Rights Catalog Music - 2016
Stephen Williams Rights Manager smw9@indiana.edu | +1 (812) 855 6314
INDIANA UNIVERSITY PRESS
For more information about each book, click on the cover to visit the IU Press website
MUSIC
“Better than anyone else in the field, Allsup explores what a more open, less top-down and hierarchical approach to music teaching and learning (and musical meaning) might look like.” —Paul Woodford, author of Democracy and Music Education
“Writing carefully and compassionately, Allsup’s argument is exquisitely nuanced, playing out slowly, lightly, in a Turneresque pastel watercolor of light and inference. This book is unequivocally an important and essential contribution to music education scholarship.” —Elizabeth Gould, author of Exploring Social Justice: How Music Education Might Matter
Remixing the Classroom Toward an Open Philosophy of Music Education RANDALL EVERETT ALLSUP In a delightfully self-conscious philosophical “mash-up,” Randall Everett Allsup provides alternatives for the traditional master-apprentice teaching model that has characterized music education. By providing examples across the arts and humanities, Allsup promotes a vision of education that is open, changing, and adventurous at heart. He contends that the imperative of growth at the core of all teaching and learning relationships is made richer, though less certain, when it is fused with a student’s self-initiated quest. In this way, the formal study of music turns from an education in teacher-directed craft and moves into much larger and more complicated fields of exploration. Through vivid stories and evocative prose, Randall Everett Allsup advocates for an open, quest-driven teaching model that has repercussions for music education and the humanities more generally. RANDALL EVERETT ALLSUP is Associate Professor and Coordinator of Music Education at Teachers College Columbia University. He is past chair of the International Society for the Philosophy of Music Education (ISPME) and the Philosophy Special Research Interest Group (SRIG) of the Music Education Research Council.
Worldwide Rights Music, Education 216 pages, 7 b&w illus., 6 x 9 Review Copies Available on Request | Contact Stephen Williams | smw9@indiana.edu
33
MUSIC
“For those who love the medium this is sure to be a kind of wish-book, making one say, ‘I want to see that one!’” —Notes
“Excellent reference for teachers and performers alike. . . .” —Choice
Piano Duet Repertoire Music Originally Written for One Piano, Four Hands Second Edition CAMERON MCGRAW EDITED AND EXPANDED BY CHRISTOPHER FISHER AND KATHERINE FISHER WITH A FOREWORD BY THE ANDERSON & ROE PIANO DUO Since the 1981 publication of the first edition, Cameron McGraw’s Piano Duet Repertoire has been a trusted guide for duet performers. This second edition, edited and substantially expanded by Christopher and Katherine Fisher, brings the volume into the 21st century, adding over 500 new or updated composer entries and nearly 1,000 new work entries to the volume, a testament to the renewed interest in piano duet playing. Entries are arranged alphabetically by composer and include both pedagogical and concert repertoire. The annotations and the grade-level indications provide piano teachers a wealth of instructional guidance. The book also contains updated appendices listing collections and duet works with voice and other instruments. This new edition features a title index and a list of composers by nationality, making it a convenient and indispensable resource. CAMERON MCGRAW (1919–1995) was Co-Director of the Jenkintown Music School and composer of numerous works for piano, orchestra, and chorus. CHRISTOPHER FISHER is Associate Professor of Piano at Ohio University and author of Teaching Piano in Groups. KATHERINE FISHER is an affiliate faculty member at the Athens Community Music School and performs with her husband Christopher in the award-winning Fisher Piano Duo.
Worldwide rights Music, Piano, Reference 456 pages, 6.125 x 9.25
4
Review Copies Available on Request | Contact Stephen Williams | smw9@indiana.edu
MUSIC
“This book will go a long way towards destroying the myths of many wellintentioned, but ill-informed scholars and performers.” —Paul O’Dette, world-renowned lutenist and Director of Early Music at Eastman School of Music
“This book is welcome, aiming as it does to combine the historical, theoretical, and practical aspects of this sometimes vexed and controversial topic in a lively and approachable manner.” —Richard Carter, Oriana Music: Early Music Editions
Meantone Temperaments on Lutes and Viols DAVID DOLATA Written for musicians by a musician, Meantone Temperaments on Lutes and Viols demystifies tuning systems by providing the basic information, historical context, and practical advice necessary to easily achieve more satisfying tuning results on fretted instruments. Despite the overwhelming organological evidence that many of the finest lutenists, vihuelists, and viola da gamba players in the Renaissance and Baroque eras tuned their instruments in one of the meantone temperaments, most modern early instrument players today still tune to equal temperament. In this handbook richly supplemented with figures, diagrams, and music examples, historical performers will discover why temperaments are necessary and how they work, descriptions of a variety of temperaments, and their application on fretted instruments. This technical book provides downloadable audio tracks and other tools for fretted instrument players to achieve more stable consonances, colorful dissonances, and harmonic progressions that vividly propel the music forward. DAVID DOLATA is Professor of Musicology at Florida International University and professional lutenist, appearing at such venues as the Glimmerglass Opera, the Florida Grand Opera, the Northwest Bach Festival, the Miami Bach Society, and on broadcasts and recordings for NPR, CBS, and BBC.
