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I Like People That Can't Sing

Paul Nelson Interviews Leonard Cohen & Lucinda Williams

Discover John Kander and Fred Ebb, the most artistically and commercially successful musical theatre writing team since Rodgers and Hammerstein, in a brand new way. Identifying the theatrical approach that renders their musical dramaturgy unique, this book explores their importance within, and contribution to, musical theatre history. Through their biggest hits, Cabaret (1966) and Chicago (1975), Kander and Ebb have been performed on the stage more times both within and outside of the USA than any other American musical theatre writers. Unlike Sondheim, whose work from 1964 increasingly aspired towards the avant-garde. Kander and Ebb located their projects in a nexus between art and commercial entertainment, seeking to deconstruct popular forms in order to expose their ideological function. This book investigates the full range of Kander and Ebb's collaboration from the pure comic entertainment of 70, Girls, 70 (1971) and Curtains (2006) to more overtly serious musicals such as The Kiss of the Spiderwoman (1992), The Scottsboro Boys (2010) and The Visit (2014), which were less commercially successful precisely because they addressed disturbing subjects. It explores how the difficult material inspired beautiful, though challenging, scores. It also probes how the ironic counterpointing of luscious music with witty and demotic lyrics makes complex demands of a Broadway audience, challenging its desire for escapist entertainment, devoid of critical self-reflection, to becomes complex, yet popular, masterpieces of the genre. This is the first volume to explicitly analyse the recurrent theatrical tropes and dramaturgical forms in Kander and Ebb's musicals, offering an in-depth introduction to their oeuvre.

Discover John Kander and Fred Ebb, the most artistically and commercially successful musical theatre writing team since Rodgers and Hammerstein, in a brand new way. Identifying the theatrical approach that renders their musical dramaturgy unique, this book explores their importance within, and contribution to, musical theatre history. Through their biggest hits, Cabaret (1966) and Chicago (1975), Kander and Ebb have been performed on the stage more times both within and outside of the USA than any other American musical theatre writers. Unlike Sondheim, whose work from 1964 increasingly aspired towards the avant-garde. Kander and Ebb located their projects in a nexus between art and commercial entertainment, seeking to deconstruct popular forms in order to expose their ideological function. This book investigates the full range of Kander and Ebb's collaboration from the pure comic entertainment of 70, Girls, 70 (1971) and Curtains (2006) to more overtly serious musicals such as The Kiss of the Spiderwoman (1992), The Scottsboro Boys (2010) and The Visit (2014), which were less commercially successful precisely because they addressed disturbing subjects. It explores how the difficult material inspired beautiful, though challenging, scores. It also probes how the ironic counterpointing of luscious music with witty and demotic lyrics makes complex demands of a Broadway audience, challenging its desire for escapist entertainment, devoid of critical self-reflection, to becomes complex, yet popular, masterpieces of the genre. This is the first volume to explicitly analyse the recurrent theatrical tropes and dramaturgical forms in Kander and Ebb's musicals, offering an in-depth introduction to their oeuvre.

The Theatre of Kander and Ebb

Dr Stuart Campbell provides here the first English translation of Tchaikovsky's critical writings on music. Much of the material originates from the numerous articles written by the composer for the Moscow periodical press between 1868 to 1875, and affords a survey of eminent performers to be heard there, including Auer, von BÃ¿low, Nilsson, Patti and the Rubinstein brothers. As well as following Tchaikovsky's reaction to the Russian musical scene much material is devoted to the operas then being experienced by Moscow audiences, with reviews of works by Halévy, Meyerbeer, Mozart, Rossini, Thomas, Verdi and Wagner and orchestral works by Beethoven, Berlioz, Saint-SaÃ«ns, Schubert and Schumann. The volume also covers Tchaikovsky's first visit to the Bayreuth Festival of 1876, the autobiographical account of his European concert tour in 1888, and his attitude to the music of his great contemporaries Brahms, Verdi and Wagner. The collection therefore offers valuable insight into Tchaikovsky's views on music, performance and repertoire that are relevant to the study of his own compositions, and extends our understanding of nineteenth-century music in general.

Dr Stuart Campbell provides here the first English translation of Tchaikovsky's critical writings on music. Much of the material originates from the numerous articles written by the composer for the Moscow periodical press between 1868 to 1875, and affords a survey of eminent performers to be heard there, including Auer, von BÃ¼low, Nilsson, Patti and the Rubinstein brothers. As well as following Tchaikovsky's reaction to the Russian musical scene - Balakirev, Glinka, Rimsky-Korsakov and others - much material is devoted to the operas then being experienced by Moscow audiences, with reviews of works by Halévy, Meyerbeer, Mozart, Rossini, Thomas, Verdi and Wagner and orchestral works by Beethoven, Berlioz, Saint-SaÃ«ns, Schubert and Schumann. The volume also covers Tchaikovsky's first visit to the Bayreuth Festival of 1876, the autobiographical account of his European concert tour in 1888, and his attitude to the music of his great contemporaries Brahms, Verdi and Wagner.  The collection therefore offers valuable insight into Tchaikovsky's views on music, performance and repertoire that are relevant to the study of his own compositions. In addition, the articles provide fascinating glimpses into the composer's personality and an appreciation of his elegant literary style. The volume is not only of importance for elucidating a time when Russian musical life was developing rapidly, but also in extending an understanding of nineteenth-century music in general.

