Band Music From The Benjamin H Grierson Collection

In December 1863, Civil War soldiers took refuge from the dismal conditions of war and weather. They made their winter quarters in the Piedmont region of central Virginia: the Union’s Army of the Potomac in Culpeper County and the Confederacy’s Army of Northern Virginia in neighboring Orange County. For the next six months the opposing soldiers eyed each other warily across the Rapidan River. In Music Along the Rapidan James A. Davis examines the role of music in defining the social communities that emerged during this winter encampment. Music was an essential part of each soldier’s personal identity, and Davis considers how music became a means of controlling the acoustic and social cacophony of war that surrounded every soldier nearby. Music also became a touchstone for colliding communities during the encampment—the communities of enlisted men and officers or Northerners and Southerners on the one hand and the shared communities occupied by both soldier and civilian on the other. The music enabled them to define their relationships and their environment, emotionally, socially, and audibly.

General Benjamin H. Grierson is most widely known as the brilliant cavalryman whose actions in the Civil War's Mississippi Valley campaign facilitated Ulysses S. Grant's capture of Vicksburg. There is, however, much more to this key Union officer than a successful raid into Confederate-held Mississippi. In A Just and Righteous Cause: Benjamin H. Grierson's Civil War Memoir, edited by Bruce J. Dinges and Shirley A. Leckie, Grierson tells his story in forceful, direct, and highly engaging prose. A Just and Righteous Cause paints a vivid picture of Grierson's prewar and Civil War career, touching on his antislavery views, Republican Party principles, and military strategy and tactics. His story begins with his parents' immigration to the United States and follows his childhood, youth, and career as a musician; the early years of his marriage; his business failures prior to becoming a cavalry officer in an Illinois regiment; his experiences in battle; and his Reconstruction appointment. Grierson also provides intimate accounts of his relationships with such prominent politicians and Union leaders as Abraham Lincoln, Richard Yates, Andrew Johnson, William T. Sherman, Ulysses S. Grant, John C. Frémont, and Benjamin Prentiss. Because Grierson wrote the memoir mainly with his family as the intended audience, he manages to avoid the self-promotion that plagues many of his contemporaries' chronicles. His reliance on military records and correspondence, along with family letters, lends an immediacy rarely found in military memoirs. His reminiscences also add fuel to a reemerging debate on soldiers' motivations for enlisting—in Grierson's case, patriotism and ideology—and shed new light on the Western theater of the Civil War, which has seen a recent surge in interest among Civil War enthusiasts. A non–West Point officer, Grierson owed his developing career to his independent studies of the military and his connections to political figures in his home state of Illinois and later to important Union leaders. Dinges and Leckie provide a helpful introduction, which gives background on the memoir and places Grierson's career into historical context. Aided by fourteen photos and two maps, as well as the editors' superb annotations, A Just and Righteous Cause is a valuable addition to Civil War history.

This new edition of The Keyed Bugle is an expansion rather than a revision of the first edition. The performance practice discussion has been extended to cater to the needs of the reader who wishes to learn the instrument. All chapters contain new information, and the chapters on Performers, Makers and Sellers have been extensively expanded. An additional chapter offers an explanation of the peculiarly distinct acoustics of keyed bugles and provides an analysis of construction styles employed by particular makers. After closely researching instruments that have been documented by the signatures of specific firms and comparing them with unmarked examples, the author enables readers to make confident observations on the nature of regional and manufacturer's styles. The new research in this area provides the groundwork for informed speculation about the origins of undocumented keyed bugles. This work puts the best of current research on the instrument into book form and provides the collector, performer, and serious music student with a clear picture of the instrument's history, repertoire, and technique.

The book takes as its point of departure the notion that a nation's music and performance culture was, in the nineteenth century, conceived of as the voice of its people. From ballads to parades to plays to orations, these cultural forms carried the burden of staging an identity for the national community and for the onlooking eyes of outsiders.

Trained in Russia, Zeitlin (1884–1930) was an accomplished composer, conductor, performer, and pedagogue. In writing Palestina, Zeitlin, as he had done during his entire career, was fulfilling the goals of the Society for Jewish Folk Music, which he joined in 1908 while still a student at the St. Petersburg Conservatory: to compose and perform works of art music on motivic material drawn from Jewish cantillation, liturgy, and folk song. In addition to employing two modes central to Jewish music and several Jewish tunes, in Palestina Zeitlin actually imitates the shofar calls heard in the synagogue before and during Rosh Hashanah and at the conclusion of Yom Kippur. This edition includes an extensive essay on the composer and on the themes and structure of Palestina, with insights into the Capitol Theatre and the role of music in picture palaces of this era.

ix + 215 pp.Publishined in three volumes, A48, A49, and A50

Book URL: https://www.areditions.com/rr/rra/a075.html In 1958 American composer Miriam Gideon (1906¿1996) completed her only opera, Fortunato, based on the eponymous ¿tragicomic farce¿ by the Spanish playwrights Serafín and Joaquín Álvarez Quintero (1871¿1938 and 1873¿1944, respectively). Although Gideon¿s opera has never received a full performance and has only been available until now in a marginally legible autograph copy of the piano-vocal score, it may be regarded as a central work within Gideon's style and oeuvre and an important American operatic work of the 1950s. In addition to the fully edited piano-vocal score, the edition includes a significant introductory essay that summarizes Gideon's compositional activity during the post¿World War II years, her most active period. The essay also provides a context for Gideon's opera by examining attitudes toward women composers in the American 1950s and by placing the opera's main themes into dialogue with recently discovered personal writings by the composer. A supplement to this edition includes Gideon's full orchestration of Fortunato¿s first scene, recently discovered among the composer¿s personal papers, which she may have intended as a sample piece to be pitched to television networks.