Worldwide Rights Music, Strings, Performance 288 pages, 84 b&w illus., 76 music exx., 42 tables, 7 x 10
Review Copies Available on Request | Contact Stephen Williams | smw9@indiana.edu
55
MUSIC
“There has never been a book-length study of Strauss and Mahler, and the reasons are manifold and—now—mostly unnecessary. This book considers the parallel lives of the two greatest Austro-German composers of the late-19th and early-20th century, and does so with great eloquence.” —Bryan Gilliam, author of Rounding Wagner’s Mountain: Richard Strauss and Modern German Opera
Mahler and Strauss In Dialogue CHARLES YOUMANS A rare and unique case among history’s great music contemporaries, Gustav Mahler (1860–1911) and Richard Strauss (1864–1949) enjoyed a close friendship until Mahler’s death in 1911. Unlike similar musical pairs (Bach and Handel, Haydn and Mozart, Schoenberg and Stravinsky), these two composers may have disagreed on the matters of musical taste and social comportment, but deeply respected one another’s artistic talents, freely exchanging advice from the earliest days of professional apprenticeship through the security and aggravations of artistic fame. Using a wealth of documentary material, this book reconstructs the 24-year relationship between Mahler and Strauss through collage—“a meaning that arises from fragments,” to borrow Adorno’s characterization of Mahler’s Sixth Symphony. Fourteen different topics, all of central importance to the life and work of the two composers, provide distinct vantage points from which to view both the professional and personal relationships. Some address musical concerns: Wagnerism, program music, intertextuality, and the craft of conducting. Others treat the connection of music to related disciplines (philosophy, literature), or to matters relevant to artists in general (autobiography, irony). And the most intimate dimensions of life—childhood, marriage, personal character—are the most extensively and colorfully documented, offering an abundance of comparative material. This integrated look at Mahler and Strauss discloses provocative revelations about the two greatest western composers at the turn of the 20th century. CHARLES YOUMANS is Assistant Professor of Musicology at Penn State University and author of Richard Strauss’s Orchestral Music and the German Intellectual Tradition: The Philosophical Roots of Musical Modernism (IUP, 2005).
Worldwide rights Music, Biography 256 pages, 10 b&w illus., 6 x 9
6
Review Copies Available on Request | Contact Stephen Williams | smw9@indiana.edu
—Elizabeth Margulis, author of On Repeat: How Music Plays the Mind
MUSIC
“This book puts forth a beautiful account of what it’s like to listen to music.”
“One of the best studies on the role of conceptual metaphor in music comprehension and theory I’ve ever read.” —Mark Johnson, author (with George Lakoff) of Philosophy in the Flesh: The Embodied Mind and Its Challenge to Western Thought
Music and Embodied Cognition Listening, Moving, Feeling, and Thinking ARNIE COX Taking a cognitive approach to musical meaning, Arnie Cox explores embodied experiences of hearing music as one that moves us both consciously and unconsciously. In this pioneering study that draws upon neuroscience and music theory, phenomenology and cognitive science, Cox advances his theory of the “mimetic hypothesis,” the notion that a large part of our experience and understanding of music involves an embodied imitation in the listener of bodily motions and exertions that are involved in producing music. Through an often unconscious imitation of action and sound, we feel the music as it moves and grows. With applications to tonal and post-tonal Western classical music, to Western vernacular music, and to non-Western music, Cox’s work stands to expand the range of phenomena that can be explained by the role of sensory, motor, and affective aspects of human experience and cognition. ARNIE COX is Associate Professor of Music Theory and Aural Skills at the Oberlin College Conservatory of Music. His writings and teaching focus on the relationship between embodiment, affect, metaphor, and musical experience. He has published essays on music and gesture, the role of embodiment in music analysis, and the nature of musical subjectivities. He has been an invited speaker at numerous universities and other venues.
