Analyses Of Nineteenth And Twentieth Century Music 1940 2000

"Features over 9000 references to analyses of the works of more than 1000 composers of the nineteenth and twentieth centuries. These references address form, harmony, melody, rhythm and other structural elements of musical composition."--Cover.

This new volume incorporates all entries from the previous editions by Arthur Wenk, expanding to cover writings drawn from periodicals, theses, dissertations, books, and Festschriften from 1940 to 2000. Over 9,000 references to analyses of works by over 1,000 composers of the nineteenth and twentieth centuries are included.

Annotation: The Index is published in two physical volumes and sold as a set for $250.00. As America's geography and societal demands expanded, the topics in The Etude magazine (first published in 1883) took on such important issues as women in music; immigration; transportation; Native American and African American composers and their music; World War I and II; public schools; new technologies (sound recordings, radio, and television); and modern music (jazz, gospel, blues, early 20th century composers) in addition to regular book reviews, teaching advice, interviews, biographies, and advertisements. Though a valued source particularly for private music teachers, with the de-emphasis on the professional elite and the decline in salon music, the magazine ceased publication in 1957. This Index to the articles in The Etude serves as a companion to E. Douglas Bomberger's 2004 publication on the music in The Etude. Published a little over fifty years after the final issue reached the public, this Index chronicles vocal and instrumental technique, composer biographies, position openings, department store orchestras, the design of a successful music studio, how to play an accordion, recital programs in music schools, and much more. The Index is a valuable tool for research, particularly in the music culture of American in the late nineteenth and early twentieth centuries. With titles of these articles available, the doors are now open for further research in the years to come.

As America's geography and societal demands expanded, the topics in The Etude magazine (first published in 1883) took on such important issues as women in music; immigration; transportation; Native American and African American composers and their music; World War I and II; public schools; new technologies (sound recordings, radio, and television); and modern music (jazz, gospel, blues, early 20th century composers) in addition to regular book reviews, teaching advice, interviews, biographies, and advertisements. Though a valued source particularly for private music teachers, with the de-emphasis on the professional elite and the decline in salon music, the magazine ceased publication in 1957. This Index to the articles in The Etude serves as a companion to E. Douglas Bomberger¿s 2004 publication on the music in The Etude. Published a little over fifty years after the final issue reached the public, this Index chronicles vocal and instrumental technique, composer biographies, position openings, department store orchestras, the design of a successful music studio, how to play an accordion, recital programs in music schools, and much more. The Index is a valuable tool for research, particularly in the music culture of American in the late nineteenth and early twentieth centuries. With titles of these articles available, the doors are now open for further research in the years to come. The Index is published in two parts and sold as a set for $250.00.

This is an annotated bibliography to books, recordings, videos, and websites on choral music. This book will serve as an excellent tool for librarians, researchers, and scholars in sorting through the massive amount of new material that has appeared since publication of the previous edition.

This is an annotated bibliography to books, recordings, videos, and websites on choral music. This book will serve as an excellent tool for librarians, researchers, and scholars in sorting through the massive amount of new material that has appeared since publication of the previous edition.

This familiar guide to information resources in the humanities and the arts, organized by subjects and emphasizing electronic resources, enables librarians, teachers, and students to quickly find the best resources for their diverse needs. Authoritative, trusted, and timely, Information Resources in the Humanities and the Arts: Sixth Edition introduces new librarians to the breadth of humanities collections, experienced librarians to the nature of humanities scholarship, and the scholars themselves to a wealth of information they might otherwise have missed. This new version of a classic resource—the first update in over a decade—has been refreshed to account for the myriad of digital resources that have rewritten the rules of the reference and research world, and been expanded to include significantly increased coverage of world literature and languages. This book is invaluable for a wide variety of users: librarians in academic, public, school, and special library settings; researchers in religion, philosophy, literature, and the performing and visual arts; graduate students in library and information science; and teachers and students in humanities, the arts, and interdisciplinary degree programs.

In the early years of the twentieth century, O.G. Sonneck, the father of American musicology, decried the state of musical bibliography in this country, encouraging musical scholars to dedicate themselves to preserving, cataloging, and promoting the use of America’s musical ephemera, especially newspapers and magazines. Despite his century-old calls, much work in this area remains undone. This volume responds to Sonneck’s call for action by creating a bibliography of periodicals that document the use and place of the guitar in a little-known segment of America’s musical culture in the final decades of the nineteenth century through the first third of the twentieth century. Between 1880 and the mid-1930s, a unique musical movement grew and flourished in this country. Focused on the promotion of so-called “plectral instruments,” this movement promoted the banjo, the mandolin, and the guitar as cultivated instruments on a par with the classical violin or piano. The Banjo, Mandolin and Guitar (BMG) community consisted of instrument manufacturers, music publishers, professional teachers and composers, and amateur students. While some professional soloists achieved national recognition, the performing focus of the movement was ensemble work, with bands of banjos, mandolins and guitars ranging from quartets and quintets (modeled on the violin-family string ensembles) to festival orchestras of up to 400 players (mimicking the late romantic symphony orchestra). The repertoire of most ensembles included popular dances of the day as well as light classics, but more ambitious ensembles tackled Mozart, Haydn, Beethoven, and even Wagner. Although this movement straddled both popular and cultivated (classical) music-making, its elitist pretensions contributed to its demise in the wake of the explosive growth of modern American popular music linked to Tin Pan Alley or the blues. While the movement’s heyday spanned the early years of audio recording, only a handful of active BMG performers made recordings. As a result few musical scholars are aware of the BMG movement and its contribution to American musical culture, especially its influence on the physical and technical development of America’s instrument, the guitar The movement did, however, leave extensive traces of itself in periodicals produced by manufacturing and publishing concerns. Beginning in 1882, the leadership of the BMG movement fell to the publishers, editors, and contributors from these promotional journals, which were dedicated to the “interests of Banjoists, Mandolinists and Guitarists” While advertising dominated the pages of most of these periodicals, nearly all offered product and publication reviews, historical surveys, biographical sketches, and technical advice. In addition, the BMG magazines not only documented performances with reviews and program lists but also contained musical scores for solo instruments and plucked-string ensembles. These magazines are the primary sources which document this vibrant expression of America’s musical life. While one or two of the BMG magazines have been known by guitar scholars, most have not seen the light of day in decades. Similarly, a few of the leading guitar figures of the BMG movement—principally William Foden, Vahdah Olcott-Bickford, and George C. Krick—have been acknowledged and documented but many more remain completely anonymous. This bibliography offers access to the periodicals which help document the story of the guitar in America’s progressive era—a story of tradition and transformation—as lived and told by the guitar’s players, teachers, manufacturers, composers, and fans in the BMG movement. The bibliography consists of two large sections. The first contains a chronological list of articles, news items, advertisements, illustrations, and photographs as well as a list of musical works for guitar published in the BMG magazines. The second section of the bibliography is a series of indices which link names and subjects to the lists. With nearly 5500 entries and over 100 pages of indices, this bibliography offers researchers access to a musical world that has been locked away on library shelves for the past century.