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Directory of music collections divided by continent/oceanic region and sub-arranged alphabetically.
Here are the stories of how music archives are preserving independent music and saving a part of our cultural heritage. Music Preservation and Archiving Today moves beyond the how-to and assembles the work currently being done to preserve music and "scenes" via essays, case studies, and overviews of work by academic archives as well as community­driven preservation projects.
Describes the Archive of Folk Culture's unpublished ethnographic collections from North America that relate to World War II.
"Few cello players currently before the public have enjoyed the kind of international success in all conceivable musical career roles as Janos Starker. In his lifetime, Starker has gained renown as teacher, soloist and orchestra player." --Chicago Tribune "Starker . . .remains one of the wonders of the musical world, an artist who finds innumerable ways to shape and color lines." --Cleveland Plain Dealer "Starker is not just a cellist. He is widely recognized as one of the finest of the last 50 years." --Indianapolis Star "Starker emerges here as the rare artist who respects the past but lives enthusiastically in the present. . . Essential. All readers; all levels." --Choice Janos Starker is universally acknowledged as one of the world's great musicians. Known for a flawless technique paired with expressive playing and interpretation, the Hungarian-born cellist is arguably also the premier teacher of his instrument in our time. String players flock to his masterclasses from all over the world, and cellists compete vigorously to study under him at the Indiana University School of Music. More than the consummate musician, however, Starker is also a raconteur and writer, occasionally quirky and droll, always witty and with a pointed opinion to share. The World of Music According to Starker is a colorful autobiography spanning the author's fascinating life. From his early musical education during World War II in Hungary, to his world tours, educational philosophy, and recording and pedagogical legacy, Starker takes the reader on a riveting, entertaining, and informative journey. Included in the book are several of Starker's short stories and commentaries on world events, academia, and--of course--music that have appeared in newspapers, music periodicals, and trade magazines. Also includes a bonus CD recording of Starker's last public recital, which is unavailable commercially and includes his only recording of the Strauss Sonata in F, Opus 6. Included on the CD: Richard Strauss, Sonata in F, Opus 6 Ludwig van Beethoven, Sonata in C major, Opus 102 no. 1 Johannes Brahms, Sonata in E minor, Opus 38 Franz Schubert, Sonatina in D, Opus 137 no. 1 (Starker edition)
Describes the Archive of Folk Culture's unpublished ethnographic collections from North America that relate to World War II.
Pt. 1. The heritage of antiquity -- pt. 2. The Middle Ages -- pt. 3. The Renaissance -- pt. 4. The Baroque -- pt. 5. The pre-classical period -- pt. 6. The classical period -- pt. 7. The later nineteenth century : romanticism and other preoccupations -- pt. 8. The twentieth century -- pt. 9. The recent, past, and the present.
The Listening Book is about rediscovering the power of listening as an instrument of self-discovery and personal transformation. By exploring our capacity for listening to sounds and for making music, we can awaken and release our full creative powers. Mathieu offers suggestions and encouragement on many aspects of music-making, and provides playful exercises to help readers appreciate the connection between sound, music, and everyday life.
There is a growing awareness around the world of the pressing need to archive the material remnants of popular music so as to safeguard the national and local histories of this cultural form. Current research suggests that in the past 20 or so years there has been an expansion of DIY heritage practice, with the founding of numerous DIY popular music institutions, archives and museums around the world. This edited collection seeks to explore the role of DIY or Pro-Am (Professional-Amateur) practitioners of popular music archiving and preservation. It looks critically at ideas around "DIY preservationism," "self-authorised" and "unauthorised" heritage practice and the "DIY institution," while also unpacking the potentialities of bottom-up, community-based interventions into the archiving and preservation of popular music’s material history. With an international scope and an interdisciplinary approach, this is an important reference for scholars of popular music, heritage studies and cultural studies.