Worldwide rights Music, Criticism 256 pages, 14 b&w illus., 10 music exx., 7 tables, 6.125 x 9.25 Review Copies Available on Request | Contact Stephen Williams | smw9@indiana.edu
77
MUSIC
“This ‘work’ fills what I have felt for many years to be a serious void in the violin literature. . . . [I] t is [vital] to have an authoritative ‘work’ that provides answers to the interpretive questions that will lead the contemporary violinist to a more historically informed performance. As I read (and reread) these pages, I found myself saying ‘bravo’ and ‘finally’ frequently in happy agreement. Stanley Ritchie has given Francesco Geminiani, Leopold Mozart, and Pierre Baillot a worthy companion on the bookshelf of dedicated fiddlers.” —Joseph Silverstein, violinist, conductor, and Professor of Music
The Accompaniment in “Unaccompanied” Bach Interpreting the Sonatas and Partitas for Violin STANLEY RITCHIE Known around the world for his advocacy of early historical performance and as a skilled violin performer and pedagogue, Stanley Ritchie has developed a technical guide to the interpretation and performance of J. S. Bach’s enigmatic Sonatas and Partitas for solo violin. Unlike typical Baroque compositions, Bach’s six solos are uniquely free of accompaniment. To add depth and texture to the pieces, Bach incorporated various techniques to bring out a multitude of voices from four strings and one bow, including arpeggios across strings, multiple stopping, opposing tonal ranges, and deft bowing. Published in 1802, over 80 years after its completion in 1720, the manuscript is without expression marks, leaving the performer to freely interpret the dynamics, fingering, bowings, and articulations. Marshaling a lifetime of experience, Stanley Ritchie provides violinists with deep insights into the interpretation and technicalities at the heart of these challenging pieces. STANLEY RITCHIE is Distinguished Professor of Music at the Jacobs School of Music at Indiana University. He is a leading exponent of Baroque and Classical violin playing and in June 2009 he received Early Music America’s highest award, the Howard Mayer Brown Award for Lifetime Achievement in Early Music.
Worldwide rights Music, Strings 144 pages, 1 b&w illus., 231 music exx., 8.5 x 11
8
Review Copies Available on Request | Contact Stephen Williams | smw9@indiana.edu
MUSIC
Schumann’s Virtuosity Criticism, Composition, and Performance in Nineteenth-Century Germany ALEXANDER STEFANIAK Considered one of the greatest composers—and music critics—of the Romantic era, Robert Schumann (1818– 1856) played an important role in shaping 19th-century German ideas about virtuosity. Forging his career in the decades that saw a surplus of public fascination with the feats and creations of virtuosos (Liszt, Paganini, and Chopin among others), Schumann engaged with instrumental virtuosity not only through his compositions and performances but also through his music reviews and writings about his contemporaries. Ultimately, virtuosity discourse influenced the culture of Western “art music” well beyond the 19th century and into the present day. By examining previously unexplored archival sources, Alexander Stefaniak looks at the diverse approaches to virtuosity Schumann developed over the course of his career, revealing several distinct currents in 19th-century German virtuosity and the enduring flexibility of virtuosity discourse. ALEXANDER STEFANIAK is Assistant Professor of Musicology at Washington University in Saint Louis.
Worldwide rights Music, Musicology 304 pages, 4 b&w illus., 31 music exx., 6.125 x 9.25
Review Copies Available on Request | Contact Stephen Williams | smw9@indiana.edu
9 9
MUSIC The Eighteenth-Century Fortepiano Grand and Its Patrons From Scarlatti to Beethoven EVA BADURA-SKODA In the late 17th century, Italian musician and inventor Bartolomeo Cristofori developed a new musical instrument for his cembalo che fa il piano e forte, which allowed keyboard players flexible dynamic gradation. This innovation, which came to be known as the hammer-harpsichord or fortepiano grand, was slow to catch on in musical circles. However, as renowned piano historian Eva Badura-Skoda demonstrates, the instrument inspired new keyboard techniques and performance practices and was eagerly adopted by virtuosos of the age, including Scarlatti, J. S. Bach, Clement, Haydn, Mozart, and Beethoven. Collecting a rich array of archival evidence, Badura-Skoda traces the construction and use of the fortepiano grand across the musical cultures of 18th-century Europe, providing a valuable resource for music historians, organologists, and performers. EVA BADURA-SKODA, noted musicologist, publishes extensively on the history of the piano and on performance practices of the 18th and 19th centuries. She is author of The History of the Pianoforte: A Documentary in Sound and coauthor (with Paul Badura-Skoda) of Interpreting Mozart: The Performance of His Piano Works.
Worldwide rights (except German, Italian and Japanese) Music, History 424 pages, 25 color illus, 2 b&w illus., 81 music exx., 7 x 10
10
Review Copies Available on Request | Contact Stephen Williams | smw9@indiana.edu
MUSIC
“The Music of Central Asia is like its subject: vast, variegated, resonant, and rich in musical traditions that have remained all too closed to outsiders for centuries. The book is both authoritative and innovative, ringing with regional voices and dozens of well-chosen examples of cultural riches to be sampled and savored by both specialists and students.” —Mark Slobin, Winslow-Kaplan Professor of Music, Wesleyan University
The Music of Central Asia EDITED BY THEODORE LEVIN, SAIDA DAUKEYEVA, AND ELMIRA KÖCHÜMKULOVA This beautiful and informative book offers a detailed introduction to the musical heritage of Central Asia for readers and listeners worldwide. The Music of Central Asia balances “insider” and “outsider” perspectives with contributions by 27 authors from 14 countries. A companion website (www.musicofcentralasia.org) provides access to some 175 audio and video examples, listening guides and study questions, and transliterations and translations of the performed texts. This generously illustrated book is supplemented with boxes and sidebars, musician profiles, and an illustrated glossary of musical instruments, making it an indispensable resource for both general readers and specialists. In addition, the enhanced ebook edition contains 150 audio/video examples of Central Asian music and culture. A follow along feature highlights the song lyrics in the text, as the audio samples play. THEODORE LEVIN is Senior Project Consultant to the Aga Khan Music Initiative and Senior Research Fellow in the Humanities at the University of Central Asia. He is author of Where Rivers and Mountains Sing: Sound, Music, and Nomadism in Tuva and Beyond (IUP, 2006), and The Hundred Thousand Fools of God: Musical Travels in Central Asia (and Queens, New York) (IUP, 1997). SAIDA DAUKEYEVA is a Kazakh music researcher and musician. She is author of Philosophy of Music by Abu Nasr Muhammad al-Farabi. ELMIRA KÖCHÜMKULOVA is Senior Research Fellow at the University of Central Asia in Bishkek. She is author of Respect Graces the Living, Lamentation Graces the Dead: Kyrgyz Funeral Lamentations (in Kyrgyz).
