George, Rent, Working and Falsettos. Kissel offers a thoughtful history on how musical theater has evolved in the three decades since Engel wrote Words with Music (1972) and how Engel's classic work remains vital and illuminating today.

The definitive guide to the world of contemporary and electronic music by the media's top music pundit 'An exhilarating history of pop - a brilliant and joyous book' Guardian 'A passionate, irresistible encouragement to listen more, and to listen better' Sunday Times Has pop burnt itself out? Inspired by the video for Kylie Minogue's hit single 'Can't Get You Out of My Head', acclaimed rock journalist Paul Morley is driving with Kylie towards a virtual city built of sound and ideas in search of the answer. Their journey bridges the various paradoxes of twentieth-century culture, as they encounter a succession of celebrities and geniuses - including Madonna, Kraftwerk, Wittgenstein and the ghost of Elvis Presley - and explore the iconic and the obscure, the mechanical and the digital, the avant-garde and the very nature of pop itself.

Music in Words is a compact guide to researching and writing about music, addressing all the issues that anyone who writes about music--from students to professional musicians and critics--may confront when putting together anything from brief program notes to a lengthy thesis. The book is a writing guide and a reference manual in one: the first part, a "how to" section, offers a clear explanation of the purpose of music research and how it is to be done, including basic introductions to the most necessary tools for musical inquiry (with special emphasis on strategic use of the internet), and how they can be accessed and used. The second part is a compendium of information on style and sources for quick reference, including a straightforward presentation of the purpose and use of citation and reference systems as they are applied to and in music. As a whole, the volume gives readers a clear picture of how to write about music at different levels and for different purposes in a handy, thoroughly cross-referenced format. This American edition has been thoroughly revised and expanded, and features an extensive section on writing for the Internet and new sections on writing for jazz, popular music, world musics, and ethnography. Additionally, a companion website presents a broad range of writing samples and links to key resources.

An analysis of the songs, recordings, and influence of one of the most colorful and controversial American artists of the past quarter century.

New York Times Bestseller An NPR Best Book of the Year Winner of the Chicago Tribune Literary Award Finalist for the Marfield Prize, National Award for Arts Writing "Reads the way Mr. Glass's compositions sound at their best: propulsive, with a surreptitious emotional undertow." —Corinna da Fonseca-Wollheim, New York Times Philip Glass has, almost single-handedly, crafted the dominant sound of late-twentieth-century classical music. Yet in Words Without Music, his critically acclaimed memoir, he creates an entirely new and unexpected voice, that of a born storyteller and an acutely insightful chronicler, whose behind-the-scenes recollections allow readers to experience those moments of creative fusion when life so magically merged with art. From his childhood in Baltimore to his student days in Chicago and at Juilliard, to his first journey to Paris and a life-changing trip to India, Glass movingly recalls his early mentors, while reconstructing the places that helped shape his creative consciousness. Whether describing working as an unlicensed plumber in gritty 1970s New York or composing Satyagraha, Glass breaks across genres and re-creates, here in words, the thrill that results from artistic creation. Words Without Music ultimately affirms the power of music to change the world.

"The Words and Music of Sting subdivides Sting's life and works into rough periods of creative activity and offers a fantastic opportunity to view Sting's many stylistic changes within a coherent general framework. After analyzing Sting's musical output album by album and song by song, author Christopher Gable sums up Sting's accomplishments and places him on the continuum of influential singer-songwriters, showing how he differs from and relates to other artists of the same period. A discography, filmography, and bibliography conclude the work." --Book Jacket.

Born David Jones in a London suburb in 1947, David Bowie changed his name in the late 60s to avoid confusion with the singer David Jones of The Monkees. This name change, however, would turn out to be a highly prescient act: in incorporating an exceptionally wide variety of styles, Bowie would become the most notorious chameleon of the rock era.

Despite John Lennon's immense popularity, little attention has been paid to his work apart from the Beatles. Yet his solo artistry not only illuminates what he gave to the Beatles, but also constitutes a significant contribution to popular music in general. Lennon was able to fuse experiments in technology, instrumentation, lyrics, and musical form into recordings that were both artistically and commercially successful. Few singer-songwriters have been his equal. In this long overdue investigation, authors Ben Urish and Ken Bielen give Lennon's artistry the opportunity to speak for itself. After a brief biographical introduction, chronologically arranged chapters discuss his incredible body of work album-by-album and single-by-single. A discography and annotated bibliography conclude the book. Despite John Lennon's immense popularity, little attention has been paid to the overall efforts of his work apart from the Beatles. Yet his solo artistry not only illuminates what he gave to the Beatles (and what the Beatles experience gave to him), but also constitutes a significant contribution to popular music in general. Lennon was able to fuse experiments in technology, instrumentation, lyrics, and musical form into recordings that were both artistically and commercially successful. Whether expressing emotions, explaining philosophies, protesting social situations, or ruminating on the joys and pains of personal entanglements, few singer-songwriters have been his equal. In this long overdue investigation, authors Ben Urish and Ken Bielen give Lennon's artistry the opportunity to speak for itself. After a brief biographical introduction, chronologically arranged chapters discuss his incredible body of work album-by-album and single-by-single. A discography and annotated bibliography conclude the book. Although he is often lauded as a spokesperson for his generation, this praise, however intended, is far too limiting. Lennon was able to transform the intensely personal into the deeply universal (as well as the reverse), often with humor and pointed insight. At their core, his songs are simultaneously humanistic and transcendent. And as such, they-and he-continue to be relevant, and will certainly remain a valuable part of our cultural heritage for a long time to come.

Words, Music, and the Popular: Global Perspectives on Intermedial Relations opens up the notion of the popular, drawing useful links between wide-ranging aspects of popular culture, through the lens of the interaction between words and music. This collection of essays explores the relation of words and music to issues of the popular. It asks: What is popularity or ‘the’ popular and what role(s) does music play in it? What is the function of the popular, and is ‘pop’ a system? How can popularity be explained in certain historical and political contexts? How do class, gender, race, and ethnicity contribute to and complicate an understanding of the ‘popular’? What of the popularity of verbal art forms? How do they interact with music at particular times and throughout different media?