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What we think music is shapes how we hear it. This book traces the history of the idea of pure—“absolute”—music from Pythagoras to the present, with special emphasis on efforts to reconcile the irreducible essence of the art with its profound effects on the human spirit. The core of this study focuses on the period 1850–1935, beginning with the collision between Richard Wagner and the Viennese critic Eduard Hanslick. Wagner, who coined the term “absolute music” in 1846, used it as a pejorative in his efforts to expose the limitations of purely instrumental music. For him, music that was “absolute” was isolated, detached from the world, sterile. Hanslick considered this quality of isolation a guarantor of purity: music could be understood only in terms of itself. Hanslick had few followers among musicians during his lifetime (1825–1904). By 1920, however, absolute music was being endorsed by leading modernists, including both Schoenberg and Stravinsky. The key impetus for this change came from discourse not about music but rather about the visual arts. The growing prestige of abstraction and form in painting at the turn of the twentieth century helped move the idea of purely abstract, absolute music to the cutting edge of musical modernism.

This book explores an idea of music, exemplified by the work of Debussy, in dialogue with a parallel movement in French literary and philosophical thought. Its central thesis is that modern music and philosophy converge on the same set of problems but from opposite directions. Through close readings of selected musical works it argues that Debussy’s rethinking of the relation between sound and grammar anticipates and complements the defining problem of modern philosophy – the gap between language and a sensory relation to the world, between abstract systems of signification and embodied experience. Although its principal focus is the music of Debussy, it ranges widely across French music from Fauré and Ravel to Dutilleux, Boulez, Grisey, Murail, and Saariaho. It ranges similarly through a set of French writers and philosophers, from Mallarmé and Proust to Merleau-Ponty, Jankélévitch, Derrida, Lyotard, and Nancy. Frequent reference is made to the visual arts (Rodin, Monet, Bonnard, Cezanne, Matisse). It explores the idea that this current of French music, running through the long twentieth century from Debussy to the present, makes sense in a manner that affords a different way of knowing the world, foregrounding sound over syntax, and sense over signification.

After the Rite: Stravinsky’s Path to Neoclassicism (1914–25) traces the evolution of Stravinsky’s compositional process with excerpts from Rossignol, Three Pieces for String Quartet, Renard, Histoire du soldat, Étude for Pianola, Ragtime, Piano-Rag-Music, Symphonies of Wind Instruments, Concertino, Pulcinella, Mavra, Octet, Cinq pièces monométriques, Concerto for Piano and Winds, Piano Sonata, the Serenade in A. One of the goals of this monograph is to illustrate how musical sketches help to inform music analysis. The use of original sources, diplomatic transcriptions, and diagrams illustrate: (1) the presence of melodic motives, such as anticipatory gestures that have a bearing on subsequent works, (2) the layering of imitative techniques that sometimes participate in the emergence of block form before transitioning into Stravinsky’s Neoclassical style, and (3) the incorporation of materials borrowed from the eighteenth century to create musical narrative, and so on. In addition to these visual representations of musical ideas, another goal is to consider the cultural complexities that established the framework for Stravinsky’s evolution as a composer, such as: (1) the cross-currents in literary circles around 1914 that were concerned with Shklovsky’s “Resurrection of the Word” and the notion of defamiliarization, (2) the swirling designs in artworks by painters who espoused the ideals of futurism and cubo-futurism, and (3) Fokine’s outline of the “New Ballet” that appeared in the Times (London) on July 6, 1914, just before the declaration of war on July 28, 1914, and that in a way paralleled the emergence of Stravinsky’s Neoclassicism.

Few Mexican musicians in the twentieth century achieved as much notoriety or had such an international impact as the popular singer and songwriter Agustín Lara (1897–1970). Widely known as “el flaco de oro” (“the Golden Skinny”), this remarkably thin fellow was prolific across the genres of bolero, ballad, and folk. His most beloved “Granada,” a song so enduring that it has been covered by the likes of Mario Lanza, Frank Sinatra, and Placido Domingo, is today a standard in the vocal repertory. However, there exists very little biographical literature on Lara in English. This book's informed and informative placement of Lara's work in a broader cultural context presents a reading of the life of this significant musical figure. Lara's career as a media celebrity as well as musician provides an excellent window on Mexican society in the mid-twentieth century and on popular culture in Latin America. The book also delves into Lara's music itself, bringing to light how the composer's work unites a number of important currents in Latin music of his day, particularly the bolero.