Worldwide rights Music, Ethnomusicology 650 pages, 456 color illus., 8 x 10
Review Copies Available on Request | Contact Stephen Williams | smw9@indiana.edu
11 11
MUSIC
“Highly recommended.” —Choice
“In this scintillating, endlessly thoughtprovoking book, Michael Klein amplifies musical understanding in fundamental ways—nothing less. He shows, beyond question or cavil, how advanced thinking about subjectivity and language can fold into the interpretation of music, and more, how such thinking resonates with the experience of music.... No matter how challenging the ideas—and they should be challenging—they never lose touch with nor fail to illuminate the ways in which we and music together struggle to ground the sense of being an actual person in an actual world.” —Lawrence Kramer, author of Interpreting Music and Why Classical Music Still Matters
Music and the Crises of the Modern Subject MICHAEL L. KLEIN Departing from the traditional German school of music theorists, Michael Klein injects a unique French critical theory perspective into the framework of music and meaning. Using primarily Lacanian notions of the symptom, that unnamable jouissance located in the unconscious, and the registers of subjectivity (the Imaginary, the Symbolic Order, and the Real), Klein explores how we understand music as both an artistic form created by “the subject” and an artistic expression of a culture that imposes its history on this modern subject. By creatively navigating from critical theory to music, film, fiction, and back to music, Klein distills the kinds of meaning that we have been missing when we perform, listen to, think about, and write about music without the insights of Lacan and others into formulations of modern subjectivity. MICHAEL KLEIN is Professor of Music Studies at Temple University. He is author of Intertextuality in Western Art Music (IUP, 2004) and editor (with Nicholas Reyland), of Music and Narrative since 1900 (IUP, 2012).
Worldwide Rights Music, Theory 248 pages, 27 music exx., 6.125 x 9.25
12
Review Copies Available on Request | Contact Stephen Williams | smw9@indiana.edu
MUSIC
“A broad, inclusive study that identifies the most important writings on the subject from the past, and demonstrates how they have influenced reed making and its pedagogy over two centuries.” —Dennis Michel, Second Bassoonist of the Chicago Symphony Orchestra and Head of Woodwinds at Roosevelt University
Bassoon Reed Making A Pedagogic History CHRISTIN SCHILLINGER Withheld by leading pedagogues in an effort to control competition, the art of reed making in the early 20th century has been shrouded in secrecy, producing a generation of performers without reed making fluency. While tenets of past decades remain in modern pedagogy, Christin Schillinger details the historical pedagogical trends of bassoon reed making to examine the impact different methods have had on the practice of reed making and performance today. Schillinger traces the pedagogy of reed making from the earliest known publication addressing bassoon pedagogy in 1687 through the publication of Julius Weissenborn’s Praktische Fagott-Schule and concludes with an in-depth look at contemporary methodologies developed by Louis Skinner, Don Christlieb, Norman Herzberg, and Lewis Hugh Cooper. Aimed at practitioners and pedagogues of the bassoon, this book provides a deeper understanding of the history and technique surrounding reed-making craft and instruction. CHRISTIN M. SCHILLINGER is an internationally recognized bassoon performer, scholar and pedagogue. Her solo albums, Bassoon Transcended (2013) and Bassoon Surrounded (2009) on the MSR Classics label display her advocacy for living composers.
