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Part of the series Russian music studies;Russian music studies (Bloomington, Ind.)
Notes:

• Includes bibliographical references and index.
• Early works. five preludes Three fantastic dances, op. 5 Piano sonata no. 1, op. 12 Aphorisms, op. 13 Polka, op. 22a, from the ballet The golden age — Mature works. Twenty-four preludes, op. 34 Piano sonata no. 2, op. 61 — The masterpiece. Twenty-four preludes and fugues, op. 87 — Works for children. Children’s notebook, op. 69 Dances of the dolls.
• The piano works of Dmitri Shostakovich (1906-1975) are among the most treasured musical compositions of the twentieth century. In this volume, pianist and Russian music scholar Sofia Moshevich provides detailed interpretive analyses of the ten major piano solo works by Shostakovich, carefully noting important stylistic details and specific ways to overcome the numerous musical and technical challenges presented by the music. Each piece is introduced with a brief historic and structural description, followed by an examination of such interpretive aspects as tempo, phrasing, dynamics, voice balance, pedaling, and fingering. This book will be an invaluable resource for students, pedagogues, and performers of Shostakovich’s piano solos –Publisher’s description.

Subjects:

• Shostakovich, Dmitriĭ Dmitrievich, 1906-1975. Piano music.
• Piano music — History and criticism.
• Piano music (Shostakovich, Dmitriĭ Dmitrievich) fast (OCoLC)fst01376638
• Piano music. fast (OCoLC)fst01063403
• Šostakovič, Dmitrij D., 1906-1975. (DE-588)118642472 gnd
• Criticism, interpretation, etc. fast (OCoLC)fst01411635

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Notes:

• Includes bibliographical references (pages 305-320) and index.
• A composer, his dedicatee, her instrument, and I — Delivery, delivery, delivery! — Short octaves müssen sein! — Your most humble and obedient servant — An opus for the insightful world — A contract with posterity.

Subjects:

• Haydn, Joseph, 1732-1809. Keyboard music.
• Performance practice (Music) — History — 18th century.
• Keyboard instrument music — Analysis, appreciation.
• Keyboard instruments — Performance.
• Keyboard music (Haydn, Joseph) fast (OCoLC)fst01369601
• Haydn, Joseph, 1732-1809. gnd (DE-601)134580214
• 1700 – 1799 fast
• History. fast (OCoLC)fst01411628

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Notes:

• Includes bibliographical references and index.
• Early years, 1932-41 (letters 1-89) — First successes : from Tanglewood to On the town, 1941-4 (letters 90-185) — Conquering Europe and Israel, 1945-9 (letters 186-294) — Marriage, passport problems, and Italy, 1950-55 (letters 295-358) — West Side story, 1955-7 (letters 359-409) — The New York Philharmonic years, 1958-69 (letters 410-544) — Triumphs, controversies, catastrophe, 1970-78 (letters 545-591) — Final years, 1979-90 (letters 592-650) — Appendix one. Arthur Laurents (with Leonard Bernstein) : outline for Romeo sent to Jerome Robbins — Appendix two. Bernstein’s letters and postcards to Mildred Spiegel.
• Leonard Bernstein was a charismatic and versatile musician-a brilliant conductor who attained international super-star status, and a gifted composer of Broadway musicals (West Side Story), symphonies (Age of Anxiety), choral works (Chichester Psalms), film scores (On the Waterfront), and much more. Bernstein was also an enthusiastic letter writer, and this book is the first to present a wide-ranging selection of his correspondence. The letters have been selected for the insights they offer into the passions of his life-musical and personal-and the extravagant scope of his musical and extra-musical activities. Bernstein’s letters tell much about this complex man, his collaborators, his mentors, and others close to him. His galaxy of correspondents encompassed, among others, Aaron Copland,Stephen Sondheim, Jerome Robbins, Thornton Wilder, Boris Pasternak, Bette Davis, Adolph Green, Jacqueline Kennedy Onassis, and family members including his wife Felicia and his sister Shirley. The majority of these letters have never been published before. They have been carefully chosen to demonstrate the breadth of Bernstein’s musical interests, his constant struggle to find the time to compose, his turbulent and complex sexuality, his political activities, and his endless capacity for hard work. Beyond all this, these writings provide a glimpse of the man behind the legends: his humanity, warmth, volatility, intellectual brilliance, wonderful eye for descriptive detail, and humor — Provided by publisher.

