RML New Books! May/June 2016
The Practicing Mind
Call Number: BF151.St45p
Publication Date: 2012-04-10
Examines the process of practice as it relates to learning, and shows that it can build discipline and clarity, and be a fulfilling process in and of itself.
Conducting for a New Era
Call Number: MT85.R811c ; DVDc 964
Publication Date: 2014-10-16
Contents: DVD contents: Principles of technique. The baton -- Eye-contact and the alignment with the hand -- Preparatory gesture -- Independence of hands -- Le Marteau sans maitre. Three distinctive characteristics in conducting the work. Irregular time unites with varying metronome marks ; Plateau gesture and modification of irregular units ; Manner of controlling irregular units -- Performance demonstrations. Avant L'Artisanat furieux -- Commentaire I de Bourreaux de solitude -- Bel edifice et les pressentiments, version premiere -- Apres L'Artisanat furieux -- Commentaire III de Bourreaux de solitude -- Bel edifice et les pressentiments, double.
Italian Guitar Music of the Seventeenth Century : battuto and pizzicato
Call Number: ML1015.G9 Ei83it
Publication Date: 2015-12-15
Contents: The rise of the five-course guitar in Spain and Italy, 1580-1630 -- Italian guitarists at home and abroad -- Accompaniment -- Solo music -- Counterpoint -- Stringing matters -- Pandora's lyre -- The baroque guitar unmasked?
The Pianists Craft 2 : mastering the works of more great composers
Call Number: MT220.P573 An24 II
Publication Date: 2015-09-17
Contents: C.P.E.-thinking outside the Bachs : the music of Carl Phillip Emanuel Bach / Louis Nagel -- Soler's Fandango / Robin Hancock -- Lyricism and lightness in the piano music of Felix Mendelssohn / Joel Hastings -- Interior virtuosity : grasping Fauré's piano music / David Korevaar -- Reflections on performing Ernst von Dohnányi's Variations on a nursery song for piano and orchestra / Timothy Ehlen -- Francis Poulenc's early writing : a critical analysis of Trois pièces (1918) and Mouvements perpétuels (1919) / Jerry Wong -- Drinking from the "Source of universal folklore" : Villa-Lobos, Bach, and Chorões / Alexandre Dossin -- The musical imagination of Dmitri Kabalevsky / Timothy Shafer -- Remembering Alberto Ginastera / Barbara Nissman -- Improving the long line through score markings in piano repertoire / Caroline Hong -- Aaron Copland and the musical idea / Hilary Demske -- Some suggestions for playing the piano music of Samuel Barber / Jeffrey Jacob -- A practical pianist's introduction to Messiaen : technical and theoretical approaches via the Vingt regards sur l'enfant-Jésus / Christopher Taylor -- A pianist looks at the music of John Cage, 1946-1948 / John Milbauer -- The importance of new music in the pianist's repertoire / Scott Holden.
Singing Archaeology : Philip Glass's Akhnaten
Call Number: ML410.G463 R394si
Publication Date: 1999-03-31
Contents: 1. Oedipus and Akhnaton: Of Origins and Archaeologies -- 2. Glass's Poetics of Postmodernism -- 3. The Musical Language of Akhnaten -- 4. Narrating from a Distance: Representations of the Old Order in the Prelude and the First Two Scenes -- 5. Higher Love: New Geometries of Power, Desire, and Exclusion in the Trio and Two "Duets" of Akhnaten, Nefertiti, and Tye -- 6. The Illusion of Autonomy: Apotheosis and Degeneration in Akhnaten's Hymn to the Sun and in the Family Scene -- 7. Repudiation and Resurrection: The Final Three Scenes -- 8. Some Thoughts on the Reception of Akhnaten
The John Adams Reader : essential writings on an American composer
Call Number: ML410.Ad18 J613
Publication Date: 2006-06-01
Contents: Portraits of the artist -- The musical works -- Collaborators and interpreters -- Critical reception
New Vocal Repertory : an introduction
Call Number: Ref. ML128.V87 M316n v.1
Publication Date: 1986
New Vocal Repertory 2
Call Number: Ref. ML128.V87 M316n v.2
Publication Date: 1999-03-18
The Broadway Song
Call Number: Ref. ML128.Op2 C548br
Publication Date: 2015-03-30
