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• Assimilation in conservatory education
• Transforming the White racial frame
• Concrete advice for leadership and staff
• Equity
• Interviews with young professionals.

"Leading Change engages with an existential question for American conservatories and orchestras: what does it mean to diversify Western classical music? Many institutions have focused solely on diversifying the demography of their participants, but without a deeper conversation about structural oppression in classical music, this approach continues to isolate and exclude students of color. Rooted in the author's experience working with BIPOC students at a major American conservatory, this book articulates the issues facing minority students in conservatories and schools of music, going beyond recruitment to address the cultural issues that alienate students. The author argues that the issue of diversity should be approached through the lens of aesthetics, and that the performance and pedagogy of Western classical music must change if a more diverse membership is to thrive in this genre. Reflecting on the author's experience through the lens of recent critical theory in music education, this volume presents the viewpoints of Black and Latinx music students in their own words. Addressing the impact of racialized aesthetics on the well-being of BIPOC music students, the author shows how students are alienated when attempting to assimilate into conservatory environments, and envisions an alternative, integrative approach to conservatory education. Offering a deep dive into the psychological and cultural reasons for the racialization of Western classical music, and potential institutional solutions, this concise book is relevant to performers, students, and institutional leaders"-- Provided by publisher.

• Avant-propos
• Introduction
• Enfance et années d'apprentissage
• Le Choc Wagnérien
• Envies d'opéras
• Dernières années
• Témoignages
• Lettres
• Chabrier l'impressionniste
• Tableau synoptique
• Discographie
• Bibliographie
• Index des noms.

"Premier véritable "impressionniste musical" français, Emmanuel Chabrier (1841-1894) fut trop - longtemps classé comme autodidacte à tord. Il est pourtant vrai que son univers musical, si personnel, préfigurait déjà Satie et la nouvelle école française, dès ses malicieuses opérettes (L'Etoile, Une éducation manquée), son opéra-comique (Le Roi malgré lui) ou ses deux opéras (Gwendoline et l'inachevé Briséis). Soutenu par son fidèle ami Lamoureux qui créa plusieurs de ses œuvres orchestrale (dont la désormais célèbre rhapsodie España ou encore sa Joyeuse marche), Chabrier se révéla un pianiste recherché, laissant de nombreuses pièces étonnantes pour 2 et 4 mains au clavier, autant qu'un véritable amateur des arts, ami - et aussi collectionneur - des peintres impressionnistes et autres artistes montmartrois. Cette biographie sur celui qui influença des générations de compositeurs (notamment Debussy, Ravel et Poulenc) se complète de nombreuses illustrations et exemples musicaux, dans une édition révisée et augmentée."--Page 4 of cover.

• Introduction
• Baron Haussmann's musical imagination
• Fanfare city : the Expositions universelles
• Urban planning lessons from the café-concert
• Street music : between regulation and liberation
• Street cries : constructing the old city
• Epilogue.

• Le nid du séraphin
• Naissance d'un compositeur
• L'indépendance difficile
• Les Schubertiades
• Le funeste tournant
• Course de vitesse contre la mort.

"Compositeur emblématique du classico-romantisme viennois, Franz Schubert (1797-1828) naît dans une capitale musicienne très propice à l'épanouissement de son génie. Elève de Salieri, ce fils d'un instituteur, mais réticent à embrasser le même métier, choisit de se consacrer exclusivement à la musique, quitte à vivre dans la précarité. Il restera méconnu jusqu'à sa mort prématurée, mais il est très entouré d'amis dans les salons viennois, où des réunions très vivantes de jeunes artistes sont baptisées "Schubertiades". Il atteint sa pleine "maturité" avec son cycle de lieder La belle meunière, la Fantaisie Wanderer, les Quatuors Rosamonde ou La jeune fille et la mort. A la mystérieuse Symphonie inachevée succède l'éblouissante Neuvième dite "la Grande". Se sachant atteint de la syphilis, Schubert se hâte d'écrire, quelques mois avant sa fin, des chefs-d'œuvre tels Le voyage d'hiver, la 22e Sonate pour piano ou le sublime Quintette à deux violoncelles. Il succombe à la typhoïde à seulement 31 ans, en laissant un catalogue de plus de 1.000 œuvres. Avec ce nouvel opus de la collection horizons, Isabelle Werck nous convie au cœur du romantisme musical viennois à travers cette biographie illustrée inédite, complétée de nombreux exemples musicaux et d'annexes pratiques."--Page 4 of cover.

