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In this biography, Heidi Von Gunden explores Fine's life and her music. The body of the work covers Fine's long life and career, and is followed by several useful resources including a chronology, catalog, discography, and bibliography.
First published in 2006. Routledge is an imprint of Taylor & Francis, an Informa company.
"This anthology of musical scores is a new edition of a text that has been widely used in courses in women's music. James R. Briscoe's New Historical Anthology compiles fifty-five compositions by forty-six women composers from the ancient Greeks to the present. Each work is introduced by an informative essay by a specialist in the field, with recommendations for further reading."--BOOK JACKET.
First Published in 1998. Routledge is an imprint of Taylor & Francis, an informa company.
Works by women composers, including Francesca Caccini, Fanny Mendelssohn, Ethel Smyth, [et al]
New York City witnessed a dazzling burst of creativity in the 1920s. In this pathbreaking study, Carol J. Oja explores this artistic renaissance from the perspective of composers of classical and modern music, who along with writers, painters, and jazz musicians, were at the heart of early modernism in America. She also illustrates how the aesthetic attitudes and institutional structures from the 1920s left a deep imprint on the arts over the 20th century. Aaron Copland, George Gershwin, Ruth Crawford Seeger, Virgil Thomson, William Grant Still, Edgar Varèse, Henry Cowell, Leo Ornstein, Marion Bauer, George Antheil-these were the leaders of a talented new generation of American composers whose efforts made New York City the center of new music in the country. They founded composer societies--such as the International Composers' Guild, the League of Composers, the Pan American Association, and the Copland-Sessions Concerts--to promote the performance of their music, and they nimbly negotiated cultural boundaries, aiming for recognition in Western Europe as much as at home. They showed exceptional skill at marketing their work. Drawing on extensive archival material--including interviews, correspondence, popular periodicals, and little-known music manuscripts--Oja provides a new perspective on the period and a compelling collective portrait of the figures, puncturing many longstanding myths. American composers active in New York during the 1920s are explored in relation to the "Machine Age" and American Dada; the impact of spirituality on American dissonance; the crucial, behind-the-scenes role of women as patrons and promoters of modernist music; cross-currents between jazz and concert music; the critical reception of modernist music (especially in the writings of Carl Van Vechten and Paul Rosenfeld); and the international impulse behind neoclassicism. The book also examines the persistent biases of the time, particularly anti-Semitisim, gender stereotyping, and longstanding racial attitudes.
This book lists nearly 3,000 original choral works written by 76 composers active in the United States from roughly 1920 until the present. Styles range from the lush Romanticism of Charles Wakefield Cadman to the stark, dissonant harmonies of Morton Feldman.
Interspersing consideration of Marga Richter's (born 1926) musical works with discussion of her life, her musical style, and the origins and performances of her works, this book documents a successful composer's professional and private life throughout the twentieth century.
Making Music for Modern Dance traces the collaborative approaches, working procedures, and aesthetic views of the artists who forged a new and distinctly American art form during the first half of the 20th century. The book offers riveting first-hand accounts from innovative artists in the throes of their creative careers and provides a cross-section of the challenges faced by modern choreographers and composers in America. These articles are complemented by excerpts from astute observers of the music and dance scene as well as by retrospective evaluations of past collaborative practices. Beginning with the careers of pioneers Isadora Duncan, Ruth St. Denis, and Ted Shawn, and continuing through the avant-garde work of John Cage for Merce Cunningham, the book offers insights into the development of modern dance in relation to its music. Editor Katherine Teck's introductions and afterword offer historical context and tie the artists' essays in with collaborative practices in our own time. The substantive notes suggest further materials of interest to students, practicing dance artists and musicians, dance and music history scholars, and to all who appreciate dance.