Worldwide rights Music, Pedagogy 144 pages, 20 b&w Illus., 5.5 x 8.5
Review Copies Available on Request | Contact Stephen Williams | smw9@indiana.edu
13 13
MUSIC Guide to the Solo Horn Repertoire LINDA DEMPF AND RICHARD SERAPHINOFF This comprehensive, annotated resource of solo and chamber repertoire for the horn documents in detail the rich catalogue of music written originally for the instrument plus piano reductions of works for horn and ensemble. Intended as a guide for practical use and easy reference, it is organized into three large sections: works for unaccompanied horn, works for horn and keyboard, and works for horn and ensemble. Each entry includes publisher information, a brief description of the form and character of a work, technical details of the horn writing, approximate duration, and information on dedication and premiere. The editors also include commentary on the various techniques required and the performance challenges of each piece. Representing over ten years of careful compilation and notation by an expert in horn performance and pedagogy, assisted by a seasoned music librarian and natural horn performer, Guide to the Solo Horn Repertoire will be an invaluable resource for performers, educators, and composers. RICHARD SERAPHINOFF is Professor of Horn at the Indiana University Jacobs School of Music and the Early Music Institute. He performs and records regularly on natural horn and is a maker of early horn reproductions. LINDA DEMPF is Music and Media Librarian at the College of New Jersey. She earned a DM in Horn from Indiana University’s Jacobs School of Music and performs on the natural horn with period instrument ensembles throughout the United States.
Worldwide Rights Music, Reference 504 pages, 1 music exx., 6.125 x 9.25
14
Review Copies Available on Request | Contact Stephen Williams | smw9@indiana.edu
MUSIC
“Treats cutting-edge music with a sophisticated theoretical approach, presenting innovative ways of reading operatic narrative and music dramaturgy that will inform the best opera analysis available today.” —Andrew Davis, author of Il Trittico, Turandot, and Puccini’s Late Style
Reconfiguring Myth and Narrative in Contemporary Opera Osvaldo Golijov, Kaija Saariaho, John Adams, and Tan Dun YAYOI UNO EVERETT Yayoi Uno Everett focuses on four operas that helped shape the careers of the composers Osvaldo Golijov, Kaija Saariaho, John Adams, and Tan Dun which represent a unique encounter of music and production through what Everett calls “multimodal narrative.” Aspects of production design, the mechanics of stagecraft, and their interaction with music and sung texts contribute significantly to the semiotics of operatic storytelling. Everett’s study draws on Northrop Frye’s theories of myth, Lacanian psychoanalysis via Slavoj Žižek, Linda and Michael Hutcheon’s notion of production, and musical semiotics found in Robert Hatten’s concept of troping in order to provide original interpretive models for conceptualizing new operatic narratives. YAYOI UNO EVERETT is Professor of Music at University of Illinois at Chicago and author of Music of Louis Andriessen.
Worldwide Rights Music, Reference 256 pages, 21 b&w illus., 52 music exx., 3 tables, 6.125 x 9.25
Review Copies Available on Request | Contact Stephen Williams | smw9@indiana.edu
15 15
MUSIC
“As the role of early music in our day is now a very important one, this beautifullywritten book will interest and inform many musicians, music teachers, and music lovers.” —Michael McCraw, World-renowned early bassoonist and pedagogue
“Though mainly focused on von Huene and the recorder, this book also constitutes a welcome addition to the growing body of literature on the twentieth-century historical performance movement.” —Journal of the American Musicological Society
Well-Tempered Woodwinds Friedrich von Huene and the Making of Early Music in America GEOFFREY BURGESS Friedrich von Huene (1928) is arguably the most important manufacturer of historical woodwinds in the 20th century. Since he began making recorders in 1958, von Huene has exerted a strong influence on the craft of building woodwind instruments and on the study of instrument–making, as he has helped to shape the emerging field of Early Music performance practice. Recipient of lifetime achievement awards from the American Musical Instrumental Society, the National Flute Association, and Early Music America, he has remained at the forefront of research and design of historical copies of recorders, flutes, and oboes. In a compelling narrative that combines biography, cultural history, and technical organological enquiry, Geoffrey Burgess explores von Huene’s impact on the craft of historical instrument–making and the role organology has played in the emergence of the Early Music movement in the post-war era. GEOFFREY BURGESS, a practicing oboist, is instructor of baroque oboe at the Eastman School of Music. He has published widely on historical musicology, performance practice, and organology including his most recent publication, The Oboe (authored with Bruce D. Haynes).
Worldwide Rights Music, Biography, Musicology 352 pages, 47 b&w illus., 53 color illus., 6 x 9
16
Review Copies Available on Request | Contact Stephen Williams | smw9@indiana.edu
—Julie Hubbert, author
of Celluloid Symphonies: Texts and Contexts in Film Music History
MUSIC
“Neumeyer is a gifted writer who knows how to engage a reader from page to page.”