• Deciding how to decide : the choices for democratic music-making
• Curating difference : Elliott Carter and modernist pluralism
• Admitting interests : on the openness of musical indeterminacy
• Empowering others : audience participation as 'democracy in action'
• Practising egalitarianism : free improvisation and the limits to inclusive music-making
• Ungrounded : musical models of democracy in the age of epistemic chaos.

• Préface
• Il était une fois
• La "Grande Babylone"
• Au commencement était
• Quelques canso ou tenço de trobairitz
• Premières publications
• Francesca Caccini, le "chaînon manquant" de l'opéra baroque italien
• L'exception baroque ?
• De la Renaissance au classicisme : un (court) panorama européen
• Droit, politique et société
• Fanny Hensel, la sœur de son frère...
• Marie Jaëll ou le piano du futur
• Ethel Smyth et Augusta Holmès : deux femmes libres
• L'Europe du XIXe siècle : une "cathédrale engloutie" de compositrices
• Le XIXe siècle : un (court) panorama européen
• Potentiels inaboutis
• Elle était première à Paris, Lili
• Texte intégral de la cantate Faust et Hélène
• L'élève "préférée" de Paul Dukas
• Siècle XXI : l'espoir ?
• Conclusion provisoire. Quel regard critique impartial peut-on porter sur la composition musicale au féminin ?

"La tâche est éminemment délicate mais intéresse plus que jamais aujourd'hui une société avide de redonner aux femmes la place qu'elles méritent au sein du Panthéon de l'invention musicale. Plutôt que d'écrire quelques énièmes fiches biographiques sur telle ou telle compositrice, Bruno Giner a préféré aborder ce sujet au prisme d'œuvres de compositrices et de leur seule valeur artistique et musicale. Bon nombre de ces créatrices ont été injustement oubliées par une histoire de la musique écrite par des hommes, lesquels pensaient peut-être à l'instar de Brahms, qu'il "n'existera de compositrice qu'avec le premier homme qui aura mis un enfant au monde" ou, pire encore, avec l'éminent chef d'orchestre Sir Thomas Beecham déclarant de son vivant "qu'il n'y a pas de femmes compositrices, il n'y en jamais eu et il n'y en aura jamais !" L'étouffement programmé des compositrices en général, qui s'est notablement accentué dans l'Europe du XIXe siècle suite au pouvoir grandissant d'une bourgeoisie phallocrate, a probablement contribué à court-circuiter une vision claire et objective d'une partie de l'histoire de la musique. Cette étude, inédite et raisonnée, cherche à retrouver un juste équilibre et à mettre aussi en perspective certaines œuvres maîtresses encore injustement délaissées."--Page 4 of cover.

• Bilingualism and Translation as Caring Performance
• Caring Performance in Public Art
• Spaces of Care
• Transforming Disaster through Defiant Joy.

• Introduction / Bryan Parkhurst and Jeffrey Swinkin
• An interview with Kevin Korsyn
• Part I. Close reading and the problematics of analysis. Extraordinary measures : disability and metrical conflict in Schubert's 'Der blinde Knabe' / Harald Krebs ; Rethinking self-referentiality in Schubert's setting of Platen's 'Die Liebe hat gelogen,' D. 751 (op. 23, no. 1) / René Rusch ; The E-flat/B complex in nineteenth-century music and its hermeneutic dimensions / Jeffrey Swinkin and Hayley Grigg
• Part II. Compositional constraints and compositional process. Take it away : how shortened and missing sections energize rondo forms / Alan Gosman ; Beyond constraints : Bach's Fugue in G minor from Book 2 of the Well-tempered clavier / Eric Wen
• Part III. Music and interdisciplinarity. Chopin's preludes, creatures of Prometheus, and the posthuman / Michael Klein ; Walter Riezler on the unity of the arts : unsiloing art and music in the Weimar era / Elizabeth Sears ; Completing the triad : Schenker and Kantian practical philosophy / Bryan Parkhurst ; Leni Riefenstahl's "ballet" Olympia / Patricia Hall.

