G+B Arts International Harwood Academic Publishers utpbooks@gpu.utcc.utoronto.ca http://www.gbhap.com Computer Music in Context Edited by Craig Harris Computer-based resources permeate the music worlds of composition, theory, musicology, performance, and education. These resources are transforming the nature of contemporary music making, whether one considers concert, radio, television, film, multimedia, or interactive immersive contexts. The variety of perspectives offered by the contributors to this issue of *Contemporary Music Review* reflects a diversity and individuality of approaches in the musical application of new technological resources. As a compilation, they provide an opportunity to examine the "state of music," and to critically examine our goals for future development. In establishing both a historical perspective and a vision into the future, we can clarify and respond to the challenges which face us in the present. 1996 160pp Paperback ISBN 3-7186-5849-6/ US $40 / *L* 24 / ECU 31 Volume 13 Part 2
Aspects of Complexity in Recent British Music Edited by Tom Morgan, British Music Information Centre, London, UK If the term "complexity" has any polemical significance, it is perhaps as a point of faith against "simplicity" or "romanticism" or any other slogan which proclaims an arbitrarily or self-imposed organization of attitude. But complexity has more than a polemical significance and it is more descriptive of a quality of all music. The issue explores this quality of music in the work of a selection of British composers, who do not wish to be regarded by musicologists as a particular group. 1995 155pp Paperback ISBN 3-7186-5574-8/ US $48 / *L* 29 / ECU 37 Volume 13 Part 1
New Developments in Contemporary German Music Edited by Klaus-Michael Hinz Published in association with the Goethe Institute, London, this issue includes writings on and by contemporary German composers. Combined with interviews and detailed analyses of specific works, some by the composers themselves, it provides a general overview of developments in modern music in Germany. 1995 138pp Paperback ISBN 3-7186-5423-7 / US $26 / *L* 9 / ECU 11 Volume 12 Part 1
Reclaiming the Muse Edited by Nicola Lefanu and Sophie Fuller This unique reference work is part of the growing movement to create more opportunities for the music of women composers. *Reclaiming the Muse* examines the fine contribution made to contemporary music by living female composers, mainly from Great Britain, Australia, and New Zealand, without emphasizing their gender. The editors and contributors hope to encourage a more equal balance in programming in order that music which has been unheard or neglected until now can become the part of the repertoire that it deserves. The articles present a fully dimensional view of the musical tradition which reflects the contribution of women as well as men. 1995 349pp Paperback ISBN 3-7186-5528-4 / US $67 / *L* 44 / ECU 56 Volume 11
On Sonic Art Trevor Wishart New and Revised Edition by Simon Emmerson In this newly revised book, *On Sonic Art*, Trevor Wishart takes a wide-ranging look at the new developments in music-making and musical aesthetics made possible by the advent of the computer and digital information processing. His emphasis is on musical rather than technical matters. Beginning with a critical analysis of the assumptions underlying the Western musical tradition and the traditional acoustic theories of Pythagoras and Helmholz, he goes on to look in detail at such topics as the musical organization of complex sound-objects, using and manipulating representational sounds and the various dimensions of human and non-human utterance. In so doing, he seeks to learn lessons from areas (poetry and sound-poetry, film, sound effects, and animal communication) not traditionally associated with the field of music. A compact disc containing many of the musical examples featured is included. 1996 386pp Paperback and Compact Disc ISBN 3-7186-5847-X / US $33 / *L* 20 / ECU 25 Cloth and Compact Disc ISBN 3-7186-5846-1 / US $100 / *L* 60 / ECU 77 Volume 12
Brian Ferneyhough: Collected Writings Edited by James Boros, SA and Richard Toop, Sydney Conservatorium of Music, Australia Until now, Ferneyhough's writings about music have been scattered, published in various languages and difficult, if not impossible, to find. The present collection brings together the majority of the composer's extant writings, many of them appearing in English for the first time, along with some edited transcripts of informal talks, and a number of important interviews. Although the vast majority of the texts deals with Ferneyhough's compositions, others reflect his activities as an influential composition teacher and his recent work as a poet. 1995 368pp Paperback ISBN 3-7186-5577-2 / US $35 / *L* 23 / ECU 29 Cloth ISBN 3-7186-5576-4 / US $122 / *L* 82 / ECU 103 Volume 10
