Although supporters and critics of conductor Leopold Stokowski have disagreed over his contribution to symphonic music, a consensus developed that he was a man of paradox and mystery, an extrovert showman reclusively shy about who he was and what he was trying to do in music. This volume attempts to solve the mysteries. Includes an annotated discography.

Leopold Stokowski began his career in England as an organist and choirmaster. This first major study of Stokowski's early years covers his education at the Royal College of Music, his church posts in London, and his three years spent as director of music at New York's prestigious St. Bartholomew's Church. An examination of the programs of his organ recitals (played on the third largest organ in America), a list of his repertoire, facsimiles of his original choral works, an analysis of his Aeolian player organ roll of Bach's Passacaglia, and a detailed study of his famous orchestral transcriptions of Bach's organ works, reveals a new and unique insight into Stokowski's unparalleled career in music.

The Encyclopedia of Music in the 20th Century is an alphabetically arranged encyclopedia of all aspects of music in various parts of the world during the 20th century. It covers the major musical styles--concert music, jazz, pop, rock, etc., and such key genres as opera, orchestral music, be-bop, blues, country, etc. Articles on individuals provide biographical information on their life and works, and explore the contribution each has made in the field. Illustrated and fully cross-referenced, the Encyclopedia of Music in the 20th Century also provides Suggested Listening and Further Reading information. A good first point of reference for students, librarians, and music scholars--as well as for the general reader.

A Dictionary of the Avant-Gardes recognizes that change is a driving force in all the arts. It covers major trends in music, dance, theater, film, visual art, sculpture, and performance art--as well as architecture, science, and culture.

"Arved Ashby writes with a keen sense of the historical processes, ironies, and reversals that seem to characterize the ways that musicologists think about, and contemporary listeners experience, works and performance. This book is a major contribution to the burgeoning body of critical musicological literature on recordings; anybody interested in that field, or in the question of the 'artwork' in the contemporary world, needs to read this book--which fortunately, is a great pleasure to do."--Adam Krims, author of Music and Urban Geography "The relationship between classical music and recording is strangely conflicted: on the one hand recorded music is the perfect realization of aesthetic autonomy, on the other hand it commodifies music and transforms its role within society. Ashby's book offers a penetrating analysis of these cultural conflicts, showing how technological developments from the phonogram to the mp3 have changed our basic sense of what music is as well as the ways in which we consume it. What emerges from this sustained study of the relationship between technology and values is a view of classical musical culture that is both richer and truer to life."--Nicholas Cook, author of A Guide to Musical Analysis "Lively and persuasive. Ashby has the enviable, rare ability to lead the reader comfortably through highly complex material without oversimplifying. This is a must-read for composers, music theorists, performers, musicologists, critics, and anyone with an interest in classical music beyond the elementary level."--Jonathan Dunsby, author of Performing Music

Recordings are now the primary way we hear classical music, especially the more abstract styles of "absolute" instrumental music. In this original, provocative book, Arved Ashby argues that recording technology has transformed our understanding of art music. Contesting the laments of nostalgic critics, Ashby sees recordings as socially progressive and instruments of a musical vernacular, but also finds that recording and absolute music actually involve similar notions of removing sound from context. He takes stock of technology's impact on classical music, addressing the questions at the heart of the issue. This erudite yet concise study reveals how mechanical reproduction has transformed classical musical culture and the very act of listening, breaking down aesthetic and generational barriers and mixing classical music into the soundtrack of everyday life.

The Music Documentary offers a wide-range of approaches, across key moments in the history of popular music, in order to define and interrogate this prominent genre of film-making. The writers in this volume argue persuasively that the music documentary must be considered as an essential cultural artefact in documenting stars and icons, and musicians and their times – particularly for those figures whose fame was achieved posthumously. In this collection of fifteen essays, the reader will find comprehensive discussions of the history of music documentaries, insights in their production and promotion, close studies of documentaries relating to favourite bands or performers, and approaches to questions of music documentary and form, from the celluloid to the digital age.

Theosophy across Boundaries brings a global history approach to the study of esotericism, highlighting the important role of Theosophy in the general histories of religion, science, philosophy, art, and politics. The first half of the book consists of seven perspectives on the activities of the Theosophical Society in very different regional contexts, ranging from India, Vietnam, China, and Japan to Victorian Britain and Israel, shedding new light on the entanglement of "Western" and "Oriental" ideas around 1900. The second half explores specific cultural influences that Theosophy exerted in the spheres of literature, art, and politics, using case studies from Sri Lanka, Burma, India, Japan, Ireland, Germany, and Russia. The examples clearly show that Theosophy was part of a truly global movement, thus providing an outstanding example of the complex entanglements of the global religious history of the nineteenth and early twentieth centuries.

A valuable resource for the history of the telharmonium, a 200-ton musical behemoth that was intended to replace orchestral music at the beginning of this century.

An innovative contribution to music history, cultural studies, and sound studies, Avant-garde on Record revisits post-war composers and their technologically oriented brand of musical modernism. It describes how a broad range of figures (including Pierre Boulez, Karlheinz Stockhausen, Henri Pousseur, Toshirō Mayuzumi, Claire Schapira, Anthony Braxton and Gunther Schuller) engaged with avant-garde aesthetics while responding to a rapidly changing, technologically fuelled, spatialized audio culture. Jonathan Goldman focuses on how contemporary listeners understood these composers' works in the golden age of LPs and explores how this reception was mediated through consumer-oriented sound technology that formed a prism through which listeners processed the 'music of their time'. His account reveals unexpected aspects of twentieth-century audio culture: from sonic ping-pong to son et lumière shows, from Venetian choral music by Stravinsky to the soundscape of Niagara Falls, from a Buddhist Cantata to an LP box set cast as a parlour game.