“David Neumeyer’s lively engagement with an entire generation of multi-disciplinary scholars yields robust frameworks for understanding how music works in ‘verbocentric’ narrative film. Meaning and Interpretation of Music in Cinema is a work of great erudition, clarity, precision, and authority.” —Claudia Gorbman, author of Unheard Melodies: Narrative Film Music
“Neumeyer . . . expands his significant contribution to film music studies with this magisterial volume. . . . Essential.” —Choice
Meaning and Interpretation of Music in Cinema DAVID NEUMEYER WITH CONTRIBUTIONS BY JAMES BUHLER By exploring the relationship between music and the moving image in film narrative, David Neumeyer shows that film music is not conceptually separate from sound or dialogue, but that all three are manipulated and continually interact in the larger acoustical world of the sound track. In a medium in which the image has traditionally trumped sound, Neumeyer turns our attention to the voice as the mechanism through which narrative (dialog, speech) and sound (sound effects, music) come together. Complemented by music examples, illustrations, and contributions by James Buhler, Meaning and Interpretation of Music in Cinema is the capstone of Neumeyer’s 25-year project in the analysis and interpretation of music in film. DAVID NEUMEYER is Marlene and Morton Meyerson Professor of Music in the Sarah and Ernest Butler School of Music, The University of Texas at Austin. JAMES BUHLER is Associate Professor of Music Theory in the Sarah and Ernest Butler School of Music, The University of Texas at Austin.
Worldwide Rights Music, Film and Media 424 pages, 73 music exx., 129 b&w illus., 6.125 x 9.25
Review Copies Available on Request | Contact Stephen Williams | smw9@indiana.edu
17 17
MUSIC
“The book is detailed, well documented, and a fascinating analysis of a musical milieu that was less visible than the neoklezmer movement. . . Just as valuable as the text is the availability of supplemental audio and video through a free account at ethnomultimedia.org. . . An outstanding study of a fascinating slice of New York culture.” —Library Journal
“Questions of identity and musical originality are broached and compellingly entwined in Barzel’s study, which is highly informative and refreshingly free of the dryness or excessive earnestness that can sometimes blight an account of a ‘movement’ of this kind.” —Jazzwise
New York Noise Radical Jewish Music and the Downtown Scene TAMAR BARZEL Coined in 1992 by composer/saxophonist John Zorn, “Radical Jewish Culture,” or RJC, became the banner under which many artists in Zorn’s circle performed, produced, and circulated their music. New York’s downtown music scene, part of the once-grungy Lower East Side, has long been the site of cultural innovation. It is within this environment that Zorn and his circle sought to combine, as a form of social and cultural critique, the unconventional, uncategorizable nature of downtown music with sounds that were recognizably Jewish. Out of this movement arose bands, like Hasidic New Wave and Hanukkah Bush, whose eclectic styles encompassed neo-klezmer, hardcore and acid rock, neo-Yiddish cabaret, free verse, free jazz, and electronica. Though relatively fleeting in rock history, the “RJC moment” produced a six-year burst of conversations, writing, and music— including festivals, international concerts, and nearly two hundred new recordings. TAMAR BARZEL is Lecturer at Harvard University.
Worldwide Rights Music, Jazz 328 pp., 30 b&w illus., 11 music exx., 1 table, 6x9
18
Review Copies Available on Request | Contact Stephen Williams | smw9@indiana.edu
MUSIC
“A valuable addition to the literature on Shostakovich. Moshevich provides a broad analysis of Shostakovich’s piano solos, descriptions of the unique characters, imaginative images to guide pianists, and practical suggestions to bring out the salient features.” —Read Gainsford, Florida State University
“This excellent, comprehensive study of Shostakovich’s piano music is a gift to performers and teachers. . . . Highly recommended.” —Choice
Shostakovich’s Music for Piano Solo Interpretation and Performance SOFIA MOSHEVICH The piano works of Dmitri Shostakovich (1906–1975) are among the most treasured musical compositions of the 20th 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. SOFIA MOSHEVICH is an independent scholar, pianist, and teacher in Toronto, Canada. She is author of Dmitri Shostakovich, Pianist.
Worldwide Rights Music, Piano 240 pp., 91 music exx., 1 table, 6.125 x 9.25
Review Copies Available on Request | Contact Stephen Williams | smw9@indiana.edu
19 19
MUSIC
“It would be difficult to imagine a more comprehensive and thorough study of Rachmaninoff’s vocal heritage. Richard Sylvester supplies us with all the information one would wish to have, and it is done not only with complete knowledge of Rachmaninoff’s life and creative genius, but also with genuine affection for his type of expression and with inner understanding of Rachmaninoff’s idiom. One can learn very much from this unique volume—very inspiring!” —Vladimir Ashkenazy, Conductor and Pianist
“Sylvester . . . paints a rich, detailed, and variegated picture of Rachmaninoff’s output as a song composer, the range and variety of his literary reading, and his many creative interactions with singers.” —Music and Letters
Rachmaninoff’s Complete Songs A Companion with Texts and Translations RICHARD D. SYLVESTER Sergei Rachmaninoff—the last great Russian romantic and arguably the finest pianist of the late 19th and early 20th centuries—wrote 83 songs, which are performed and beloved throughout the world. Like German Lieder and French mélodies, the songs were composed for one singer, accompanied by a piano. In this complete collection, Richard D. Sylvester provides English translations of the songs, along with accurate transliterations of the original texts and detailed commentary. Since Rachmaninoff viewed these “romances” primarily as performances and painstakingly annotated the scores, this volume will be especially valuable for students, scholars, and practitioners of voice and piano. RICHARD D. SYLVESTER is Professor Emeritus of Russian at Colgate University and author of Tchaikovsky’s Complete Songs: A Companion with Texts and Translations (IUP, 2004).