Hanns Eisler: A Miscellany Edited by David Blake, University of York, UK This is the first book on Eisler to be published in English. David Blake provides an overview of his whole output, from the early compositions, his work as a pupil of Schoenberg, to the development of his individual style. David Blake (who was the only British student to have studied composition with Eisler) balances critical analysis, historical survey, and aesthetic argument and includes some of Eisler's own articles and extracts from his conversations. Blake confronts the attitudes of the German Democratic Republic administration toward this influential composer, and shows the valuable insights into the complexities of this century which can be gained from a study of Eisler's life and works, especially of his notion of "applied music"--the linking of music to social and political needs. Also included in this key collection of writings by and about Eisler is the first publication in English of Eisler's Faust libretto. 1995 500 pp Paperback ISBN 3-7186-5575-6 / US $38 / *L* 25 / ECU 32 Cloth ISBN 3-7186-5573-X / US $87 / *L* 28 / ECU 69 Volume 9
Chromaticism Vladimir Barsky Musical practices in the 20th centuiry pose new and complex problems in the study of the fundamental principles of pitch organization. The analysis of basic harmonic categories, one of which is chromaticism, acquires particular importance as a means of restoring time, which has gone "out of joint," and identifying the logical principles in the historical process of musical development. Vladimir Barsky, in his thoroughly researched and clearly written guide, traces the progress of the concept of chromaticism throughout Western musical history, and recreates an integrated logical and historical perspective in order to make a specific study of this key subject. He identifies the dynamics of the changing historical theories of chromaticism and relates these to musical practices, applying them to the analysis of current pitch systems. This book will be an invaluable tool for readers whose aim is to come nearer to comprehending the idioms of 20th century music. 1996 144pp Paperback ISBN 3-7186-5705-8 / US $28 / *L* 17 / ECU 22 Cloth ISBN 3-7186-5704-X / US $88 / *L* 53 / ECU 68
After the Lovedeath: Sexual Violence and the Making of Culture Lawrence Kramer This elegantly written book is a bold attempt to reinterpret the nature of sexual violence and to imagine the possibility of overcoming it. Lawrence Kramer traces today's sexual identities to their nineteenth-century sources, drawing on the music, literature, and thought of the period to show how normal identity both promotes and rationalizes violence against women. To make his case, Kramer uses operatic lovedeaths, Beethoven's "Kreutzer Sonata" and the Tolstoy novella named after it; the writings of Walt Whitman and Alfred Lord Tennyson, psychoanalysis, and the logic of dreams. In formal and informal reflections, he explores the self-contradictions of masculinity, the shifting alignments of femininity, authoruty, and desire, and the interdependency of hetero- and homo-sexuality. At the same time, he imagines alternatives that could allow gender to be freed from the existing system of polarities that inevitably promote sexual violence. Kramer's writing avoids the conventional dress of intellectual authority and moves between music and literature in a style that is both intimate and effective. He combines informed scholarship with candid personal utterance and makes clear what is at stake in this crucial debate. *After the Lovedeath* will have a profound impact on anyone interested in new ways to think about gender. "Enormously important. . . . [This book] takes a crucial next step from previous cultural-critical work. Its determination to speak directly to the problem of sexual violence by way of certain cultural products--rather than the other way around, as countless previous authors have done--is a weird and wonderful gesture. I wouldn't have thought it could be done, but I find quite persuasive Kramer's demonstration that readings like these can authorize such a diagnosis." --Ruth A. Solie, editor of *Musicology and Difference* "In this brilliant extended essay, Lawrence Kramer once again brings his formidable skills as a literary critic and musicologist to bear on nineteenth-century culture. . . . As always, Kramer surprises his readers with bold new insights; he compels us to return to poems, stories, and sonatas we thought we knew." --Susan McClary, author of *Feminine Endings* "This book makes its readers understand the stakes of a crucial debate while itself raising that debate to a higher stage. Its powerful, original vision of gender informs remarkable readings of individual texts. The style, uniquely personal and invariably effective, often reaches a level of eloquence rare in academic prose. Kramer has a distinctive voice and uses it to dramatic effect." --Sandy Petrey, author of *Speech Acts and Literary Theory* Lawrence Kramer is Professor of English and Music at Fordham University. He has published three previous books with California: *Music and Poetry: The Ninteenth Century and After* (1984), *Music as Cultural Practice, 1800-1900* (1990), and *Classical Music and Postmodern Knowledge* (1995). All are available in paperback. DECEMBER 0-520-21012-3 $30.00x cloth 184 pages, 6x9", 1 b/w illustration, 2 music examples Gender Studies/Literature/Music World