This book provides for the first time an accessible, comprehensive study of Alfred Schnittke’s Concerto Grosso no. 1 (1977). One of Schnittke’s best-known and most compelling works, the Concerto Grosso no. 1 sounds the surface of late Soviet life, resonating as well with contemporary compositional currents around the world. This innovative monograph builds on existing publications about the Concerto Grosso no. 1 in English, Russian, and German, augmenting and complicating them. It adds new information from underused primary sources, including Schnittke’s unpublished correspondence and his many published interviews. It also engages further with his sketches for the Concerto Grosso no. 1 and contemporary Soviet musical criticism. The result is a more objective, historical appraisal of this rich, multifaceted composition. The Concerto Grosso no. 1 provided a utopian model of the contemporary soundscape. It was a decisive point in Schnittke’s development of the approach he called polystylism, which aimed to contain in a single composition the wide range of contemporary musical styles, including jazz, pop, rock, and serial music. Thanks to it and his other similar compositions, Schnittke became one of the most-performed and most-recorded living composers at the end of the twentieth century. The novel structure of this book engages the Concerto Grosso no. 1 conceptually, historically, musically, and phenomenologically: the six movements of the composition frame the six chapters. The present volume thus provides a holistic accounting of Schnittke’s Concerto Grosso no. 1, its influences, and its impact on subsequent music making in the Soviet Union and worldwide.

In 1975, the Broadway musical Chicago brought together a host of memes and myths, the gleefully subversive character of American musical comedy, the reckless glamor of the big-city newspaper, the mad decade of the 1920s, the work of Bob Fosse and Gwen Verdon—two of the greatest talents in the musical’s history—and the Wild West gangsterville that was the city of Chicago itself. The tale of a young woman who murders her departing lover and then tricks the jury into letting her off, Chicago seemed too blunt and cynical at first. Everyone agreed it was show biz at its brilliant best, yet the public still preferred A Chorus Line, with its cast of innocents and sentimental feeling. Nevertheless, the 1996 Chicago revival is now the longest-running American musical in history, and the movie version won the Best Picture Oscar. As this text looks back at Chicago’s various moving parts, including the original 1926 play that started it all, a sexy silent film directed by Cecil B. DeMille, a talkie remake with Ginger Rogers, the musical itself, and at last the movie of the musical, we see how the American theatre serves as a kind of alternative news medium, a town crier warning the public about the racy, devious interior contradictions of American society.

This book is a full-length biography in English of Giovanni Battista Viotti (1755–1824), one of the great violinist-composers in the history of music, and arguably the most influential violinist who ever lived. He rose from humble origins as a blacksmith's son in a village near Turin, Italy, and early studies with Gaetano Pugnani, to a triumphant international career, particularly in Paris and London. His multifarious career as concert performer, composer, teacher, opera theater director, and impresario was played out against the backdrop of a dramatically changing world: from the ancien régime patronage of an Italian prince and the Queen of France, Marie Antoinette, to the commercial and box-office–centered institutions of the early 19th century. Viotti's life was intensely dramatic. He knew tragedy as well as success: he was forced to flee the French Revolution, he was exiled from England for an extended period, his attempt to establish himself in business met with failure, and he died heavily in debt. His correspondence with an English family, the Chinnerys, with whom he was intimately associated for the last half of his life, provides an unusually revealing glimpse into his personal life. Viotti's biography is not without its mysteries, among which is his renunciation, twice in his life, of public performance. This study is based on extensive documentary research, much of it here revealed for the first time. Viotti's works are considered in the context of his life. Eleven appendices include translations of various Viotti-related archival documents, and additional information on Viotti's siblings, his places of residence, his violins, his unfinished violin method, and financial matters.

