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During his lifetime, Henry F. Gilbert was regarded as one of the foremost composers of the day and a trailblazer in America's rich musical heritage. Often called the Mark Twain of American Music, Gilbert was one of American music's nonconformists. He was a maverick who became a true prophet of American music as a composer, writer, editor, and lecturer. This volume contains a short biography of Gilbert, a listing of his compositions, including the different versions of the works and the holding libraries. A discography is included, which puts emphasis on the inclusion of excerpts from contemporary performances. This book captures much of the new material on Gilbert that has surfaced since the Henry F. Gilbert Papers were presented to Yale. The volume is divided into six sections. The first is the biography, which includes a sketch of Gilbert's life, and his importance in establishing an American school of composition. The Works and Performances section provides the name of the work, publisher, and date and revisions of the work. Scoring for the compositions is also given along with cross-references to Gilbert's program notes and reviews. An annotated Bibliography of writings by Gilbert summarizes his philosophy of American music, and illuminates his own compositional style. A discography, general bibliography, and a bibliography of works and performances are also concluded. This bio-bibliography will appeal to musicians and American enthusiasts alike.
Examines for the first time New England's rich heritage of music making over a span of 350 years
Since it was first published in 1993, the Sourcebook for Research in Music has become an invaluable resource in musical scholarship. The balance between depth of content and brevity of format makes it ideal for use as a textbook for students, a reference work for faculty and professional musicians, and as an aid for librarians. The introductory chapter includes a comprehensive list of bibliographical terms with definitions; bibliographic terms in German, French, and Italian; and the plan of the Library of Congress and the Dewey Decimal music classification systems. Integrating helpful commentary to instruct the reader on the scope and usefulness of specific items, this updated and expanded edition accounts for the rapid growth in new editions of standard works, in fields such as ethnomusicology, performance practice, women in music, popular music, education, business, and music technology. These enhancements to its already extensive bibliographies ensures that the Sourcebook will continue to be an indispensable reference for years to come.
This new volume incorporates all entries from the previous editions by Arthur Wenk, expanding to cover writings drawn from periodicals, theses, dissertations, books, and Festschriften from 1940 to 2000. Over 9,000 references to analyses of works by over 1,000 composers of the nineteenth and twentieth centuries are included.
A candid and fascinating portrait of the American composer. The son of Russian-Jewish immigrants, Aaron Copland (1900-1990) became one of America's most beloved and esteemed composers. His work, which includes Fanfare for the Common Man, A Lincoln Portrait, and Appalachian Spring, has been honored by a huge following of devoted listeners. But the full richness of Copland's life and accomplishments has never, until now, been documented or understood. Howard Pollack's meticulously researched and engrossing biography explores the symphony of Copland's life: his childhood in Brooklyn; his homosexuality; Paris in the early 1920s; the Alfred Stieglitz circle; his experimentation with jazz; the communist witch trials; Hollywood in the forties; public disappointment with his later, intellectual work; and his struggle with Alzheimer's disease. Furthermore, Pollack presents informed discussions of Copland's music, explaining and clarifying its newness and originality, its aesthetic and social aspects, its distinctive and enduring personality. "Not only a success in its own right, but a valuable model of what biography can and probably should be. " - Kirkus Reviews
Populism and nationalism in classical music held a significant place between the world wars with composers such as George Gershwin, Aaron Copland, and Leonard Bernstein creating a soundtrack to the lives of everyday Americans. While biographies of these individual composers exist, no single book has taken on this period as a direct contradiction to the modernist dichotomy between the music of Stravinsky and Schoenberg. In Nationalist and Populist Composers: Voices of the American People, Steve Schwartz offers an overdue correction to this distortion of the American classical music tradition by showing that not all composers of this era fall into either the Stravinsky or Schoenberg camps. Exploring the rise and decline of musical populism in the United States, Schwartz examines the major works of George Gershwin, Randall Thompson, Virgil Thomson, Aaron Copland, Roy Harris, Kurt Weill, Morton Gould, and Leonard Bernstein. Organized chronologically, chapters cover each composer’s life and career and then reveal how key works participated in populist and nationalist themes. Written for the both the scholar and amateur enthusiast interested in modern classical music and American social history, Nationalist and Populist Composers creates a contextual frame through which all audiences can better understand such works as Rhapsody in Blue, Appalachian Spring, and West Side Story.