From the critically acclaimed author of "The Rise and Fall of the British Empire" comes an unapologetic revisionist history of British rule in India. James recounts the twists and turns of imperialism and independence with a wealth of new material. 8-page photo insert.
From the 1920s to the 1950s, neoclassicism was one of the dominant movements in American music. Today this music is largely in eclipse, mostly absent in performance and even from accounts of music history, in spite of—and initially because of—its adherence to an expanded tonality. No previous book has focused on the nature and scope of this musical tradition. Neoclassical Music in America: Voices of Clarity and Restraint makes clear what neoclassicism was, how it emerged in America, and what happened to it. Music reviewer and scholar, R. James Tobin argues that efforts to define musical neoclassicism as a style largely fail because of the stylistic diversity of the music that fall within its scope. However, neoclassicists as different from one another as the influential Igor Stravinsky and Paul Hindemith did have a classical aesthetic in common, the basic characteristics of which extend to other neoclassicists This study focuses, in particular, on a group of interrelated neoclassical American composers who came to full maturity in the 1940s. These included Harvard professor Walter Piston, who had studied in France in the 1920s; Harold Shapero, the most traditional of the group; Irving Fine and Arthur Berger, his colleagues at Brandeis; Lukas Foss, later an experimentalist composer whose origins lay in neoclassicism of the 1940s; Alexei Haieff, and Ingolf Dahl, both close associates of Stravinsky; and others. Tobin surveys the careers of these figures, drawing especially on early reviews of performances before offering his own critical assessment of individual works. Adventurous collectors of recordings, performing musicians, concert and broadcasting programmers, as well as music and cultural historians and those interested in musical aesthetics, will find much of interest here. Dates of composition, approximate duration of individual works, and discographies add to the work’s reference value.
Oxford's highly successful listener's guides--The Symphony, The Concerto, and Choral Masterworks--have been widely praised for their blend of captivating biography, crystal clear musical analysis, and delightful humor. Now James Keller follows these greatly admired volumes with Chamber Music. Approaching the tradition of chamber music with knowledge and passion, Keller here serves as the often-opinionated but always genial guide to 192 essential works by 56 composers, providing illuminating essays on what makes each piece distinctive and admirable. Keller spans the history of this intimate genre of music, from key works of the Baroque through the emotionally stirring "golden age" of the Classical and Romantic composers, to modern masterpieces rich in political, psychological, and sometimes comical overtones. For each piece, from Bach through to contemporary figures like George Crumb and Steve Reich, the author includes an astute musical analysis that casual music lovers can easily appreciate yet that more experienced listeners will find enriching. Keller shares the colorful, often surprising stories behind the compositions while revealing the delights of an art form once described by Goethe as the musical equivalent of "thoughtful people conversing.
Thoroughly revised and updated for 2005! Includes a new chapter on the best special edition DVDs and a new chapter on finding hidden easter egg features.
The only available historical dictionary devoted exclusively to the 1940s, this book offers readers a ready-reference portrait of one of the twentieth century's most tumultuous decades. In nearly 600 concise entries, the volume quickly defines a historical figure, institution, or event, and then points readers to three sources that treat the subject in depth. In selecting topics for inclusion, the editors and authors offer a representative slice of life as contemporaneous Americans saw it - with coverage of people; movements; court cases; and economic, social, cultural, political, military, and technological changes. The book focuses chiefly on the United States, but places American lives and events firmly within a global context.
This discography addresses all the recordings made by The Boston Symphony Orchestra and by the Boston Symphony Chamber Players. Each entry contains complete details of the recording session and work, including all the soloists and choruses, as well as issued discs and tapes in many formats. The material is cross-referenced in indexes organized by composer, conductor, and soloist. In addition to commercial recordings, this volume has separate sections on recordings issued by the U.S. government, recordings made by BSO musicians under other ensemble names, and 'pirate' recordings of BSO concerts and broadcasts.
Why do we value music? Many people report that listening to music is one of life's most rewarding activities. In Critique of Pure Music, James O. Young seeks to explain why this is so. Formalists tell us that music is appreciated as pure, contentless form. On this view, listeners receive pleasure, or a pleasurable 'musical' emotion, when they explore the abstract patterns found in music. Music, formalists believe, does not arouse ordinary emotions such as joy, melancholy or fear, nor can it represent emotion or provide psychological insight. Young holds that formalists are wrong on all counts. Drawing upon the latest psychological research, he argues that music is expressive of emotion by resembling human expressive behaviour. By resembling human expressive behaviour, music is able to arouse ordinary emotions in listeners. This, in turn, makes possible the representation of emotion by music. The representation of emotion in music gives music the capacity to provide psychological insight-into the emotional lives of composers, and the emotional lives of individuals from a variety of times and places. And it is this capacity of music to provide psychological insight which explains a good deal of the value of music, both vocal and purely instrumental. Without it, music could not be experienced as profound. Philosophers, psychologists, musicians, musicologists, and music lovers will all find something of interest in this book.
This definitive 19th-century collection compiles all the extant ballads with all known variants and features Child's commentary for each work. Volume III includes Parts V and VI of the original set — ballads 114–188.
Derided for its conformity and consumerism, 1950s America paid a price in anxiety. Prosperity existed under the shadow of a mushroom cloud. Optimism wore a Bucky Beaver smile that masked worry over threats at home and abroad. But even dread could not quell the revolutionary changes taking place in virtually every form of mainstream music. Music historian James Wierzbicki sheds light on how the Fifties' pervasive moods affected its sounds. Moving across genres established--pop, country, opera--and transfigured--experimental, rock, jazz--Wierzbicki delves into the social dynamics that caused forms to emerge or recede, thrive or fade away. Red scares and white flight, sexual politics and racial tensions, technological progress and demographic upheaval--the influence of each rooted the music of this volatile period to its specific place and time. Yet Wierzbicki also reveals the host of underlying connections linking that most apprehensive of times to our own uneasy present.