The Broadway Song is a practical and comprehensive guide to the formal characteristics of key Broadway songs on a song-by-song basis, including main voice type, secondary voice qualities, range, and tessitura, as was as larger contextual information about the musical and the character that provides the performer a way into the character. Clark brings his wide-ranging and extensive experience as a director, performer, and teacher to bear in his performance notes on the individual pieces. Additionally, he includes excerpts from short interviews with artists that provide insight into the song from the perspective of those who first created (or re-created) it. The interviews, conducted with composers, lyricists, performers, and - in one case - book collaborators, are snapsnots into the creative process and act as conduits to further study of the selected songs. -- from back cover
Look, I Made a Hat : collected lyrics (1981-2011) with attendant comments, amplifications, dogmas, harangues, digressions, anecdotes and miscellany
Call Number: Ref. ML54.6.So57 So57L
Publication Date: 2011-11-22
After his acclaimed and best-selling Finishing the Hat (named one of the New York Times 10 Best Books of 2010), Stephen Sondheim returns with the second volume of his collected lyrics, Look, I Made a Hat, giving us another remarkable glimpse into the brilliant mind of this living legend, and his life's work. Picking up where he left off in Finishing the Hat, Sondheim gives us all the lyrics, along with excluded songs and early drafts, of the Pulitzer Prize-winning Sunday in the Park with George, Into the Woods, Assassins and Passion. Here, too, is an in-depth look at the evolution of Wise Guys, which subsequently was transformed into Bounce and eventually became Road Show. Sondheim takes us through his contributions to both television and film, some of which may surprise you, and covers plenty of never-before-seen material from unproduced projects as well. There are abundant anecdotes about his many collaborations, and readers are treated to rare personal material in this volume, as Sondheim includes songs culled from commissions, parodies and personal special occasions over the years--such as a hilarious song for Leonard Bernstein's seventieth birthday. As he did in the previous volume, Sondheim richly annotates his lyrics with invaluable advice on songwriting, discussions of theater history and the state of the industry today, and exacting dissections of his work, both the successes and the failures. Filled with even more behind-the-scenes photographs and illustrations from Sondheim's original manuscripts, Look, I Made a Hat is fascinating, devourable and essential reading for any fan of the theater or this great man's work [Publisher description]
Gustav Mahler : the conductors' interviews
Call Number: ML410.M278 G9775
Publication Date: 2013
Contents: Reinhold Kubik, "The company does its work in grand style" : Gustav Mahler and Universal Edition -- Claudio Abbado, "Mahler is the bridge to the modern era" -- Daniel Barenboim, "I began to conduct Mahler out of spite" -- Herbert Blomstedt, "Mahler must have been a great man" -- Pierre Boulez, "One cannot refer to the biography to explain the music" -- Riccardo Chailly, "Mahler's First was the great emotion of my youth" -- Christoph von Dohnányi, "Mahler composed inwardly" -- Gustavo Dudamel, "Wow, Mahler!" -- Christoph Eschenbach, "Mahler is certainly the greatest symphonist ever" -- Daniele Gatti, "Mahler should be performed simply and humbly" -- Valery Gergiev, "Mahler's Seventh made me sleepless" -- Michael Gielen, "Bernstein turned Mahler into kitsch" -- Alan Gilbert, "In New York he was kind of giving up" -- Bernard Haitink, "I always found Mahler alarming" -- Manfred Honeck, "The rubato is essential when conducting Mahler" -- Mariss Jansons, "With Mahler you have to give everything" -- Lorin Maazel, "I would never have asked him anything" -- Zubin Mehta, "I would love to ask him a thousand questions" -- Ingo Metzmacher, "Mahler is my point of reference" -- Kent Nagano, "Mahler was a pioneer, not only a radical" -- Andris Nelsons, "Mahler wanted to show the world : I have a problem!" -- Jonathan Nott, "Frozen for eternity in death" -- Sakari Oramo, "Mahler controls chaos" -- Sir Antonio Pappano, "Mahler wanted to live, that's the whole point!" -- Josep Pons, "Mahler is more contemporary now than in 1910" -- Sir Simon Rattle, "Mahler is the reason why I'm a conductor today" -- Esa-Pekka Salonen, "Mahler embraced everything that exists" -- Michael Tilson Thomas, "Jump! cut! bang!" -- Franz Welser-Möst, "Mahler was like an earthquake for me" -- David Zinman, "Mahler is a universe in itself."
