I believe that music surpasses even language in its power to mirror the innermost recesses of the human soul" (George Crumb) Essays about and interpretations of the music of George Crumb. With an Introduction by Gilbert Chase - Compiled and edited by Don Gillespie Includes many black and white photographs and selected excerpts of Crumb's printed music (Originally published in 1986) "

George Crumb is a composer at the forefront of post-World War II American music, and never before has one volume combined a portrait of his life with a catalogue of his extensive work. David Cohen's George Crumb: A Bio-Bibliography corrects this by providing the reader and researcher with an overview of Crumb's life, career, and compositions; and an annotated guide to literature by and about the composer—including not only articles and books, but also album reviews, concert reviews, and interviews. The biographical portion, written in close consultation with the subject, has resulted in perhaps the most complete and accurate biography currently in existence—an irreplaceable resource for anyone seeking a full understanding of 20th-century music.

The Devil and the Perception of Schnittke's Early Style -- The Mythologems in Schnittke's First Symphony -- Postlude -- Appendix 1. An interview with George Crumb -- Appendix 2. The English translation of the texts by García Lorca from George Crumb's Ancient Voices of Children -- Appendix 3. Text excerpts from Stockhausen's Licht -- Selected bibliography -- List of Illustrations -- Index

The Dictionary of American Classical Composers covers over 650 composers active from the 18th century to today. Covering all classical styles, it offers the most comprehensive overview of key composers in the United States available. Entries include basic biographical information and critical analysis of each composer's key works and ideas. Entries also include worklists and bibliographic information. Whenever possible, the entries will have been checked by the composers themselves to assure greatest possible accuracy. This new edition, completely updated and expanded from the 1984 edition, also includes over 200 historic photographs.

In a profession that is dominated by male composers, SYWTS Music by Women serves as a compendium for singers and teaches of singing who wish to explore the vast repertoire of women written by women, cutting across a wide array of styles and genres. Hoch and Lister highlight the key composers and provide tips and tools for programming their music.

The Pulitzer awards in music have been representative of America's best composers since 1917. Prize winners have written compositions for viola solo, viola with keyboard, and for viola with orchestra. This annotated bibliography catalogues each Pulitzer award winner's compositions for these instrumentations. Only compositions originally designed for viola solo, viola with keyboard, and for viola with orchestra are included.

The contemporary music scene thus embodies a uniquely broad spectrum of activity, which has grown and changed down to the present hour. With new talents emerging and different technologies developing as we move further into the 21st century, no one can predict what paths music will take next. All we can be certain of is that the inspiration and originality that make music live will continue to bring awe, delight, fascination, and beauty to the people who listen to it. This book cover modernist and postmodern concert music worldwide from the years 1888 to 2018. This second edition of Historical Dictionary of Modern and Contemporary Classical Music contains a chronology, an introduction, and an extensive bibliography. The dictionary section has over 500 cross-referenced entries on the most important composers, musicians, methods, styles, and media in modernist and postmodern classical music worldwide, from 1888 to 2018. This book is an excellent resource for students, researchers, and anyone wanting to know more about modern and contemporary classical music.

There is a strong tradition of literary analyses of the musical artwork. Simply put, all musicology - any writing about music - is an attempt at making analogies between what happens within the world of sound and language itself. This study considers this analogy from the opposite perspective: authors attempting to structure words using musical forms and techniques. It's a viewpoint much more rarely explored, and none of the extant studies of novelists' musical techniques have been done by musicians. Can a novel follow the form of a symphony and still succeed as a novel? Can musical counterpoint be mimicked by words on a page? Alan Shockley begins looking for answers by examining music's appeal for novelists, and then explores two brief works, a prose fugue by Douglas Hofstadter, and a short story by Anthony Burgess modeled after a Mozart symphony. Analyses of three large, emblematic attempts at musical writing follow. The much debated 'Sirens' episode of James Joyce's Ulysses, which the author famously likened to a fugue, Burgess' largely ignored Napoleon Symphony: A Novel in Four Movements, patterned on Beethoven's Eroica, and Joyce's Finnegans Wake, which Shockley examines as an attempt at composing a fully musicalized language. After these three larger analyses, Shockley discusses two quite recent brief novels, William Gaddis' novella Agap?gape and David Markson's This is not a novel, proposing that each of these confounding texts coheres elegantly when viewed as a musically-structured work. From the perspective of a composer, Shockley offers the reader fresh tools for approaching these dense and often daunting texts.

This history of documentary film concentrates mainly on the output of the film industries in the US, the UK and Canada. The authors outline the origins of the form and trace its development over the next several decades. Each chapter concludes with a list of the key documentaries in that time period or genre.