This multiauthor collection, the first of an unprecedented four-volume series of analytical essays on music by women composers from Hildegard of Bingen to the twenty-first century, presents detailed studies of compositions written since 1960 by Ursula Mamlok, Norma Beecroft, Joan Tower, Sofia Gubaidulina, Chen Yi, Kaija Saariaho, Libby Larsen, and Elisabeth Lutyens. Each chapter opens with a brief biographical sketch of the composer written by the editors, followed by an in-depth analysis of a single representative composition linking analytical observations with broader considerations of music history, gender, culture, or hermeneutics. These essays, many by leading music theorists, are grouped thematically into three sections, the first focused on pitch design, the second on musical gesture, and the third on music and text. The collection is designed to challenge and stimulate a wide range of readers. For academics, these thorough analytical studies can open new paths into unexplored research areas in music theory and musicology. Postsecondary instructors may be inspired by the insights offered here to include new works in graduate or upper-level undergraduate courses in post-tonal theory, history, or women and music. Finally, for performers, conductors, and music broadcasters, these thoughtful analyses can offer enriched understandings of this repertoire and suggest fresh new programming possibilities to share with listeners—an endeavor of discovery for all those interested in twentieth-century music.

This book approaches George Gershwin’s iconic Rhapsody in Blue as an “arrangement”—a status it has held since its inception in 1924, yet one unconsidered until now. It shifts the emphasis away from a centralized composition and from the sole agency of a single composer, positing a broad vision of the Rhapsody. Based on a host of newly discovered manuscripts, this book significantly alters existing historical and cultural conceptions of the Rhapsody. Each chapter engages a different set of previously unknown documents, providing the reader with a dynamic and multifaceted reappraisal of this emblematic piece of American music. In the process of remapping the terrain of the Rhapsody, new light is shed on familiar and lesser-known musicians who each used arrangements of the piece to establish their musical identities: Ferde Grofé, Leonard Bernstein, Duke Ellington, Larry Adler, and Anthony Brown. Also considered over the course of the book is the role of visual media in the enduring status of both Gershwin and the Rhapsody, including forays into film, television, and the commercial advertising of United Airlines. The overlapping, divergent, and otherwise hidden narratives that emerge reveal how arrangements of Rhapsody in Blue have shaped the development and approach of musicians throughout the twentieth century and beyond. The reader emerges from the process with new conceptualizations of the Rhapsody, George Gershwin, and music-making in America.

In recent decades, cognitive neuroscience research has increased our understanding of how the brain learns, retains, and recalls information. At the same time, social psychology researchers have developed insights into group dynamics, exploring what motivates individuals in a group to give their full effort, or conversely, what might instead inspire them to become freeloaders. This book explores the idea that choral conductors who better understand how the brain learns, and how individuals within groups function, can lead more efficient, productive, and enjoyable rehearsals. Armed with this knowledge, conductors can create rehearsal techniques which take advantage of certain fundamental brain and social psychology principles. Through such approaches, singers will become increasingly engaged physically and mentally in the rehearsal process. This book draws from a range of scientific studies to suggest and encourage effective, evidence-based techniques, and can help serve to reset and inspire new approaches toward teaching. Each chapter outlines exercises and creative ideas for conductors and music teachers, including the importance of embedding problem solving into rehearsal, the use of multiple entry points for newly acquired information, techniques to encourage an emotional connection to the music, and ways to incorporate writing exercises into rehearsal. Additional topics include brain-compatible teaching strategies to complement thorough score study, the science behind motivation, the role imagination plays in teaching, the psychology of rehearsal, and conducting tips and advice. All of these brain-friendly strategies serve to encourage singers’ active participation in rehearsals, with the goal of motivating beautiful, inspired, and memorable performances.

Fourteenth-century France witnessed the emergence of a new school of lyric, as the so-called formes fixes crystallized and the Ars nova revolutionized musical practice. Charting the emergence of this new lyric order from ca. 1300 to ca. 1380, The Art of Grafted Song demonstrates that despite these new departures, the long-established principle of borrowing within French lyric continued to inspire poets and composers. Cutting across disciplinary boundaries, this study traces citation, quotation, allusion, and other kinds of appropriations in fourteenth-century lyrics with and without music to build a more intimate understanding of song at this time and of the shared experience of poetry and music. It argues that citational practice was integral to experiments in form, genre, and style that gave rise to the new tradition. Exploring textual and musical reminiscences enhances our understanding of how poets and composers devised their works and engaged one another and their audiences in formal contests or puys and in informal lyric displays, and casts light on the reception and circulation of individual works. It also provides valuable clues about when, where, and in which milieus the polyphonic chanson and its sister lyric forms emerged and flourished. It reveals that older works often persisted longer in the shared imagination than we tend to suppose; we learn, too, about attitudes to authorship and the importance of memory in this age of literacy. All this enables us to better contextualize the contribution of Guillaume de Machaut, who is traditionally viewed as the great pioneer of lyric composition in this period, shedding light on his compositional process, on what he learned from his predecessors, and how he honed his art in response to his contemporaries.