Wagner, Schumann, and the Lessons of Beethoven's Ninth
Call Number: ML410.Be393 R333w
Publication Date: 2015-04-24
"Reynolds shows that the stylistic advances made by Richard Wagner and Robert Schumann in 1845-46 stemmed from a deepened understanding of Beethoven's techniques and strategies in the Ninth Symphony, particularly the use of counterpoint involving contrary motion. The trail of influences that Reynolds explores extends back to the music of Bach and ahead to Tristan and Isolde, as well as to Brahms's First Symphony."--Provided by publisher
The Man That Got Away : the life and songs of Harold Arlen
Call Number: ML410.Ar51 R466m
Publication Date: 2015-08-20
Contents: Buffalo, NY -- New York, NY -- "Get happy" -- The Cotton Club -- Anya -- "Stormy weather" -- On Broadway with Ira and Yip -- "Last night when we were young" -- Marriage -- Death of Gershwin -- Hooray for what! -- The wizard of Oz -- An itinerant songwriter -- Writing with Johnny Mercer -- "One for my baby" -- "Ac-cent-tchu-ate the positive" -- St. Louis woman -- Descent into misery -- "She was sweet and adorable and then she went mad" -- A star is born -- House of flowers -- In search of fame -- An opera -- Two debacles -- The 1960s -- Waiting
Teaching Stravinsky : Nadia Boulanger and the consecration of a modernist icon
Call Number: ML423.Bo6633 F847t
Publication Date: 2015-08-03
Contents: Foundations : 1929-1932 -- Master copy : correcting the Symphonie de psaumes -- Surviving the Great Depression : 1932-1936 -- Beyond France : 1937-1939 -- The war : 1940-1942 -- Together : 1942-1945 -- Redefining a partnership, reestablishing an icon : 1946-1949 -- The last project : the rake's project, 1948-1952 -- Mediating serialism -- Insider/outsider.
Music Behind Barbed Wire : a diary of summer 1940
Call Number: ML410.G129mu ; CDc 15,765
Publication Date: 2015-08-26
Iannis Xenakis : Kraanerg
Call Number: ML410.X24 H227ai ; CDc 15,737
Publication Date: 2015-08-28
Contents: Biography -- Musical background to Kraanerg -- The Kraanerg project -- Kraanerg analysis -- Reception -- Performance history -- Epilogue.
Shared Meanings in the Film Music of Philip Glass : music, multimedia and postminimalism
Call Number: ML410.G463 Ev16sh
Publication Date: 2015-10-09
Contents: Glass, postminimalism and the media : initial questions and contexts -- The satisfaction of a drive : postminimal music and the advertising media -- Postmodern unfoldings : narrative, temporality and repetition in postminimal music -- Notes on a soundtrack : reading Glass's recent film scores -- Metamorphic meanings in Glass's intertextual soundtracks -- This is (not) a soundtrack : Dracula the movie or music drama? -- Existential conflict in Naqoyqatsi, book of longing and watchmen.
Charles Ives's Musical Universe : unlocking the code... ...reassessing his provenance
Call Number: MT92.Iv3 C774c
Publication Date: 2015-03-18
Contents: Celestial proving ground. Cosmic tonality ; Cosmic heartbeat ; Between two worlds -- Reaching for the stars. The evolution of ideas ; A symphony : "New England holidays" ; The songs and related works -- The cosmic trinity. The Concord sonata ; The Fourth symphony ; The Universe symphony -- The unraveling.
Robinson Music Library
Where do you work in the Library?
My desk is in the Technical Services area as far North of the front door as you can go. When not there I am probably in the Orchestra Library.
What are your musical interests/activities?
I play and teach viola da gamba, am active as a soloist and chamber player of 17th-century music and play vielle, medieval harp, hurdy gurdy and a variety of winds in Medieval and Renaissance groups. I also am Music Director at St. Andrew's Presbyterian Church working with choirs and instruments.
What are your hobbies?
jewelry making, sailing, historical fiction
Robinson Music Library
Where do you work in the Library?
My corner office is in the Technical Services section at the north end of the Library.
What are your musical interests/activities?
Baroque music, folk, bluegrass, anything excellent! I am a harpsichordist/pianist and currently play keyboards for Brooklyn Presbyterian Church.
What are your hobbies?
birdwatching, squaredancing, travel