100 Years Of British Music

From Sir Edward Elgar to Adele, great composers and songwriters have been at the heart of the musical landscape for the last 100 years. 100 Years Of British Music is a lavish photo book, specially commissioned by PRS for Music in commemoration of a century of support for music’s creators. Showcased here are composers of film music, opera, symphonies and stage shows, as well as the writers behind the greatest hits of rock and pop, in superb new photographs by Lucy Sewill together with rare and unseen pictures from the archives. The result is a unique ‘living history’ of the PRS and its members that celebrates their vital contribution to British culture.

The first comprehensive academic survey of British musical theatre from its origins, The Oxford Handbook of the British Musical offers both a historical account of musical theatre from 1728 and a range of in-depth critical analyses of key works and productions that illustrate its aesthetic values and sociocultural meanings.

For as long as people have been migrating to London, so has their music. An essential link to home, music also has the power to shape communities in surprising ways. Black music has been part of London's landscape since the First World War, when the Southern Syncopated Orchestra brought jazz to the capital. Following the wave of Commonwealth immigration, its sounds and styles took up residence to become the foundation of the city's youth culture. Sounds Like London tells the story of the music and the larger-than-life characters making it, journeying from Soho jazz clubs to Brixton blues parties to King's Cross warehouse raves to the streets of Notting Hill - and onto sound systems everywhere. As well as a journey through the musical history of London, Sounds Like London is about the shaping of a city, and in turn the whole nation, through music. Contributors include Eddy Grant, Osibisa, Russell Henderson, Dizzee Rascal and Trevor Nelson, with an introduction by Soul2Soul's Jazzie B.

'The music hall ...had no place for reticence; it was downright, it shouted, it made noise, it enjoyed itself and made the people enjoy themselves as well.' W.J. MACQUEEN POPEMusic Hall lies at the root of all modern popular entertainment. With stars such as Marie Lloyd, Harry Lauder and Dan Leno, it reached its glorious, brassy height between 1890 and the First World War. In the first book on this subject for many years, Richard Anthony Baker whisks us off on a colourful and nostalgic tour of the rise and fall of British music hall.At the beginning of the nineteenth century people sang traditional songs in taverns for entertainment. This was so popular that rooms started to be added to inns for shows to be staged, and, before long, songs were being specially composed and purpose-built theatres were springing up everywhere. Britain's working class had, for the first time, its own form of public entertainment and its own breed of stars. The colour and vitality attracted serious writers and artists, as well as the future Edward VII, and music hall became simultaneously the haunt of the working classes and the avant-garde.Including stories of a clergyman who wrote music-hall sketches, a hall in Glasgow where luckless entertainers were pulled off stage by a long hooked pole, and Cockney dictionaries that helped Americans understand touring British performers, this book is a hugely engaging slice of social history, rich in humour, tragedy and bathos.As featured on BBC Radio Lincolnshire and in the Sunderland Echo.

This title was first published in 2003. The UK branch of the International Association of Music Libraries was founded in 1953. This volume of specially commissioned essays celebrates the golden jubilee of branch's foundation and surveys the achievements of the last 50 years. With an emphasis on practical music librarianship, the essays examine the challenges that have faced the profession in recent years, as well as current developments in the field and the impact of modern advances in information technology.

Originally published in 1999, this volume of essays arises from the first biennial Music in Nineteenth-Century Britain conference, held at the University of hull in July 1997. Like the conference, this book seeks to expand and reassess our current knowledge of musical life in Britain during the nineteenth century, as well as to challenge the preconceptions of earlier attitudes and scholarship. This volume covers a cohesive range of subjects and materials intended not only as a revision of past views and scholarship, but also as a tool for further research. It provides a vigorous reconsideration of the musical activity of the period.

The 1990s work of six British composers forms the focus of this collection of essays, arising from a conference that took place at University of Surrey Roehampton in February 1999. The composers whose music is discussed are James Dillon, Thomas Ad? Harrison Birtwistle, Jonathan Harvey, Edwin Roxburgh and Sebastian Forbes. Reflecting the aims of the conference, this volume brings together composers and musicologists to discuss significant works from the last decade of the twentieth century, and also some of the wider issues surrounding British music. Arnold Whittall and Julian Johnson provide perspectives on the plurality of contemporary British music. Edwin Roxburgh offers a personal account of 'The Artists' Dilemma', whilst the essays that follow explore aspects of musical form and structure in a variety of works. The second half of the book comprises interviews with most of the composers whose music is discussed in Part I, adding a further dimension to our understanding of the preoccupations of British composition at the end of the twentieth century.

The entertaining tale of Robert Barnet (1853-1933) and the enormously popular musicals he produced as fundraisers for a volunteer militia group in Boston.