"Kevin Korsyn is a renowned music theorist, musicologist, and pedagogue who has taught at the University of Michigan since 1992. He has published widely and influentially in areas as diverse as Beethoven and Brahms studies, chromatic tonality, disciplinarity and metatheory, history of theory, musical meaning and hermeneutics, poststructuralism (deconstruction, intertextuality, etc.), and Schenkerian theory and analysis. Because of the scope and uncompromising caliber of his published work, and also of his legacy as a pedagogue, Korsyn has had a profound impact on the field of music theory, along with the related fields of historical musicology and aesthetics. This book is a festschrift for Korsyn, comprised of essays that constellate around his numerous scholarly foci. Represented in the volume are not only familiar music-theoretical topics such as chromaticism, form, Schenker, and text-music relations, but also various interdisciplinary topics such as deconstruction, disability studies, German Idealism, posthumanism, and psychoanalysis. The book thus reflects the increasingly multifaceted intellectual landscape of contemporary music theory"-- Provided by publisher.

• Instrumental Interlude #1 : The Skoog
• Ben Schögler and David Skulina
• Part I. Ecology, Production and Communities of Practice. The Social Production of a Mallorcan Bagpipe : Collaboration, Technology, Ecology and Internationalisation / Cassandre Balosso-Bardin ; Feeling Analogue : Using Modular Synthesisers, Designing Synthesis Communities / Eliot Bates ; Re-inventing the Herati Dutâr : Some Cultural and Social Repercussions / John Baily ; Musical Instruments as Material Culture : A Case Study of the Cretan Lyra / Kevin Dawe
• Instrumental Interlude #2 : The Yaybahar
• Görkem Şen
• Instrumental Interlude #3 : Eli Gras
• Part II. The Circulation of Instruments. Charlie Parker, Massey Hall and Grafton 10265 : Musical Instruments and the Telling of Tales / Stephen Cottrell ; What's in a Name? : Carving an Indian Identity into the Slide-Guitar / André J.P. Elias ; Playing for God : Brass Instruments of the Moravian Brethren in the Atlantic World / Stewart Carter
• Instrumental Interlude #4 : The Fluid Piano
• Geoffrey Smith
• Instrumental Interlude #5 : The Pikasso Guitar
• Linda Manzer
• Part III. Reframing History Through Instruments. Arcadian Tones : The Rise, Fall, and Rebirth of the Austrian Maultrommel / Deirdre Morgan ; Musical Instruments as Traded Commodities : The Makers' Perspective / Jenny Nex ; Military Musical Instruments and the Culture of Perfection in the Long Nineteenth Century / Trevor Herbert.

• The Ecosystem of Cambodia's arts and culture
• Young Cambodians, cultural identities, and generational differences
• Music and its reinterpretation in current discourse
• Connecting the dots : A juncture of identity, youth, culture, tradition, and modernity.

• Mariza down under
• Tatjana
• Hans Sachs
• Miss Piggy
• Salome
• Tosca
• Mackie Messer
• Epilog.

"Australien und Europa, Queerness und Judentum, Popkultur und Opernbühne - Barrie Kosky, gefeierter Opernregisseur und meisterhafter Jongleur scheinbar unvereinbarer Gegensätze, lässt uns in »Und Vorhang auf, hallo!« an seinem außergewöhnlichen Leben teilhaben. Geboren und aufgewachsen in Australien, 15 000 Kilometer Luftlinie entfernt von Europa, der Wiege der Oper, hat er schon früh seine Liebe zu dieser Kunstform entdeckt. Wie kam es dazu? Wie passen diese beiden Welten zusammen? Was verbindet das Musiktheater, die australische Kindheit und Jugend von Barrie Kosky und seine Karriere in den europäischen Kulturmetropolen? Sieben Figuren aus der Welt des Musiktheaters geben darüber Aufschluss, anhand von ihnen tauchen wir ein in die Biografie des weltberühmten Opernregisseurs, in seine Gedankenwelt, Erfahrungen und Fantasien, in seine Beziehung zu den verschiedenen Opern, ihren Urhebern und Protagonist:innen und lernen diese wiederum aus Koskys besonderer Perspektive ganz neu kennen." -- front flap.

• Foreword / by Paul McCartney
• Preface / by Nicholas Cullinan
• Beatleland: introduction / by Jill Lepore
• Photographs. Liverpool ; London ; Paris ; New York ; Washington, D.C. ; Miami ; Coda
• Another lens / by Rosie Broadley
• Timeline.

Taken with a 35mm camera by Paul McCartney, these largely unseen photographs capture the explosive period, from the end of 1963 through early 1964, in which The Beatles became an international sensation and changed the course of music history.