Worldwide Rights Music, Piano 28 pp., 1 b&w illus., 6x9
20
Review Copies Available on Request | Contact Stephen Williams | smw9@indiana.edu
MUSIC
“Beginners and keyboard players from other disciplines will profit immensely from Benson’s detailed analysis of clavichord touch; the dynamic variation in her own playing, particularly her enviable pianissimos, is the best advertisement for it. The publication as a whole should appeal to a much wider public, however, as a visual and audio document of a notable twentieth-century pioneer of the clavichord revival.” —British Clavichord Society Newsletter
Clavichord for Beginners JOAN BENSON Written by one of the champions of clavichord performance in the 20th century, Clavichord for Beginners is an exceptional method book for both practitioners and enthusiasts. In addition to detailing the historical origins of the instrument and the evolution of keyboard technique, the book describes the proper method for practicing fingering and articulation and emphasizes the importance of touch and sensitivity at the keyboard. A CD featuring Benson in performance and a DVD of interviews and lessons accompany the book, illustrating important exercises for the beginner. The discs also include discussions on topics that range from 16th-century keyboard masters to the frontiers of electronic music research. JOAN BENSON has performed throughout the world, garnering respect of classical music enthusiasts and major contemporary composers. Her advocacy of modern Western music led her to Olivier Messiaen’s class at the Paris Conservatoire, to the University of Utrecht Institute of Sonology, and to Stanford’s Center for computer Research in Music and Acoustics. She has taught on the faculty at Stanford University, the University of Oregon, and the Aston Magna Academy in Massachusetts.
Worldwide Rights Music, Early Music 144 pp., 19 b&w illus., 77 music exx., 6x9
Review Copies Available on Request | Contact Stephen Williams | smw9@indiana.edu
21 21
MUSIC
“Serving as a concise guide linking the history of trumpet to performance, this book includes information on band music, bugle calls, orchestral repertoire, and jazz. Particularly useful are the sections on transposition, and how jazz is written versus played. Teachers and performers alike will benefit from this book.” —American Reference Books Annual
“Whether an enthusiastic student or a seasoned professional, I wholeheartedly endorse this book. Elisa Koehler should be commended for this wonderful addition to the market—I can guarantee it will remain a resource that will get you reaching for your shelf time and time again.” —The Brass Herald
Fanfares and Finesse A Performer’s Guide to Trumpet History and Literature ELISA KOEHLER Unlike the violin, which has flourished largely unchanged for close to four centuries, the trumpet has endured numerous changes in design and social status from the battlefield to the bandstand and ultimately to the concert hall. This colorful past is reflected in the arsenal of instruments a classical trumpeter employs during a performance, sometimes using no fewer than five in different keys and configurations to accurately reproduce music from the past. With the rise in historically inspired performances comes the necessity for trumpeters to know more about their instrument’s heritage, its repertoire, and different performance practices for old music on new and period-specific instruments. More than just a history of the trumpet, this essential reference book is a comprehensive guide for musicians who bring that musical history to life. ELISA KOEHLER is Associate Professor of Music at Goucher College and Music Director and Conductor of the Frederick Symphony Orchestra.
Worldwide Rights Music, Brass, Performance 264 pp., 67 b&w illus., 37 music exx., 10 tables, 6 x 9
22
Review Copies Available on Request | Contact Stephen Williams | smw9@indiana.edu
—W. Dean Sutcliffe, The University of Auckland
MUSIC
“A book of vital importance by a world authority on Kraus.”
“This book is an important contribution not only to Kraus studies but also to the literature on 18th-century music in general. . . . Recommended.” —Choice
“Van Boer’s translation is most readable . . . One hopes these letters will get people interested in the musical culture of the late 18th century outside the musical hot-house of Vienna. Jospeh Martin Kraus will be a charming guide.” —Fanfare
The Musical Life of Joseph Martin Kraus Letters of an Eighteenth-Century Swedish Composer BERTIL H. VAN BOER Joseph Martin Kraus (1756–1792) led an illustrious, if brief, career as an acclaimed composer in the age of Haydn and Mozart. At 26 he embarked on a four-year European grand tour that secured his reputation as musician and composer. Like Mozart, Kraus was a prolific correspondent. His letters to his family give an unusually intimate picture of the private man, showing a slice of domestic life in the 18th century among the emerging middle class. These letters include one of the few descriptions of the great Handel Centenary Festival from an outsider, critiques of the operas performed in Paris by Piccinni, the first mention in history of Mozart’s Le Nozze di Figaro, and descriptions of the art and archeology of Pompeii. These documents are as crucial to understanding Kraus’s life and works as they are revelatory of a composer’s milieu in the 18th century. BERTIL H. VAN BOER is Professor of Musicology and Music Theory at Western Washington University. He has also served as President of the Society for Eighteenth Century Music.
