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The Beautiful Music All Around Us presents the extraordinarily rich backstories of thirteen performances captured on Library of Congress field recordings between 1934 and 1942 in locations reaching from Southern Appalachia to the Mississippi Delta and the Great Plains. Including the children's play song "Shortenin' Bread," the fiddle tune "Bonaparte's Retreat," the blues "Another Man Done Gone," and the spiritual "Ain't No Grave Can Hold My Body Down," these performances were recorded in kitchens and churches, on porches and in prisons, in hotel rooms and school auditoriums. Documented during the golden age of the Library of Congress recordings, they capture not only the words and tunes of traditional songs but also the sounds of life in which the performances were embedded: children laugh, neighbors comment, trucks pass by. Musician and researcher Stephen Wade sought out the performers on these recordings, their families, fellow musicians, and others who remembered them. He reconstructs the sights and sounds of the recording sessions themselves and how the music worked in all their lives. Some of these performers developed musical reputations beyond these field recordings, but for many, these tracks represent their only appearances on record: prisoners at the Arkansas State Penitentiary jumping on "the Library's recording machine" in a rendering of "Rock Island Line"; Ora Dell Graham being called away from the schoolyard to sing the jump-rope rhyme "Pullin' the Skiff"; Luther Strong shaking off a hungover night in jail and borrowing a fiddle to rip into "Glory in the Meetinghouse." Alongside loving and expert profiles of these performers and their locales and communities, Wade also untangles the histories of these iconic songs and tunes, tracing them through slave songs and spirituals, British and homegrown ballads, fiddle contests, gospel quartets, and labor laments. By exploring how these singers and instrumentalists exerted their own creativity on inherited forms, "amplifying tradition's gifts," Wade shows how a single artist can make a difference within a democracy. Reflecting decades of research and detective work, the profiles and abundant photos in The Beautiful Music All Around Us bring to life largely unheralded individuals--domestics, farm laborers, state prisoners, schoolchildren, cowboys, housewives and mothers, loggers and miners--whose music has become part of the wider American musical soundscape. The hardcover edition also includes an accompanying CD that presents these thirteen performances, songs and sounds of America in the 1930s and '40s.
The Royal Conservatory of Music, founded in 1886, is rich in history and genius. Its long tradition of excellence in musical training and examining places it among the leading music schools of the world. Glenn Gould, Lois Marshall, Teresa Stratas, Jon Vickers, Mario Bernardi, and many other international artists have studied there. Amply illustrated, with over forty photographs dating back to the school’s first years, this book is an unvarnished account of its controversial leaders, its successes and failures, its encounters with the musical and academic world, and its passions. In this smoothly paced narrative, your favourite musicians, teachers, and examiners will come to life to revive your memories.
How to Complete and Survive a Doctoral Dissertation by David Sternberg Mastering these skills spells the difference between "A.B.D." and "Ph.D." -refuting the magnum opus myth -coping with the dissertation as obsession (magnificent or otherwise) -the fine art of selecting a topic -writing the dissertation with publication in mind -when to stand your ground and when to prudently retreat if the committee's conception of your thesis differs substantially from your own -dealing with obstructive committee members, and keeping the fences mended -how to reconsider "negative" findings as useful data -reviewing your progress, and getting out of the "dissertation dumps" -defending your paper successfully--distinguishing between mere formalities and a serious substantive challenge -exploiting the career potential of your dissertation -and much, much more
With the report of the 16th meeting, 1894, was issued "The secretary's official report of the special meeting ... Chicago, 1893," containing a résumé of the reports of meetings from 1876 to 1892.
"As a composer one forgets, in time, the fine detail of composition processes which produced past work... it must be left to scholars to recreate, slowly and painstakingly, earlier creative processes." Peter Maxwell Davies. In the eight essays presented here, leading scholars of the music of Peter Maxwell Davies explore some of the composer's creative processes. David Roberts, Peter Owens and Richard McGregor examine Davies's employment of pitch-class sets and other models evident in his sketch material, while Joel Lester looks at the serial elements that produce structure and effect in the work Ave Maris Stella. The political, literary and musical influences evident in the 1987 opera Resurrection and in subsequent orchestral works come under scrutiny from John Warnaby. Davies's use of older dramatic forms and ritual is the focus of Michael Burden's examination of his music theatre. The composer's own descriptions of his compositional process contain distinctly modernist overtones as Arnold Whittall suggests in the concluding essay in the volume. The sustained textural multiplicity evident in much of Davies's music points to this modernism. It is a multiplicity mirrored in the variety of approaches taken by the commentators in this volume. The differing points of view on offer complement and contrast each other, allowing the reader to appreciate the different levels on which Davies's music works.