• The well-tuned guitar / John Schneider
• Transforming the microtonal fingerboard : 'small' frets, LEGO and robots
• Interview with Tolgahan Çoğulu / Richard Perks
• The expanding fretless guitarscape : practice and progress / Richard Perks
• Touching the apple without gloves
• Interview with Cenk Erdoğan / Richard Perks
• Extended range instruments : Towards a new organology of the guitar / Tom Williams
• I should have just learned how to play the organ
• Interview with Charlie Hunter / Richard Perks
• The transformed space of the Ligeti guitar / Katalin Koltai
• Grains, glitches and infinite space : guitar effects pedals, digitization and textural guitar aesthetics / Robert Strachan
• The sonic maelstrom
• Interview with Nels Cline / John McGrath
• "Something seems wrong, should that be happening?" : avantfolk guitar and glitch aesthetics, a practice-based perspective / John McGrath
• "A field of reactivity" : Moog guitar and experimental systems
• Interview with Bill Thompson / John McGrath
• The digital fretboard : remapping and relearning the guitar's pitch matrix with MIDI and Max/MSP / Milton Mermikides
• Augmented reality guitars : extended instruments and notation for a 21st century practice / Amy Brandon

"Examines the diverse physical manifestations of the guitar which have emerged in response to the needs of the modern performer and explores the creative possibilities these new forms afford"-- Provided by publisher

In 1990 and 1991, Eric Clapton performed 42 nights at the Royal Albert Hall in London; 18 shows in 1990 and 24 in 1991. During the run of these shows Clapton performed with three different line-ups: a rock band, a blues band, and an orchestra. Clapton's love of the Blues is well known, and the emotion and enjoyment of playing these songs with top-notch musicians is clear on these recordings and film. 24 Nights: Blues features 14 songs, has a running time of 90+ minutes, and is available on 2 LPs or a 2 CDs. The CD format also includes a DVD of the full show. The all-star line-up of musicians sharing the stage with Eric included Jimmie Vaughan (guitar), Johnnie Johnson (Keyboards), Chuck Leavell (Keyboards), and Jerry Portnoy (Harmonica). Guitarist's Buddy Guy, Albert Collins and Robert Cray appeared as special guests. The set list features superb versions of blues standards such as "Key To The Highway", "Sweet Home Chicago", "Watch Yourself", "Have You Ever Loved A Woman" and 'Black Cat Bone".

In 1990 and 1991, Eric Clapton performed 42 nights at the Royal Albert Hall in London; 18 shows in 1990 and 24 in 1991. During the run of these shows Clapton performed with three different line-ups: a rock band, a blues band, and an orchestra. Arguably, the shows with the National Philharmonic Orchestra are the most unique of all the performances. The orchestra was conducted by the legendary composer Michael Kamen. Clapton had worked with Kamen previously on film soundtracks (Rush, Lethal Weapon) so it was natural for Clapton to ask Kamen to arrange the music for orchestra. The 13-song set on 24 Nights: Orchestral includes stunning orchestral arrangements of "Layla", "Sunshine of Your Love", "Wonderful Tonight", "White Room", "Can't Find My Way Home", "Bell Bottom Blues', "I Shot The Sheriff", "Lay down Sally", and "Crossroads". A special highlight is the recorded debut of the 30-minute composition that Kamen wrote especially for Eric Clapton: "Concerto For Electric Guitar".

In 1990 and 1991, Eric Clapton performed 42 nights at the Royal Albert Hall in London; 18 shows in 1990 and 24 in 1991. During the run of these shows Clapton performed with three different line-ups: a rock band, a blues band, and an orchestra. 24 Nights: Rock features 18 songs, has a running time of 2 hours 15 minutes and is available on 3 LPs or a 2 CDs. The CD format also includes a DVD of the full show. The rock show line-up varied from 4, 9 or 13 band members, and the musicians included Nathan East, Ray Cooper, Greg Phillinganes, Steve Ferrone. The 4-piece in 1991 featured Phil Collins on drums. Highlights of the songs performed include White Room, Layla, Pretending, Running On Faith, Old Love, and Lay Down Sally. The set also features excellent cover versions: a restrained reggae rhythm version of Bob Dylan's "Knockin' On Heaven's Door, a blues-rock twist on the Bob Marley anthem "I Shot The Sheriff", and the great J.J. Cale song "Cocaine". The concert ends with the Cream classic "Sunshine Of Your Love".