This book tells the remarkable and inspiring story of the British early music movement (Early Music). Since the late-1960s this quietly influential cultural phenomenon has completely transformed the way in which we listen to ‘old’ music, revolutionizing the classical music profession in the process. Forty years on, the influence of historically informed performance (HIP) is everywhere to hear, in concert halls around the world, on radio and on disc. And yet the extraordinary rise of Early Music, founded on its apparently uncompromising agenda of ‘authenticity’, has been anything but uncontroversial. Early Music’s detractors have been quick to point out the many inconsistencies andin-authentic ‘modernist’ practices that underpin its success, highlighting its use of recordings, reliance on the market, and even its creativity (‘making it up’), as evidence ofits just notbeing what it said it was. The story of making Early Music work in the modern age(an age of disenchantment, division and split), is riven with conflict and contradiction; but it is also an altogether more upliftingnarrative about ‘re-enchanting art’, of living out the unfolding dialectic between old and new, head and heart, ‘text’ and ‘act’; and of over-coming separation, restoring the bonds betweenelements of life that we have otherwise become accustomed to holdingapart, such asour musicianship, scholarship, craftsmanship, and cultural entrepreneurship. Beyond itsfocus on the performance of classical music, therefore, this book offers the opening remarks ina much-neededconversation about the value of art and authenticityin our lives today.

The female singers who graced the nineteenth-century operatic stage were among the most celebrated women of their era, but they were also among the most transgressive. This book explores the means by which this preeminence was negotiated, traversing the musical, the dramatic, and the visual, while addressing more recognizably modern concerns, such as career management, literary representation, and image manipulation. A key theme is the emergence of the diva archetype over the course of the century—a new ideological discourse through which the extremes of operatic female vocality were reinterpreted. Chapters approach the prima donna from the perspectives of cultural history, musicology, gender/sexuality studies, theater and literature studies, and critical theory.

Noisy, confrontational, and controversial, industrial music first emerged in the mid-1970s around bands and performance groups who combined avant-garde electronic music with the provocative attitude and style of punk rock. In its early days, bands such as Throbbing Gristle and Cabaret Voltaire produced a genuinely radical form of music bent on recontextualizing the signs and methods of cultural authority in an attempt to liberate listeners from the trappings of modernity. But, as industrial music took on more and more elements of popular music over the course of the 1980s it slowly abandoned its mission. By the mid-1990s, it was seen as simply another style of pop music, and had ironically fallen into the trappings it sought by its very existence to destroy. This book provides a critical history of this fascinating and enigmatic genre tracing industrial music’s trajectory from Throbbing Gristle’s founding of the record label Industrial Music in 1976, to its peak in popularity on the back of the band Nine Inch Nails in the mid-1990s, and through its decline to the present day. Through a series of revealing explorations of works spanning the entirety of industrial music’s past, and drawing on extensive interviews with musicians, record label owners, DJs, and concert promoters, the book paints a thorough historical picture that includes not only the bands, but the structures that supported them, and the scenes they created. In so doing, it reveals an engaging story of an ideological disintegration and its aftermath.

Bach is an entirely new volume in the “Master Musicians” series, replacing the old entry by Malcolm Boyd with updated coverage of the composer’s life and works. Tracing the composer’s biography from origins in Thuringia to mastery as cantor and music director at Leipzig, the book sets Bach in the cultural context of early modern Europe. Family life, social structure, and court culture are among the topics examined from the perspective of contemporary approaches to history. Bach’s work as student, organist, music director, and teacher is considered alongside his compositions, with discussions of representative examples from all the major categories, including concertos, cantatas, chamber music, and pieces for harpsichord and for organ. In addition to a handy list of works and other useful reference matter included in every volume of the series, this book is also accompanied by an online supplement that offers a glossary, a guide to further reading, and audio versions of the numerous music examples.