Bela Bartok and Turn-of-the-Century Budapest Judit Frigyesi Bartok's music is greatly prized by concertgoers, yet we know little about the intellectual milieu that gave rise to his artistry. Bartok is often seen as a lonely genius emerging from a gray background of an "underdeveloped country." Now Judit Frigyesi offers a broader perspective on Bartok's art by grounding it in the social and cultural life of turn-of-the-century Hungary and the intense creativity of its modernist movement. Bartok spent most of his life in Budapest, an exceptional man living in a remarkable milieu. Frigyesi argues that Hungarian modernism in general and Bartok's aesthetic in particular should be understood in terms of a collective search for wholeness in life and art and for a definition of identity in a rapidly changing world. Is it still possible, Bartok's generation of artists asked, to create coherent art in a world that is no longer whole? Bartok and others were preoccupied with this question and developed their aesthetics in response to it. In a discussion of Bartok and of Endre Ady, the most influential Hungarian poet of the time, Frigyesi demonstrates how different branches of art and different personalities responded to the same set of problems, creating oeuvres that appear as reflections of one another. She also examines Bartok's *Bluebeard's Castle*, exploring philosophical and poetic ideas of Hungarian modernism and linking Bartok's stylistic innovations to these concepts. "Outstanding. . .a significant achievement not only in Bartok research, bot for its special perspective and its wealth of information and documentation regarding Hungarian culture and its relation to the broader European modern scene." --Elliott Antokoletz, author of *The Music of Bela Bartok* Judit Frigyesi is Assistant Professor of Music at Princeton University. JANUARY 0-520-20740-8 $45.00x cloth 375 pages, 6x9", 11 b/w photographs, 48 music examples Music/History World
The Early Works of Arnold Schoenberg, 1893-1908 Walter Frisch Here is the first full-scale account of Schoenberg's early tonal works, a rich repertory that music historians have tended to neglect or view as transitional to a mature and atonal style. Between 1893 and 1908, Schoenberg created many genuine masterworks in the genres of Lieder, chamber music, and symphonic music. Frisch traces the development of technique and aesthetic across this critical fifteen-year period of the composer's career, providing detailed analyses of such widely admired and performed compositions as *Pelleas und Melisande*, *Verklarte Nacht*, *Gurrelieder*, and the First Chamber Symphony. "[Frisch] opts for a balance between theory, technical exposition, and aesthetics--an achievement rare in musicological works. . . . Many readers will find much that is stimulating in [Frisch's] lengthy discussion of individual works." --John Williamson, *Current Musicology* "The author's love and enthusiasm for this music shine forth from every page. . . . This is a book which all lovers of Schoenberg's music should read." --Nick Chadwick, *Music & Letters* Walter Frisch is Professor of Music at Columbia University. He is the former editor of the journal *19th-Century Music* and the author of *Brahms and the Principle of Developing Variation* (California, 1984). Winner, ASCAP-Deems Taylor Award, 1994 DECEMBER 0-520-21218-5 $25.00x paper 350 pages, 6-1/8x9-1/4", 139 musical examples, 2 illustrations Hardcover published 1993 Music World
Beethoven William Kinderman Combining musical insight and the most recent research, William Kinderman's *Beethoven* is both a richly drawn protrait of the composer and a guide to his music. Kinderman traces Beethoven's intellectual and musical development from the early works written in Bonn to the Ninth Symphony and the late string quartets. Throughout, he looks at compositions from different and original perspectives and shows how Beethoven's art is a union of the sensuous and the rational, of expression and structure. "Kinderman's analyses are original--sometimes breathtakingly so--insightful, sympathetic, and entirely convincing. It is impossible to read this book without having gained renewed appreciation of Beethoven's massive achievement." --Thomas Wendel, *The Beethoven Journal* "Anyone familiar with a broad cross-section of Beethoven's music will find this a rewarding book, with insightful revelations into the composer's creative evolution." --Rick MacMillan, *Classical Music* "A most welcome addition to Beethoven literature. . . . [Kinderman] combines a musician's perception of the music and an informed musicologist's command of recent Beethoven scholarship." --Alfred Brendel William Kinderman is Professor of Music at the University of Victoria, British Columbia, and has also taught extensively at the Hochschule der Kunste, Berlin. He is author of the much acclaimed book *Beethoven's Diabelli Variations* (1989). NOVEMBER 0-520-21226-6 $17.95 paper 385 pages, 6x9", 30 b/w illustrations Hardcover published 1995 Biography/Music US, Philippines, and Canada Copub: Oxford UK
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