With an unrelenting devotion to social consciousness and artistic integrity, Willard Van Dyke emerged in the mid-1920s as one of the few artists to bridge both mediums of photography and film.
Film Music: A History explains the development of film music by considering large-scale aesthetic trends and structural developments alongside socioeconomic, technological, cultural, and philosophical circumstances. The book’s four large parts are given over to Music and the "Silent" Film (1894--1927), Music and the Early Sound Film (1895--1933), Music in the "Classical-Style" Hollywood Film (1933--1960), and Film Music in the Post-Classic Period (1958--2008). Whereas most treatments of the subject are simply chronicles of "great film scores" and their composers, this book offers a genuine history of film music in terms of societal changes and technological and economic developments within the film industry. Instead of celebrating film-music masterpieces, it deals—logically and thoroughly—with the complex ‘machine’ whose smooth running allowed those occasional masterpieces to happen and whose periodic adjustments prompted the large-scale twists and turns in film music’s path.
We used to go to the movies. We used to speak of flicks, even flicking out. We used to stand in line with friends in delicious anticipation to buy tickets for a movie that got a rapturous review. We used to be ushered into blinding darkness within cavernous halls of downtown gilded-age theaters to look at enormous screens. And we might go without regard to when the feature began, enter in the middle, sit through its ending, its double-bill and shorts, and only then watch the beginning of what we wanted to see. A small personal triumph occurred when, seeing a flick with friends or family, you were the first one to get up to leave announcing that "this was the place in the movie where we came in."--
Eldon Davis Rathburn (1916-2008), one of the most multi-dimensional, prolific, and endlessly fascinating composers of the twentieth century, wrote more music than any other Canadian composer of his generation. During a long and productive career that spanned seventy-five years, Rathburn served for thirty years as a staff composer with the National Film Board of Canada (1947-76), scored the first generation of IMAX films, and created a diverse catalogue of orchestral and chamber works. With the aid of extensive archival and documentary materials, They Shot, He Scored chronicles Rathburn's life and works, beginning with his formative years in Saint John, New Brunswick, and his breakthrough in Los Angeles in connection with Arnold Schoenberg and the LA Philharmonic Orchestra. The book follows his work at the NFB, his close encounters with some of the most celebrated international figures in his field, and his collaboration with the team of innovators who launched the IMAX film corporation. James Wright undertakes a close analytical reading of Rathburn's film and concert scores to outline his methods, compositional techniques, influences, and idiosyncratic approach to instrumentation, as well as his proto-postmodern proclivity for borrowing from diverse styles and genres. Authoritative and insightful, They Shot, He Scored illuminates the extraordinary career of an unsung creative force in the film and music industry.
This WWII history examines an early British commando raid on Nazi occupied France through extensive interviews with survivors from both sides. On March 28th, 1942, a combined force of British Commandos and Royal Navy disembarked for the Atlantic coast of Nazi-occupied France. Their mission, Operation Chariot, was a daring amphibious attack on a fortified drydock in the port of Saint-Nazaire. The obsolete destroyer HMS Campbeltown was packed with delayed-action explosives and rammed into the gates of Normandie Dock. Though the dock was destroyed, the underequipped raiding party faced an overwhelming counter-attack. Though the St. Nazaire raid was a significant event in the evolution of special warfare tactics, it has not been studied in detail. Historian James Dorrian draws on interviews with more than a hundred survivors, both British and German, to present this remarkable account. Storming St. Nazaire covers all aspects of the engagement, including the final ironic incident that resulted in more German casualties than the main battle itself.
Inheriting the tradition of Hugh Miller, the nineteenth century folklorist and stonemason (whose own haunted life is the subject of the opening chapter), James Robertson has, where possible, researched the original or oldest written source and visited the site of each story to compile the most comprehensive and authoritative collection of the Scottish supernatural. Some of the stories gathered here are deservedly famous, such as those associated with Glamis Castle or the tale of Major Weir, while others ('The Deil of Littledean' and 'The Drummer of Cortachy') are less familiar or even contemporary accounts related to the author personally - but all are equally intriguing and fascinating reflections of the culture and period to which they belong. Neither a wary sceptic nor a fanatical believer, but an advocate of the validity of individual experience of the strange and unexplainable, James Robertson's Scottish Ghost Stories is an imaginative and chilling recasting of an established Scottish ghost-hunting and story-telling tradition - a homage to the particular mystery and character of a land which continues to produce ghosts whether from den to glen, Highlands to Lowlands, Catholic to Protestant.
In early 1942, shipping losses in the Atlantic threatened Britain's very survival. In addition to the U-Boat menace, there was real concern that the mighty German battleship Tirpitz be unleashed against the vital Allied convoys. Yet only the 'Normandie' Dock at St Nazaire could take her vast size in the event of repairs being required. Destroy that and the Tirpitz would be neutralized.Thus was born Operation CHARIOT, the daring Commando raid that, while ultimately successful, proved hugely costly. Using personal accounts, James Dorrian describes the background and thrilling action that resulted in the award of five Victoria Crosses.In a dramatic final twist of events, once the battle was over, the converted former US warship Campelton blew up wrecking the dock gates and killing many Germans who thought the battle was won.
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