In this book, biographical chapters alternate with commentary on the works of Bach, to demonstrate how the circumstances of Bach's life helped to shape the music he wrote during various periods. The book follows Bach as he travels from Arnstadt and Muhlhausen to Weimar, Cothen, and finally Leipzig. These journeys alternating with insightful discussions of the great composer's organ and orchestral compositions. As well as presenting a rounded picture of Bach, his music, and his posthumous reputation and influence, this book considers the sometimes controversial topics of “parody” and arrangement, number symbolism, and the style and meaning of Bach's late works. Recent theories on the constitution of Bach's performing forces at Leipzig are also present. The text and the appendixes (which include a chronology, personalia, bibliography, and a complete catalogue of Bach's works) are revised in this edition to take account of more recent research undertaken by Bach scholars, including the gold mine of new information uncovered in the former USSR.

This book explores the religious character of the vocal and instrumental music of Johann Sebastian Bach, offering many and various interpretive insights that were gained from careful scrutiny of his librettos in light of the Luther Bible and other writings of Martin Luther. Yet the book also shows how Bach’s music can make contributions to a work’s plausible meanings that go beyond setting texts in an aesthetically satisfying manner. In some of Bach’s vocal repertory, the music puts a “spin” on the words in a way that turns out to be explainable as related to specific tenets of orthodox Lutheranism. In a few of Bach’s vocal works, his otherwise puzzlingly fierce musical settings serve to underscore now unrecognized or unacknowledged anti-Judaism or anti-Semitism in their texts. Even Bach’s secular instrumental music, particularly the collections of purportedly “abstract” counterpoint, can be seen to powerfully project certain elements of traditional Lutheran theology.

This is a book-length study of the Orgelbüchlein, the masterly collection of organ chorales by Johann Sebastian Bach. This “Little Organ Book” is regarded by Bach scholars as one of the composer's most important achievements and by organ scholars as a milestone in the development of the chorale. The book examines the collection from a range of historical and analytical perspectives in a way that resonates. The book begins with a discussion of Bach's reasons for compiling the collection and his original plans to create a comprehensive set of 164 chorales. The book then examines the composer's compositional process in the collection and considers the music in its historical context with attention to each of the three types of chorale: the melody chorale, the ornamental chorale, and the chorale canon. The book goes on to look at each of the forty-six individual compositions, illuminating the structure of each and tracing the evolution through the set of Bach's concept of chorale. The book concludes with a discussion of the Orgelbüchlein's reception from the 18th century to the present. The appendix includes a complete score of the chorale “Ich ruf zu dir” as arranged by C. P. E. Bach and a list of published transcriptions of the chorales for other instruments.

This book examines how four of the greatest composers of the nineteenth and twentieth centuries—Felix Mendelssohn, Robert Schumann, Richard Wagner, and Edward Elgar—engaged with the legacy of the music of J. S. Bach. It investigates the various ways in which these individuals responded to Bach’s oeuvre, not as composers per se, but as performers, conductors, scholars, critics, and all-around ambassadors. In its detailed analyses of both musical and epistolary sources, the book sheds light on how Bach’s works were received within the musical circles of these composers. The book’s narrative also helps humanize these individuals as it reconstructs, with touching immediacy, and often by recounting colorful anecdotes, the intimate social circumstances in which Bach’s music was performed and discussed. Special emphasis is given to Mendelssohn’s and Schumann’s reception of Bach’s organ works, Schumann’s encounter with the St. Matthew and St. John Passions, Wagner’s musings on the Well-Tempered Clavier, and Elgar’s (resoundingly negative) thoughts on Bach’s vocal works.

The structural and stylistic features of Johann Sebastian Bach's sonatas and partitas for solo violin, and the history of these works, are the focus of this book. Historical topics include Bach as a violinist, the autograph score of the work, the published editions, and the history of performance traditions. Eighteenth-century notions of thoroughbass, harmony, keys, counterpoint, cadences, and rhetoric are the basis of Bach's music, from point-to-point musical continuity to the shape of the construction of movements. A general principle underlying all Bach's music is the heightening of activity as musical materials succeed one another and return in more elaborate guises. The solo-violin works are related to Bach's compositions in other genres and differentiated from music by later composers. This leads to thoughts on performing these works so as to bring to life these 18th-century features, while making the music alive in our own time.