This work, a companion to Broadway Sheet Music: A Comprehensive Listing of Published Music from Broadway and Other Stage Shows, 1918 through 1993 (1996, $75), provides information about sheet music published over the 75-year period from June 1, 1843, to May 31, 1918--the early days of modern American theatre. It covers all sheet music published from all Broadway productions--plus music from local shows, minstrel shows, night club acts, vaudeville acts, touring companies, and shows on the road that never made it to Broadway. Also included are all the major musicals from Chicago, which rivaled Broadway in original productions during that period. Each piece of sheet music has been assigned a number by the author, and the following information is given: production title (as listed on sheet music cover), year the production officially opened or tour began, name of the theatre (applicable only to New York productions), number of performances (applicable only to New York productions), performers, song titles, composer and lyricist, original publisher of each song, and cover description. Also included are comments from the author.
The music of Edvard Grieg is justly celebrated for its harmonic richness, a feature especially apparent in the piano works written in the last decades of his life. Grieg was enchanted by what he styled the 'dreamworld' of harmony, a magical realm whose principles the composer felt remained a mystery even to himself, and he was not alone, in that the complex nature of late-Romantic harmony around 1900 has proved a keen source of debate up to the present day. Grieg's music forms a particularly profitable repertoire for focusing current debates about the nature of tonality and tonal harmony. Departing from earlier approaches, this study is not simply an inventory of Griegian harmonic traits but seeks rather to ascertain the deeper principles at work governing their meaningful conjunction, how elements of Grieg's harmonic grammar are utilised in creating an extended tonal syntax. Building both on historical theories and more recent developments, Benedict Taylor develops new models for understanding the complexity of late-Romantic tonal practice as epitomised in Grieg's music. Such an investigation casts further valuable light on the twin issues of nature and nationalism long connected with the composer: the question of tonality as something natural or culturally constructed and larger historiographical claims concerning Grieg's apparent position on the periphery of the Austro-German tradition.
'Sometimes Music Is My Only Friend' Harry Buckle: Following career advice from James Bond author Ian Fleming, in 1962 Harry Buckle became a journalist, This very funny but true story, follows him from his years as the '60's most read pop guru in the UK, writing in Jackie Magazine (with the pen name Pete Lennon assigned to him by the editor) to then starting his own music company and somewhat to his suprise, bringing you a hundred or so Top of the Pops Chart hits.. 'You'd think being a music journaist was safe enough except for predatory female fans, but I hadn't really expected the US Airforce to drop four H Bombs on me. Real ones.... Then he found himself reluctantly working with both the British M15 an Russsian KGB Secret Service, and interrogated in Moscow about what he had been doing at No. 10 Downing Street. 'It seems to us you are seeking to destabilise your rulers with naked pictures of Prime Minister Harold Wilson?'... 'I don't gamble. Life in the music business is enough, but we won tens of thousands of pounds for four years running when we learned the results of the Miss World contest in advance... 'Having the hits, confirmed the old music industry adage that I was 'Happy to be Part of the Industry of Human Happiness'... with many of those hits coming from Depeche Mode, Yazoo, Alison Moyet, Erasure and others. But then sitting watching national TV news in the USA and discovering I was apparently working with the Mafia was a bit of a reality check'... then in more pop mode... You want to know who to blame for 'Agadoo', 'Yviva Espana', 'The Birdie Song' and some others starting the whole 'dad dancing' phenomena... 'Sometimes Music Is My Only Friend' by Harry Buckle reveals all this and more... 'Sometimes Music Is My Only Friend', seems to touch the feelings of several generations including many of today for whom most social contact is often more electronic than tactile reality.
Huxley awakes on board a space station, after an accident he cannot remember. Recovery is a challenge, as Huxley finds that the accident is not the only factor contributing to his disorientation. There is no one that Huxley can trust to answer his questions. Where is he being kept? Who is Crystal? And what is the New Morality? Huxley thinks that he has a plan; but first he needs some answers to his questions, and the stakes are far greater than he imagines.
In 1677 a slim quarto volume was published anonymously as A Philosophical Essay of Musick. Written by Francis North (1637-85), chief justice of the Common Pleas, the Essay is in the form of a legal case argued from an hypothesis. Utilising the pendulum as his hypothesis, North provided a rationale from mechanics for the emerging new musical practice we now call 'tonality'. He also made auditory resonance the connecting link between acoustical events in the external world and the musical meanings the mind makes on the basis of sensory perception. Thus began the modern philosophy of music that culminated with the work of Hermann von Helmholtz. As a step towards understanding this tradition, Jamie C. Kassler examines the 1677 Essay in its historical context. After assessing three seventeenth-century criticisms of it and outlining how one critic developed some implications in the Essay, she summarises the basic principles that have guided the modern philosophy of music from its beginnings in the 1677 Essay. The book includes an annotated edition of the Essay as well as the comments of the three critics.
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