Subjects:

• Bernstein, Leonard, 1918-1990 — Correspondence.
• Musicians — United States — Correspondence.
• Composers — United States — Correspondence.
• Conductors (Music) — United States — Correspondence.

Requested by Diamond, D. & Kagin, R.

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Notes:

• Includes bibliographical references and index.
• Foreword — Chronology — Introduction — Childhood and youth — The St. Petersburg Conservatoire — A free artist — War and revolution — The road to Calvary — The Red Guards — The musical conscience of Moscow — The planes are flying — World fame and the patriotic war — Cry of the wanderer — The swan song — The final coda — Bibliography — Discography — Catalog of works.
• Gregor Tassie describes Nikolay Myaskovsky as one of the great enigmas of 20th-century Russian music. Between the two world wars, the symphonies of Myaskovsky enjoyed great popularity and were performed by all major American and European orchestras they were some of the most inspiring symphonic works of the last hundred years and prolonged the symphonic genre. But accusations of formalism at the 1948 USSR Composers Congress resulted in the purposeful neglect of his music until the collapse of the Soviet Union. In Nikolay Myaskovsky: The Conscience of Russian Music, Tassie gives readers the first modern English-language biography of this Russian composer since his death in 1950. Tassie draws together information from the composer’s diaries and letters, as well as the memoirs of friends and colleagues–even his secret police files–to chronicle Myaskovsky’s early life, subsequent far-reaching influence as a composer, teacher, and journalist, and his final persecution by the Soviet government. This biography will surely rekindle interest in Myaskovsky’s remarkable body of work and will interest aficionados, students, and scholars of the modern classical music tradition and history of the arts in Russia [Publisher description].

Subjects:

• Mi︠a︡skovskiĭ, N. (Nikolaĭ), 1881-1950.
• Composers — Soviet Union — Biography.
• Mi︠a︡skovskiĭ, N. (Nikolaĭ), 1881-1950. fast (OCoLC)fst00060165
• Soviet Union. fast (OCoLC)fst01210281
• Biography. fast (OCoLC)fst01423686

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Part of the series Musical performance and reception;Musical performance and reception.
Notes:

• Includes bibliographical references (p. 261-279) and index.
• Nadia Boulanger between the wars — Nadia Boulanger’s musical work — Performing the work — The problem of concerts — New links between them — Tomb or treasure — The art of assembling art.

Subjects:

• Boulanger, Nadia.
• Music teachers — France — Biography.
• Conductors (Music) — France — Biography.

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Notes:

• Includes bibliographical references (pages 183-185) and index.
• Invitation — Beauty and grace — Thresholds — Grace and renewal — Knowing innocence.
• It is a common article of faith that Mozart composed the most beautiful music we can know. But few of us ask why. Why does the beautiful in Mozart stand apart, as though untouched by human hands? At the same time, why does it inspire intimacy rather than distant admiration, love rather than awe? And how does Mozart’s music create and sustain its buoyant and ever-renewable effects? In Mozart’s Grace, Scott Burnham probes a treasury of passages from many different genres of Mozart’s music, listening always for the qualities of Mozartean beauty: beauty held in suspension beauty placed in motion beauty as the uncanny threshold of another dimension, whether inwardly profound or outwardly transcendent and beauty as a time-stopping, weightless suffusion that comes on like an act of grace. Throughout the book, Burnham engages musical issues such as sonority, texture, line, harmony, dissonance, and timing, and aspects of large-scale form such as thematic returns, retransitions, and endings. Vividly describing a range of musical effects, Burnham connects the ways and means of Mozart’s music to other domains of human significance, including expression, intimation, interiority, innocence, melancholy, irony, and renewal. We follow Mozart from grace to grace, and discover what his music can teach us about beauty and its relation to the human spirit. The result is a newly inflected view of our perennial attraction to Mozart’s music, presented in a way that will speak to musicians and music lovers alike [Publisher description].
• Invitation — Beauty and grace — Thresholds — Grace and renewal — Knowing innocence.

Subjects:

• Mozart, Wolfgang Amadeus, 1756-1791 — Criticism and interpretation.

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Notes:

• Hailing from the Tremé neighborhood in New Orleans, Troy Trombone Shorty Andrews got his nickname by wielding a trombone twice as long as he was high. A prodigy, he was leading his own band by age six, and today this Grammy-nominated artist headlines the legendary New Orleans Jazz Fest.
• Coretta Scott King Illustrator Award Winner, 2016
• Caldecott Honor, 2016.

