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Vols. for 1957-61 include an additional (mid-January) no. called Directory issue, 1st-5th ed. The 6th ed. was published as the Dec. 1961 issue.
This book explores the experiences of women from the late nineteenth and early twentieth centuries who pursued careers as public performers, charting a new course in an era when women's musical activities were generally consigned to the parlor. Certain instruments had historically evolved as "appropriate for women," and the flamboyant personalities and extroverted emotionalism of Romantic virtuosos and conductors were the antithesis of those qualities traditionally admired in women. However, this work presents an unusual group of young women who nonetheless became noted virtuosos, studying abroad as teenagers and touring North America upon their return. Detailed profiles are given of three remarkable musicians from among that unusual group: Fannie Bloomfield-Zeisler (1863-1927)--virtuoso pianist, wife and mother; Ethel Leginska (1886-1970)--pianist, conductor, and 1920s "new woman"; and Antonia Brico (1902-1989)--conductor and transitional figure to the late twentieth century. A concluding chapter contrasts the experiences of women classical musicians in the late nineteenth and the late twentieth centuries. Included are a number of photographs and drawings which impart the perceptions of audiences and critics of the stage presence of these performers.
First published in 1998, the aim of this catalogue is to help students, researchers and librarians determine the UK locations of over 2,000 music periodical titles held in public, academic and national libraries. Over 220 libraries in the UK have been surveyed, from St. Austell to Aberdeen, Aberystwyth to Brighton. Each catalogue entry provides detailed information on library holdings, and full bibliographic details of periodical titles, including ISSNs. The main catalogue is preceded by an address list, and by a preface outlining the history of music periodicals in Britain, together with statistical tables.
"Busoni's radical ideas about music was, is, and could be drew fire from his more conservative contemporaries. His thoughts on musical notation, opera, and the division of the scale were well ahead of his time, but, in many cases, are common currency today. Busoni went into voluntary exile in Switzerland during World War I, unwilling to take sides, and only recently has the veil been gradually lifted from his work and theories. Ferruccio Busoni: "A Musical Ishmael" shines a revealing light on Busoni's life, concepts, and profound influence on contemporary musical aesthetics and practice."--BOOK JACKET.
Calixa Lavallée, the composer of “O Canada,” was the first Canadian-born musician to achieve an international reputation. While primarily remembered for the national anthem, Lavallée and his work extended well beyond Canada, and he played a multitude of roles in North American music as a composer, conductor, administrator, instrumentalist, educator, and critic. In Anthems and Minstrel Shows, Brian Thompson analyzes Lavallée’s music, letters, and published writings, as well as newspapers and music magazines of the time, to provide a detailed account of musical life in nineteenth-century North America and the relationship between music and nation. Leaving Quebec at age sixteen, Lavallée travelled widely for a decade as musical director of a minstrel troupe, and spent a year as a bandsman in the Union Army. Later, as a performer and conductor, he built a repertoire that prepared audiences for the intellectually challenging music of European composers and new music by his US contemporaries. His own music extended from national songs to comic operas, and instrumental music, as he shifted between the worlds of classical and popular music. Previously portrayed as a humble French Canadian forced into exile by ignorance and injustice, Lavallée emerges here as ambitious, radical, bohemian, and fully engaged with the musical, social, and political currents of his time. While nationalism and nation-building are central to this story, Anthems and Minstrel Shows asks to which nation – or nations – Lavallée and “O Canada” really belong.