Tchaikovsky's Writings about Music

Focus on World Music Series

Focus: Native American Music leans heavily toward Native peoples of the United States, but also includes information on First Nations of Canada. It synthesizes current research on Native American music, illustrated by photographs, figures, music notations, audio examples, and personal narratives of active performers.The outstanding features are its treatment of contemporary Native American/First Nations musical life, its overview of the history of Native American music, and its focus on the musical life of Woodland peoples in Oklahoma. It is distinctive in the range of styles and genres discussed, featuring sde-bar profiles of Native American singers, musicians, and dancers.

Focus: Native American Music leans heavily toward Native peoples of the United States, but also includes information on First Nations of Canada. It synthesizes current research on Native American music, illustrated by photographs, figures, music notations, audio examples, and personal narratives of active performers. The outstanding features are its treatment of contemporary Native American/First Nations musical life, its overview of the history of Native American music, and its focus on the musical life of Woodland peoples in Oklahoma. It is distinctive in the range of styles and genres discussed, featuring sde-bar profiles of Native American singers, musicians, and dancers.

Focus: Native American Music

Planet Clash

A memoir by the 2019 Wellcome Prize winner Will Eaves that looks at the creation of six piano pieces.

The Point of Distraction

This is the extensive legacy of grime, as told by a pioneer of the scene. Experience the 140BPM beating heartbeat of grime - not just as a music genre, but as a living, breathing culture that continues to thrive, inspire, and boldly challenge the status quo.

Documenting the Scene’s Rise and Reign

Grime

Elements in England in the Early Medieval World

Entertainment, Pleasure, and Meaning in Early England

Dieses Lexikon ist ein Novum der Musikliteratur. Erstmals werden alle wichtigen Texte zur Musiktheorie und Musikästhetik in lexikalischer Form von internationalen Spezialisten beschrieben und für die Wissenschaft und Praxis leichter zugänglich gemacht.

Dieses Lexikon ist ein Novum der Musikliteratur. Erstmals werden alle wichtigen Texte zur Musiktheorie und Musikästhetik in lexikalischer Form von internationalen Spezialisten beschrieben und für die Wissenschaft und Praxis leichter zugänglich gemacht.

Band 3: Musikästhetik in außereuropäischen Kulturen

Lexikon Schriften über Musik

Focus on Dramaturgy

Drawing upon miscellaneous theories from Eugenio Barba, Friedrich Nietzsche and contemporary sound studies, Sonorous Dramaturgy: The Polyphony of Postdramatic Theatre looks into emerging, cutting-edge theatre artists who employ musicality as the driving force behind their creativity. Celebrating the polyphony of postdramatic theatre, this book incorporates diverse companies and artists from all over the world, including Song of the Goat Theatre company, Marta Górnicka’s Chorus of Women, Complicite, Tan Dun, among others.

The Polyphony of Postdramatic Theatre

Sonorous Dramaturgy

The Fleury Playbook has been justly celebrated as the most comprehensive extant collection of medieval music-dramas, containing in a single manuscript examples of non-biblical miracle plays, and settings of the Nativity and Resurrection stories, together with accounts of the conversion of Paul and Mary Magdalene. In this the first full-length monograph on the Playbook, Wyndham Thomas places the collection in its historical, cultural and musical context. Each of the 10 plays is treated to a close dramatic and musical analysis and placed in its broader context of musical life in the twelfth century.

2018 will mark the 800th anniversary of the consecration of the Abbey of St BenoÃ®t-sur-Loire - or Fleury Abbey - the previous home and namesake of the Fleury Playbook, a collection of 10 medieval music-dramas that has long held been a source of fascination, and not a little perplexity, for scholars in a variety of disciplines: history, music history, literary studies, art history in particular. The Fleury Playbook has been justly celebrated as the most comprehensive extant collection of medieval music-dramas, containing in a single manuscript examples of non-biblical miracle plays, and settings of the Nativity and Resurrection stories, together with accounts of the conversion of Paul and Mary Magdalene.  In this the first full-length monograph on the Playbook, Wyndham Thomas places the collection in its historical, cultural and musical context. The first three chapters introduce and then explore the issues raised by the collection: following an introduction, chapter 2 is devoted to the history and traditions of the Abbey, making a persuasive argument for that institution as the original home of the collection, and perhaps the venue in which the plays were first performed. Chapter 3 discusses medieval saints’ cults, placing the dramas, and particularly the four devoted to St Nicholas, in this context. The remaining chapters are devoted to a close musical and dramatic analysis of the 10 plays themselves.

The Fleury Playbook in Context

Medieval Music-Drama

Unti Nonfiction

I Like People That Can't Sing

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