Subjects:

• Andrews, Troy — Juvenile literature.
• Jazz musicians — United States — Biography — Juvenile literature.
• Trombonists — United States — Biography — Juvenile literature.
• New Orleans (La.) — Juvenile literature.
• Andrews, Troy.
• Jazz musicians — United States — Biography.
• Trombonists — United States — Biography.
• New Orleans (La.)
• Autobiographies. lcgft

Requested by Kurpiers, R.

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Notes:

• Includes bibliographical references and index.
• Ellen Taaffe Zwilich — Steve Reich — Christopher Rouse — Martin Bresnick — Joan Tower — William Averitt — Michael Torke — Libby Larsen — Aaron J. Kernis — Jennifer Higdon — John Anthony Lennon — David T. Little — Kevin Puts — Michael Daugherty — Mohammed Fairouz — Tania León — Bright Sheng — Ladislav Kubík — Chen Yi — Jose Bevia — Daniel Wohl — Eve Beglarian — Glenn Branca — Marcus Roberts — R. Luke DuBois — Greg Wilder — Pamela Z — Eric Whitacre.
• American composers are at the forefront of a renaissance in concert music, in the process expanding the very definition of the category. The impact of digital technology on the creative process and the unprecedented diversity of contemporary composers are arguably among the catalysts driving the rebirth. In this series of personal interviews with some of the most prominent composers of art music currently working on the American music scene, composer and educator Robert Raines leads the intimate conversations through subjects ranging from the source of inspiration to work habits, the realities of the business of music, and the impact of technology on music and life in the 21st century. The musicians who participated in these conversations are as different from one another as might be imagined, both in styles of music and approaches to life and art, resulting in a series of stories that offer a kaleidoscopic view of the many paths to creativity, yet a common thread that runs through the interviews is the passionate artistic drive that is shared by all. The inspirational stories of struggles and successes, told in the artists’ own words and distinctively framed by their individual personalities – humorous, curmudgeonly, serious, serene, and playful by turns – is a delightful and thought-provoking journey full of personal insights, advice, and sharp observations on composing music in a changing, technology-driven world. A loving homage to the artistic spirit, this book is a must-read for students of composition, professors and scholars of music, composers and aspiring composers, and anyone interested in the subjective process of writing music. This rich and entertaining collection provides a unique glimpse into the workings of the creative spirit in the digital age. — Publisher’s description.

Subjects:

• Composers — United States — Interviews.
• Music — United States — 21st century — History and criticism.

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Part of the series Dictionaries for the modern musician;Dictionaries for the modern musician.
Notes:

• Includes bibliographical references and index.

Subjects:

• Trumpet — Dictionaries.
• Dictionaries. fast (OCoLC)fst01423826

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Notes:

• Includes bibliographical references and index.
• Preface: concepts, models , machines — Some first principles — 1,000,000 years ago : Acheulean performances — 500,000 years ago : lower Paleolithic voices — 250,000 years ago : Neanderthal digitalization — 100,000 years ago : symbolic et non — 100,000-20,000 years ago, I : Homo sapiens and the falling out of modern culture — 100,000-20,000 years ago, II : musicking — Afterword : evolution, emergence, and history, a final note.
• What is the origin of music? In the last few decades this centuries-old puzzle has been reinvigorated by new archaeological evidence and developments in the fields of cognitive science, linguistics, and evolutionary theory. In this path-breaking book, renowned musicologist Gary Tomlinson draws from these areas to construct a new narrative for the emergence of human music. Starting at a period of human prehistory long before Homo sapiens or music existed, Tomlinson describes the incremental attainments that, by changing the communication and society of prehuman species, laid the foundation for musical behaviors in more recent times. He traces in Neandertals and early sapiens the accumulation and development of these capacities, and he details their coalescence into modern musical behavior across the last hundred millennia. But ‘A Million Years of Music’ is not about music alone. Tomlinson builds a model of human evolution that revises our understanding of the interaction of biology and culture across evolutionary time-scales, challenging and enriching current models of our deep history.0As he tells his story, he draws in other emerging human traits: language, symbolism, a metaphysical imagination and the ritual it gives rise to, complex social structure, and the use of advanced technologies. Tomlinson’s model of evolution allows him to account for much of what makes us a unique species in the world today and provides a new way of understanding the appearance of humanity in its modern form.

Subjects:

• Music — History and criticism.
• Musicology.
• Criticism, interpretation, etc. fast (OCoLC)fst01411635

Requested by Klemp, M. & Diamond, D.