Worldwide Rights Music, Biography 392 pp., 3 b&w illus., 6 x 9
Review Copies Available on Request | Contact Stephen Williams | smw9@indiana.edu
23 23
MUSIC
“Kuijken is peerless. He is a professional musician and the apotheosis of historical flute playing, who utilizes musicology in his broader goal of moving the hearts of his listeners.” —Barbara Kallaur, founding member of Ensemble Voltaire and the Indianapolis Baroque Orchestra
“In a climate where marketing and convenient practicalities have increasingly tended to overwhelm historical evidence, Kuijken’s book is timely and worthwhile.” —Performance Practice Review
The Notation Is Not the Music Reflections on Early Music Practice and Performance BARTHOLD KUIJKEN Written by a leading authority and artist of the historical transverse flute, The Notation Is Not the Music offers invaluable insight into the issues of historically informed performance and the parameters—and limitations— of notation-dependent performance. As Barthold Kuijken illustrates, performers of historical music should consider what is written on the page as a mere steppingstone for performance. Only by continual examination and reexamination of the sources to discover original intent can an early music practitioner come close to authentic performance. BARTHOLD KUIJKEN is Professor of Baroque Flute and Head of the Early Music Section at the Royal Conservatory of Brussels and The Hague.
Worldwide Rights Music, Woodwind 144 pp., 4 b&w illus., 1 color illus, 2 music exx., 6 x 9
24
Review Copies Available on Request | Contact Stephen Williams | smw9@indiana.edu
MUSIC
“Murray Grodner has distilled more than 30 years of playing and teaching experience into an immensely approachable and useful book for aspiring and practising bassists. I thoroughly recommend this book to all teachers who want to keep learning, and players who like re-evaluating their playing. Its strength lies in the way it encourages us to help ourselves and supports us on our journey as lifelong learners.” —The Strad
“A Double Bassist’s Guide to Refining Performance Practices is eminently sensible and informative, and serves as an excellent resource for classical bassists.” —Edwin Barker, Principal Bass, Boston Symphony Orchestra
A Double Bassist’s Guide to Refining Performance Practices MURRAY GRODNER Murray Grodner draws on his distinguished career as a double bass musician and teacher in this compendium of performance philosophy, bowing and phrasing recommendations, tutorials on fingerings and scales, and exercises for bowing and string crossing. Grodner addresses technical obstacles in musical performance, offers advice on instrument and bow purchase, and provides a detailed approach to the fundamentals of bass playing. This guide is an invaluable resource for any bassist seeking to improve performance practices. MURRAY GRODNER is Professor Emeritus at the Jacobs School of Music at Indiana University.
Worldwide Rights Music, Performance 168 pp., 6 x 9
Review Copies Available on Request | Contact Stephen Williams | smw9@indiana.edu
25 25
MUSIC
“This is a loving paean to Pressler (b. 1923) written by a former student with a wealth of input from other former students. . . . A good selection for collections supporting study of the piano.” —Choice
“This book offers an invaluable insight into the world of this outstanding musician and his teaching.” —American Music Teacher
“Brown’s Menahem Pressler allows us to gain a unique perspective on the contributions of this extraordinary man and the impact he has had on the lives and music making of so many.” —Clavier Companion
Menahem Pressler Artistry in Piano Teaching WILLIAM BROWN As soloist, master class teacher, and pianist of the world-renowned Beaux Arts Trio, Menahem Pressler can boast of four Grammy nominations, three honorary doctorates, more than 80 recordings, and lifetime achievement awards presented by France, Germany, and Israel. Former Pressler student William Brown traces the master’s pianistic development through Rudiakov, Kestenberg, Vengerova, Casadesus, Petri, and Steuermann, blending techniques and traditions derived from Beethoven, Chopin, Liszt, and J. S. Bach. Brown presents Pressler’s approach to performance and teaching, including technical exercises, principles of relaxation and total body involvement, and images to guide the pianist’s creativity toward expressive interpretation. Insights from the author’s own lessons, interviews with Pressler, and recollections of more than 100 Pressler students from the past 50 years are gathered in this text. Measure-by-measure lessons on 23 piano masterworks by, among others, Bach, Bartók, Debussy, and Ravel as well as transcriptions of Pressler’s fingerings, hand redistributions, practicing guidelines, musical scores, and master class performances are included.
WILLIAM BROWN is a professor of piano who has contributed to Piano Guild Magazine and PedalPoint. He lives in Bolivar, Missouri.
Worldwide Rights (except Japan) Music, Biography 328 pp., 23 b&w illus., 78 music exx., 6.125 x 9.25
26
Review Copies Available on Request | Contact Stephen Williams | smw9@indiana.edu